Search:fr

Googling “paradise house”, the first results to pop up are an endless list of European b&b’s with whitewashed lime façades, all of them promising “…an unmatched travel experience a few steps from the sea”. Next, a little further down, are the institutional websites of a few select semi-luxury retirement homes (no photos shown, but lots of stock images of smiling nurses with reassuring looks). To find the “paradise house” we’re after, we have to scroll even further down. Much further down.

It feels like yesterday, and at the same time it seems like a million years ago. The Eighties had just ended, and it was still unclear what to expect from the Nineties. Mobile phones that were not the size of a briefcase and did not cost as much as a car? A frightening economic crisis? The guitar-rock revival?! Certainly, the best place to observe that moment of transition was the dancefloor. Truly epochal transformations were happening there. From America, within a short distance one from the other, two revolutionary new musical styles had arrived: the first one sounded a bit like an “on a budget” version of the best Seventies disco-music – Philly sound made with a set of piano-bar keyboards! – the other was even more sparse, futuristic and extraterrestrial. It was a music with a quite distinct “physical” component, which at the same time, to be fully grasped, seemed to call for the knotty theories of certain French post-modern philosophers: Gilles Deleuze, Félix Guattari, Paul Virilio... Both those genres – we would learn shortly after – were born in the black communities of Chicago and Detroit, although listening to those vinyl 12” (often wrapped in generic white covers, and with little indication in the label) you could not easily guess whether behind them there was a black boy from somewhere in the Usa, or a girl from Berlin, or a pale kid from a Cornish coastal town.

Quickly, similar sounds began to show up from all corners of Europe. A thousand variations of the same intuition: leaner, less lean, happier, slightly less intoxicated, more broken, slower, faster, much faster... Boom! From the dancefloors – the London ones at least, whose chronicles we eagerly read every month in the pages of The Face and i-D – came tales of a new generation of clubbers who had completely stopped “dressing up” to go dancing; of hot tempered hooligans bursting into tears and hugging everyone under the strobe lights as the notes of Strings of Life rose up through the fumes of dry ice (certain “smiling” pills were also involved, sure). At this point, however, we must move on to Switzerland.

In Switzerland, in the quiet and diligent town of Lugano, between the 1980s and 1990s there was a club called “Morandi”. Its hot night was on Wednesdays, when the audience also came from Milan, Como, Varese and Zurich. Legend goes that, one night, none less than Prince and Sheila E were spotted hiding among the sofas, on a day-off of the Italian dates of the Nude Tour… The Wednesday resident and superstar was an Italian dj with an exotic name: Don Carlos. The soundtrack he devised was a mixture of Chicago, Detroit, the most progressive R&B and certain forgotten classics of old disco music: practically, what the Paradise Garage in New York might have sounded like had it not closed in 1987. In between, Don Carlos also managed to squeeze in some tracks he had worked on in his studio on Lago Maggiore. One in particular: a track that was rather slow compared to the BPM in fashion at the time, but which was a perfect bridge between house and R&B. The title was Alone: Don Carlos would explain years later that it had to be intended both in the English meaning of “by itself” and like the Italian word meaning “halo”. That wasn’t the only double entendre about the song, anyway. Its own very deep nature was, indeed, double. On the one hand, Alone was built around an angelic keyboard pattern and a romantic piano riff that took you straight to heaven; on the other, it showcased enough electronic squelches (plus a sax part that sounded like it had been dissolved by acid rain) to pigeonhole the tune into the “junk modernity” section, aka the hallmark of all the most innovative sounds of the time: music that sounded like it was hand-crafted from the scraps of glittering overground pop.

No one knows who was the first to call it “paradise house”, nor when it happened. Alternative definitions on the same topic one happened to hear included “ambient house”, “dream house”, “Mediterranean progressive”… but of course none were as good (and alluring) as “paradise house”. What is certain is that such inclination for sounds that were in equal measure angelic and neurotic, romantic and unaffective, quickly became the trademark of the second generation of Italian house. Music that seemed shyly equidistant from all the rhythmic and electronic revolutions that had happened up to that moment (“Music perfectly adept at going nowhere slowly” as noted by English journalist Craig McLean in a legendary field report for Blah Blah Blah magazine). Music that to a inattentive ear might have sounded as anonymous as a snapshot of a random group of passers-by at 10AM in the centre of any major city, but perfectly described the (slow) awakening in the real world after the universal love binge of the so-called Second Summer of Love.

For a brief but unforgettable season, in Italy “paradise house” was the official soundtrack of interminable weekends spent inside the car, darting from one club to another, cutting the peninsula from North to centre, from East to West coast in pursuit of the latest after-hours disco, trading kilometres per hour with beats per minute: practically, a new New Year’s Eve every Friday and Saturday night. This too was no small transformation, as well as a shock for an adult Italy that was encountering for the first time – thanks to its sons and daughters – the wild side of industrial modernity. The clubbers of the so-called “fuoriorario” scene were the balls gone mad in the pinball machine most feared by newspapers, magazines and TV pundits. What they did each and every weekend, apart from going crazy to the sound of the current white labels, was linking distant geographical points and non-places (thank you Marc Augé!) – old dance halls, farmhouses and business centres – transformed for one night into house music heaven. As Marco D’Eramo wrote in his 1995 essay on Chicago, Il maiale e il grattacielo: “Four-wheeled capitalism distorts our age-old image of the city, it allows the suburbs to be connected to each other, whereas before they were connected only by the centre (…) It makes possible a metropolitan area without a metropolis, without a city centre, without downtown. The periphery is no longer a periphery of any centre, but is self-centred”.

“Paradise house” perfectly understood all of this and turned it into a sort of cyber-blues that didn’t even need words, and unexpectedly brought back a drop of melancholic (post?)-humanity within a world that by then – as we would wholly realise in the decades to come – was fully inhuman and heartless. A world where we were all alone, and surrounded by a sinister yellowish halo, like a neon at the end of its life cycle. But, for one night at least, happy."

LIMITED EDITION - Riso Print Cover (each individual cover may vary)
4 chop-outs from the Japan (tour) Tape. Edited and turned into full tracks.

** club fire from DJ Python

“i was put on this earth”, his first solo music since 2022, and debut on XL
Recordings.

On “i was put on this earth”, DJ Python - aka Brian Piñeyro - gently forays into uncharted territory as a singer, producer,
and collaborator; an evolution all the more impressive in light of his groundbreaking musical projects to date like Mas
Amble, Angel, and Club Sentimientos Vol 2. While splitting his time between New York and London, Python has teamed
up with a diverse set of collaborators including South London rapper Jawnino, Honduran-born powerhouse Isabella
Lovestory, unclassifiable songwriter Organ Tapes, and NYC mainstay Physical Therapy. Across the five-track EP,
Python shares bold solo songs alongside these intriguing collaborations. The project retains the captivating melodies,
atmospheric textures, and rhythmic innovation that defined Python's earlier recordings while building on and shaping these
signature elements into ambitious and addictive new songs.
The first look at the EP comes in the form of “Besos Robados”. Isabella Lovestory lends an insouciant yet insistent vocal
to this sublime downtempo lovers' reggaeton track that's been a fan-favourite since appearing on Python's epic BBC
Radio 1’s Essential Mix.

On ‘i was put on this earth’, DJ Python says “to whom it may concern…
its too beautiful to embrace change and to challenge urself to find something meaningful in it... i love my friends and
love is deep :') i want them to know that always... but sometimes i get busy and overwhelmed n im not the best at
saying how i feel always... just want to sit around and talk and feel understood together w someone who you like or u
find interesting.. thats the best :) and if the day is nice or if the day is not nice but ur inside and its cozy.. thats too
wicked. and ur making a soup and eating it together... just with the stuff in the kitchen.. dont even go out to get
ingredients.. no need to follow a recipe.. cause ur grandma taught u to cook w the "sazon" (cooking by tasting w as u
go on adding diff ingredients and spices.. no recipes. .. u can only really cook if u can freestyle in the kitchen she said)..
and then u think about how ur grandma taught u that.. and your w someone in the kitchen making something together..
and then u taste it and it warms u up and ur like damn this is fire.. thats what this and i think maybe what "its all"
about... thank u for taking time to read this and i hope you enjoy the album…
kiss u…
Brian”

Exitus Records presents a brand new various artists EP compilation with six of the most exciting names in the techno scene. A strong team that brings the solid vibe together in the 3rd record of the sub-division of the label

MMOTTORR is a new collaborative project between Tr One and New Jackson and the 1st EP marks an exciting fusion of both artists' sounds combined with a fresh take on machine music, blending influences from Chicago and ghetto house, deeper acid textures, techno and use of classic samplers and voice modulation to create 4 dancefloor orientated tracks.

EP 1 features four tracks from the Irish artists that push the boundaries of hardware based production, offering a captivating exploration of sound and influences from both artists.

The lead track U LIKE IT RAW (RED HOT) offers a ghetto house influenced track with a booming low end and persistent bassline containing a dual pitched vocal to devastate dancefloors.

Following that is RED EYE DRIVE a high tempo 4/4 drum machine and tom driven track with hints of hi tech soul and classic acid.

On the B side we have WANNADO - A booming 808 and snare combination contains a powerful yet melodic acid line which ups the heat and energy with a crescendo of sampled sound and fizzing low end.

Finally on a deeper level HEADZ VOL.3 takes it back to a classic "plus 8" and Detroit influenced track with a recurrent wave of sound and synthesis building and weaving towards the end of the record.


The EP will be available on limited vinyl and digital starting exclusively with bandcamp. Thanks for supporting underground music. "

Mouth Music, a Scottish-inspired musical project with core members Martin Swan and Talitha Mackenzie, mixed Gaelic vocals (including the traditional ‘mouth music’ techniques of sung rhythms) with African percussion and dance sounds. The self-titled debut album was originally released on the Triple Earth record label in 1990 on CD and in limited quantities on vinyl. The Gaelic technological music is now more widely available through this Forest Jams re-issue.

Limited, Vinyl Only, Mastered by DJ Steaw, Mixdown by Matt Flores.
Made in Europe

Synaptic Cliffs is committed to discovering unknown and unreleased music in the future, testing it in the past, and selling it in the present. This is the only way to ensure that art is timeless. The recordings on this cassette, however, were purchased in 2073 from a beautiful woman named pdqb at the Marché aux Puces in Paris for only 0.0000000000000000001 Bitcoin, but on the condition that all the material is distributed on one cassette, namely exactly as described hereinafter: The short tracks from the years 1984 to 1989 are on the A-side, and one of these recordings must be supplemented with vocals by Max Müller, the singer of the infamous Berlin band Mutter. On the B-side, there will be a binaural 16.7-tone music composition from the year 2047. Furthermore, all recordings must be mastered by Mike Grinser. Last but not least, only high-quality chrome tape may be used for production. In August 2027, the music magazine Melody Maker, which will be published again from 2026, will write: " ' Vor dem Punkt ist nach dem Punkt' is a surprisingly singular work with a creative force of near-unprecedented degree. It is one of the most beautiful and best-sounding post-punk albums of the last 40 years, and it is certainly the main reason why we are currently experiencing a huge comeback of post-punk, shoegaze, and goth rock."

“… it was dance music, it had lyrics, it had songs, it wasn’t all instrumental, it was basically uptempo soul music, to be exact.”*

This quote from Timmy Regisford already sums up everything you need to know about his remix of Basic Black’s “Don’t Make Me Fall In Love.” Signed to Motown during Regisford’s reign as vice president and A&R, their self-titled debut album from 1990 is a testament to the massive popularity of new jack swing at the time. In his remix, the co-founder, resident DJ, and key figure of Club Shelter reconfigures the song’s structure with the signature sounds of New York’s prime dance floor scene, while preserving the heartfelt storytelling of the lyrics and the group’s voices on top of an irresistible groove and a bassline to die for.
At the time, it was only available in the record crates of the Big Apple’s DJ elite and later on as a white label in specialist shops. This soulful, yet driving piece, however, never saw an official single release—until now. Lifted from a DAT tape in Tony Humphries’ archive and carefully and faithfully restored, it now even features a condensed, never-before-released instrumental version of the remix, as well as a bass-and-beats-only edit for mixing purposes by yours truly. New jack swing transformed into New York club music by a king. This remix is a testament to Timmy Regisford’s prowess in the studio, but also honors the roots of the music he loves and grew up on—serving as a perpetual piece of the city’s vast history in underground dance music.
Gerd Janson

CASABLANCA first started as a party exploring the depths of Arabic grooves from Northern Africa and the Middle East, brought to life by two musical legends...Parisian digger Victor Kiswell, known for his journey through the world’s rarest records and influential NTS radio sets, and Dez Andrés, a Detroit native whose roots in the city's hip-hop and house scene are matched by his love for soul, fun, and jazz. The two artists have stepped into the studio to bring the same energy and ethos from their party to this album.

Since its inception in 2020, Italo Moderni’s energy, spirit and inspiration has been the dancefloor. The darkened bunkers of Belgium, the trembling speakers of Valencia, the warming dawn of Rimini, these influences have been the lifeblood. Solidifying this tireless effort, Mellow Bangers Vol 2 is the label’s most ambitious collection to date.

In celebration of the imprint’s fifth anniversary, four artists gather with every single one united under a rallying cry. From across the globe, machinists have been drawn together to deliver a statement of acid and wave, of electro and synth with flourishes of italo. The shadowy fringes of the floor are well represented, audio artisans like Cyrk serving distorted drums and melodies dripping with menace in the twisted shape of “Double Crash.” The static haze remains with Fragedis’ “Disco Nicotina,” a lancing melody piercing the soaked speakers of this sweaty romp. Label boss, Adrian Marth leads the charge on the flip. “Modernism” is a stripped and playful two-stepper, a two-stepper that Marth beefs into bawdy proportions before balancing the track with crystalline chords. Amongst the litany of talent are musicians who have both inspired Italo Moderni as well as those who have appeared on the label. Antoni Maiovvi fits such a description, the sound sorcerer slicing beats through bittersweet bars in the immersive “Stopping Power.”

Mellow Bangers Vol 2 is a breathless expression of the floor. A contemporary imagining of the racing rhythms and addictive hooks of the 1980s and 1990s. Four works that summarise what Italo Moderni is and will continue to be

Limited to 200 Copies

The debut release from Tensegrity Records brings together five tracks, each capturing a unique mood while staying grounded in the label’s philosophy.

"Tensegrity" introduces the label’s concept with sounds that intertwine to create a subtle yet strong balance. "Érase una vez" blends electro and new wave with a nostalgic touch, while "Meritocracia" shifts gears, offering lush melodies and reflective tones.
On the B-side, "Romi" takes a darker turn, with tribal rhythms and minimal grooves that resonate on the dancefloor. "Structural Stress" closes the release with a raw, personal energy, drawing from a challenging moment to deliver a track that feels direct and real.

Repress! Limited to 100 Copies


Garage Hermétique, returns with a new EP of music from Views, presenting the ‘Kyoto Love’ EP. An alias of Atilla Fidan - producer & live performer, founder of the Berlin label Tape Archive, and also known for releases as Waitress/ASWA - each of the four tracks hits a naturalistic groove driven by vintage Chicago-esque rhythms and warm, acidic tones.

On opening and title-track ‘Kyoto Love’, charming bird song flourishes into a rubbery bassline. ‘Go Well (Part 2)’ embarks on a similar tip, before loosening up into a soaring, somewhat new-age atmosphere, while never sacrificing it’s watertight drums.

On the flip, ‘Kimura’ and ‘Systems (Last Mix)’ move in deeper directions still; The former is a sparkling, detailed cut that rolls out nocturnal dance floor depth, while the latter rounds off the release with transcendent choral breaks.

Legendary Italian label Palmares Records is back with two previously unreleased works from Stefano di Carlo directly from his archive of 90's productions plus two new remixes, one from label boss Alex Neri and the other from Andy Perfetti.....the perfect comeback for Palmares Records.

This is long time overdue. Hugo Danin is one of Porto’s most recognizable drummers with a huge importance in the local scene. Wether it is because of the many projects he lends his skills to or the work he has developed with the Porto Drum Show this record has been on our calendar almost ever since we started this journey as Jazzego. At the time Hugo was drumming for the Minus & MRDolly live show and we had this idea of re-releasing his record from (at the time) 10 years ago as kick starting point for new path of his as drummer within the jazz scene. This kind of makes this record an one off in our catalogue as re-issues and re-releases are not really our thing and we are always on the lookout for something new. However we felt from the get go that this would be a good fit in our roadmap and decided to do this straight away and in order to bring some of this “new flavor” that is so dear to us we decided to bring Azar Azar and Divorce From New York with Piek on board to remix two of the tracks and make them available on this Gatefold Vinyl edition.

Here for the year 2025 the new EP Voume 3 by producers Marco Fratty, Marco Flash, Alex Time.
Following the footprints of the previous volumes 1 and 2, this album also retraces Afro - Funk - Electronic Music sounds.
the production was taken care of in the sound by Marco Fratty (FPI Project).

2025 Repress

Searchlight Moonbeam is the new narrative compilation from Time Is Away (Jack Rollo and Elaine Tierney) whose eponymous monthly NTS Radio shows, tinctured fusions of fugitive sounds and reverie-inducing archival speech, have won them an ardent following. It follows from the London-based duo’s Ballads, a remarkable driftwerk released on A Colourful Storm in 2022.


Searchlight Moonbeam is an autumnal dreamscape, intimate and vespertine, pensive and irresolute. An imagined community where differences drop off and resonances emerge – between Maher Shalal Hash Baz affiliates Kasumi Trio, Taiwanese score composer Chen Ming Chang whose ‘Rainwater’ (written for Hou Hsiao-Hsien’s 1986 film Dust In The Wind) is exquisitely heartbroken, and the plangent improvisations of self-taught French pianist Delphine Dora.


Revelations are frequent: the bedsit isolationism of Bo Harwood and John Cassavetes’ ‘No One Around to Hear It’ (from The Killing of a Chinese Bookie); the narked minimalism of Klang (an early 2000s band formed by ex-Elastica guitarist and featuring prize-winning experimental novelist Isabel Waidner on bass); the etude-grooves and echoic wobble of below-the-radar French avant-gardists Omertà ; the beautiful, plaintively dubby ‘Is It You?’ by Slapp Happy; a psych-tinged reimagining of PiL’s ‘Poptones’ by Simon Fisher Turner (one half of Deux Filles, and here, recording for él as The King of Luxembourg) that's as perverse as the cover of Throbbing Gristle’s 20 Jazz Funk Greats.


Searchlight Moonbeam is the musical analog of an Italo Calvino novel or a medieval fable. Associative, intuitive, borderless. Emotional and mysterious. Endowed with the tactility of Braille. A private language that is both unknowable and understood. It is a record of the seasons, for the seasons.

2023 marks the tenth anniversary of Time Is Away’s first broadcast. Featuring an evocative essay by writer Jeremy Atherton Lin and disarming cover art by Penny Davenport, Searchlight Moonbeam showcases Rollo and Tierney’s still-unrivalled talent for gloaming melodies, disques du crépuscule, ensorcelled storytelling.

15 Years Of Dame-Music Vol.1 is an ode to the unmistakable sound of the TB-303, a core element of Bloody Mary’s widely respected sound and label. Above all, it celebrates fifteen years of quality dance music, set to continue across its three excellently curated volumes in 2025.
The first volume, releasing 28th March 2025, features a track from Bloody Mary and welcomes back Thomas P. Heckmann, E-Bony, and Hardfloor to the imprint.
15 Years Of Dame-Music Vol. 1 with label regular Thomas P. Heckmann’s ‘Days Of Buzz’ electrifying the dancefloor with waves of mind-melting acid over a resolute beat.
Label head Bloody Mary then drops ‘Fractal Waves’, playful, 303-licked, and comfortably switching between straight 4/4 and raw, crunched-up breaks; this is a raveready cut showing Mary at her best.
On the flip, artist E-Bony returns to Dame-Music after closing the label’s 2024 schedule with the ‘Machine Code’ EP. His ‘303 Elements’ builds from a low-slung groove to an intense climax as acid drips, oozes and rains over crisp drums while hoover sounds create an otherworldly atmosphere at its peak. Closing out the first volume is 90s Acid Techno duo Hardfloor with ‘I’ll Never Own A Helicopter’, providing a hands-in-the-air club track to work the dancefloor into a frenzy.
Mastered by Thomas P. Heckmann
Artwork by Philip Mercieca
(c) Dame-Music 2025, all right reserved

The second vinyl release from Exxtra Beats Records delivers a dynamic 4-track EP showcasing the label's commitment to cutting-edge electronic house music. Featuring a diverse lineup of artists, this Various Artists release explores a range of styles, from driving electro to raw acid, making it a must-have for dancefloors and collectors alike. A bold statement of the label's evolving sound.

Unspecified Enemies, the project led by Louis Digital (Numbers, Counterattack, Arcola) present their debut album Romance in the Age of Adaptive Feedback.

Written and produced by Louis Digital, the album incorporates fragments of music data generated by long-time collaborator CiM (Ann Aimee, Delsin). Describing the title track, Louis Digital states:

“It’s the microelectronic sound of a city playing strange light games with itself, evoking bitcrushed desires and floating images, an urban phantasy stored on the broken circuits of an Ensoniq ASR-10.”

The origins of Romance in the Age of Adaptive Feedback trace back to 2006, when Louis Digital launched Diamond Sea, a series of events at London’s ICA that introduced the Unspecified Enemies project and a label called City of Quartz. The vision was to merge the hi-tech electronic textures of contemporary R&B with the sampling and sequencing techniques of pioneers like Anthony Shakir and Soundhack. However, the music was lost in time, and City of Quartz never released a single record.

Yet, the story took an unexpected turn. At one of these events, Spencer from Numbers received a CD containing early recordings. Years later, Numbers encouraged Louis Digital to reconstruct the lost music for an album. The result is a work resurrected from the past and reimagined for the future—retrieved in fragments from a broken Iomega Jazz SCSI Drive.

Expanding on the album’s themes, Louis Digital reflects:

“By the late ’90s the cinematic image of Los Angeles and the sound of Detroit techno had crystallised a new style of living in time and space. In 1997 Mike Davis — the political activist, urbanist, writer and historian of Los Angeles — suggested that it all had “something to do with a microelectronic aesthetic of very transient and decaying states”. It was a romantic vision — one where the city’s glass surfaces reflected a musical desire for futurity not yet dominated by data-driven corporate life. These were strange days to live through. This album evokes the embers of this fibre-optic moment, when urban revolution in an age of digital reification still felt possible.”

The album features full sleeve artwork and a poster designed by Ben Drury. In support of the release, an NTS show titled Romance and Reification will explore the cinematic and electronic music influences behind the album.

Dexstar is a new label from Sortek (UK), its a vinyl first label with the first release containing 3 hard/acid techno tracks and 3 lock groves.
The maiden release features Sortek alongside Acid techno legend's Chris Liberator, Guy McAffer and SamDFL, this record is destined to rock the dance floor.

Side A’s “Intergalactic Love Song” by the Diddys & featuring Paige Douglas is a vocal version of the Charles Earland's instrumental classic (who also produced the track) & is a disco-tinge jazz-funk groover that you will want in your bag. It glides across the dancefllor with a breezy ease & pulls you in.

B. side
On the flip, we have“Searching The Circle” by Barbara & Ernie from the classic psyche-folk soul album “Prelude To …” (Ctollion - SD 9044), produced by Joel Thorn. It’s a wonderfully weird little record that has a sound that's unlike anything else I can think of.

This trippy early-70s folk-jazz-soul nugget featured here from guitarist Ernie Calabria & singer/keyboardist Barbara Massey (back-up for Cat Stevens, amongst others). Arrangements are by the pair, but Deodato also had a hand in the record too along w/ Grady Tate on drums, Ralph McDonald on percussion, & Sam Brown on guitar.

It holds a righteous groove undercurrent that recalls Richard Evans or Charles Stepney. Massey’s vocals have a flanged-out quality that's clearly overdubbed, creating a double-voiced sound that's almost a bit like Brasil 66! Completely

Prepare to delve deeper into the sonic universe of the «Force Bleu» with the second installment of this EP series on Prince's Castle Records. 

Building upon the foundation laid by its predecessor, this EP continues to explore the realms of serious groove, delivering electrifying rhythms and captivating basslines that will keep you entranced from start to finish.

Get ready to elevate your musical experience as we embark on the next phase of this exhilarating journey.

Forgotten Paradise is a new vinyl series from Western Lore, focussed on exploring the full breakbeat hardcore &
Jungle Tekno tempo range through a collection of 12” singles & EPs

After an under the radar, vinyl only bootleg 12” kicked off the series in 2024 (and flew out so rapidly on Bandcamp, none of the ltd run of copies made it to retail), FP2 sees Dead Man’s Chest & Thugwidow roll out two gully slices of 140bpm(ish) hardcore heaven, with a naughty 160 jungle edit thrown in for measure.

Breaks, vocals, bleeps, pads, pianos, mentasms and a hefty measure of bass, all thrown in the mix and weaved together in Dead Man’s Chest & Thugwidow’s signature waved out styles.

Laurin Rinder & W. Michael Lewis's Seven Deadly Sins is a hugely influential, synth-powered, atmospheric space-disco masterpiece. It's arguably the best American Disco LP ever made. It's certainly one of the most important albums in the history of dance music. And, like its innovative producers, it's absolute genius.

During the mid to late seventies the production team of Laurin Rinder and W. Michael Lewis helped to define the Disco sound that was coming out of Los Angeles with studio projects such as El Coco, Saint Tropez, Le Pamplemousse (with vocals from The Jones Girls), In Search Of Orchestra and many others.

Like all of their work, Seven Deadly Sins comprises beautifully arranged and incredibly well produced deep disco that is revered by aficionados. A seven track, largely instrumental concept album covering each of the sins, it was recorded for AVI in 1977. It's a brilliantly conceived, groove-fuelled album that layers moogy keys and druggy synths over club-ready rhythms. The idea that this record is celebrating rather than condemning the sins is said to be another factor that made the record a big one in the underground clubs.

Opening sin “Lust” is an intense, swelling, seven minute blockbuster synth journey. An ethereal Loft/Garage classic, it's a sprawling, brooding slice of epic dancefloor dynamite that remains a firm favourite of discerning disco heads like Harvey. So ahead of its time, it still sounds ridiculously fresh today, drifting through a multitude of melodies over a smooth, lightly percussive mid-tempo beat. A slow-mo sexy killer.

Up next, the sprightly-manic “Sloth” is nothing like its title. A driving, swaggering instrumental incorporating the same Euro-disco elements as our Daft Parisian friends did a few decades on, it's certainly not for the faint-hearted.

A clear highlight, the cosmic, throbbing proto-techno of “Gluttony” gets things firmly back on track. Pure industrial vibes with dark synth bass punctuated by uplifting melodic sequences that brilliantly utilise guitar and horns, is this the sound of Wax! Trax being born? You won't be able to get enough of this.

Opening up the B-Side, “Pride” is a breezy slice of classic late seventies jazz/funk with deft Hammond and clavinet grooves and expansive horn sections. It's absolutely fantastic. The wicked leftfield vocal cut “Envy” provides more disco pump with squelchy acid synth flourishes, funky guitar and neck-snapping percussive breaks.

The dark proto-techno/house cut “Anger” is a fully on top tour de force of drums. With heavy African percussion throughout and a short Afrobeat section towards the end, it was sampled by Carl Craig and Laurent Garnier for their Tres Demented project and was also a massive Ron Hardy / Music Box favourite. The album is rounded out by the hard-grooving “Covetousness”, another driving jazz-funk workout par excellence with liberal use of the syndrum.

As Laurin Rinder recalled in an interview with Dream Chimney, the duo essentially lived in the studio: “we really had cots, beds and the whole thing, we were just pumpin’ them out. 7 days a week, 3 different projects at the same time. I played drums on everything but had to play a little differently. I had to ask the engineer ‘What’s the name of this group?‘”.

Evidently, their prolific output was the result of a crazy cocaine-fuelled production schedule: “The amount of coke we did, to do all this, you can’t even imagine. $300 a day. I had to have plastic inserts in my nose so I could do more.” Looking at the frankly terrifying cover, you'd have never known!

Be With is beyond delighted to present the first ever legit vinyl reissue of Seven Deadly Sins, carefully remastered by Be With's engineer Simon Francisco to ensure it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The unforgettable cover artwork has been reproduced here at Be With - dare you stare back at it for too long?

After a highly acclaimed first volume featuring pioneers of the new Euro-Jazz movement such as ECHT!, Lander & Adriaan, Triorität, Ishkero, La Récré amongst others, we are proud to present the second volume of Groove Dingueries, our compilation series aiming to shine a light on the new hybrid and constantly evolving sound of jazz and groove. This time, we’ve expanded research further into western Europe with new bands and solo acts such as Divorce From New York, Louis Fontaine, Bombataz, Namas, Opek and many others. This selection of outsider grooves infused with rock, soul, electronica, hip-hop, dub, library and world music will please any groove head looking for something fresh and new.

For this 4th release, Bazdesur records welcomes nothing less than its founder, Basile de Suresnes with the EP “Hush Money”, his really first appearance on the label. A collaborative work with the artist The Social Fugazi who was noticed a few months earlier on Frappé records. The two producers deliver a work that is surprising to say the least, as it contrasts with the universe that we knew from them. Here, no glitter or disco ball, no groovy bass line, but a sound made of machines, samples and broken rhythms. We find UK inspirations, Electronica, and a touch of house. A raw coloring totally assumed by the artists and enriched with their French “touch”. We like that. This EP reminds us of the richness and diversity of electronic music, and how good it is to mix styles! Bazdesur records promotes electronic music in the broad sense.

Written and recorded in singer-poet Karsyn Henderson, guitarist-banjoist Paul Lecours and percussionist Ryley Klima’s basement alongside bassist Chris Clegg, then mixed and mastered by longtime collaborator Noah Baxter, this self-produced introductory effort from the Montréal four-piece stylishly amalgamates elements from hardcore, punk, shoegaze, sludge, and folk.

Violence is a brazenly poetic homage to small town roots, a mashing of modern Western Canadian hardcore and folk. Extensive in scope, this debut full-length by Truck Violence takes the listener through wide-ranging dynamics, from solemn acoustic ballads to wrathful electric anthems. Deftly fractured rhythms and breakdowns, complex harmonic entanglements, emphatic screams of discontent, are met with hopeful, melodic tracks musing about the steady grip of a tight-knit community.

From somber, deceivingly happy banjo sequences to crashing noise and cries, Violence uses expression as a mirror, looking upon oneself with clarity, aiming to attain a sense of unadulterated truth of the matter. There is little modern music taking an honest look at the Western Canadian countryside, tackling themes such as addiction, abuse and dysfunction.

Truck Violence’s first album does just that, uniquely capturing this involuted setting through a wide lens to both contextualize and emphasize what it means to be overwhelmed, to feel shame, to struggle with self-destructive ways, to thrust oneself into art as an escape.

Perc Trax is proud to unleash the second EP of remixes of tracks from Perc's Resident Advisor recommended album 'The Cut Off'. Following on from EP1 this collection of remixes again covers a range of sounds from cutting edge Parisian deep techno to the sound of the UK underground scene.

Opening up the EP is Mac Declos, a breakout star of the Paris techno scene and a key member of Anetha's Mama Told Ya crew. Mac takes 'Full Goblin', one of the more uncompromising tracks on 'The Cut Off' and transforms it into a slice of grinding stripped back techno, recalling the glory days of Daniel Bell's DBX project.

Next up Sweden's Peder Mannerfelt, who has a long association with Perc & Perc Trax, remixes album standout track 'Static' which features his regular collaborator Sissel Wincent. Peder's version of 'Static' recalls classic Detroit electro with the addition of gliding harp runs providing a glistening counterpoint to the jabbing drums and Sissel's deadpan vocal delivery.

On the B-side Perc Trax new boy Million follows up his recent 'Six Ways To Die' EP taking hold of 'UK Style', originally one of the 'The Cut Off's more abstract tracks, energising it into a driving techno / jungle hybrid with just a sprinkling of classic UK rave to raise a smile on the face of the most exhausted raver.

Finally UK underground legend Boy Pete drags 'Imperial Leather' to the nearest free party, dirtying up Perc's epic original delivering a remix that will keep any 4am dance floor bubbling with energy. The relentless energy that Pete's productions are known for is all over this remix as it continuously powers forward.

Black Music has always been the main source of inspiration for contemporary music and for the IRMA records label, which turns 37
this year, it is a fundamental part of its musical vision.
In the 80s with the birth of the term Acid Jazz this international scene began to emerge that fished out the Soul Jazz Funk sounds of the
70s and which to this day is a scene alive and well that continuously generates new artists. IRMA records is recognized as one of the
labels that has published several of these artists since the 90s starting with Jestofunk, Bossa Nostra, Gazzara, Man Sueto and many
others.
With this compilation entitled ‘Mondo Groove’ it wanted to highlight the very varied Italian scene today that inevitably undergoes the influences of Dancefloor but also those of Afrobeat, Fusion and World Music.
On the cover one of the artists included in the selection: Alixia Mistral.

The first TOPSECRET drop caused quite a stir, and we expect no less with the second in this electrifying series. 10 inches of secrets from an unknown Berliner, guaranteed to grab some dancefloor attention…

EBY is an acid house artist who has more than made his mark over the years. 40 years, to be exact, and to mark that rather notable occasion he is back with a special release on Foxbam Inc called ACID Thing and it comes in various different formats. This is a grey vinyl version that celebrates the classic acid sound while infusing it with a modern twist and plenty of big basslines, squelchy synths, and potent rhythms. The standout 'Acidanus' includes MC Soph who made her debut on Acid Indigestion Pt4 at just eight years old and now returns at 25. The EP also features a remix of 'Eggtrip' by renowned Belgian producer Outlander who you will likely remember from his iconic cut 'Vamp.'

Sub Basics is back on his own fledgling label Temple of Sound - but under a new alias. As Tommy Basics he leads into a fresh house sound but still serves it up with plenty of his textbook bass-heavy low ends. 'Latitude' is a bubbly groover with dusty drums and fleshy basslines that get you moving and warmed up. 'Longitude' is even deeper, with smeared dub chords and woody percussive hits peppering the laid-back and inviting groove. Two stylish sounds from this versatile producer.

Good friends and Record Mission co-captains, Dan Tyler (one half of the Idjut Boys) and Nick The Record, take the reins for the third volume of the Mr Bongo Edits 12" series. With previous editions coming courtesy of Danny Krivit and Luke Una, Dan and Nick set their sights on a hand-picked selection of iconic ‘70s Cuban recordings for this three-track cosmic whirlwind. Across the A side, Dan picks out two Juan Pablo Torres tracks, with Nick taking on Grupo Los Yoyi on the B. Tweaking, extending and reworking the recordings with a dose of extra magic they remould the tracks to fit the sounds and structure of today’s dancefloors.

Having formed the Idjut Boys in the early ‘90s, Dan and Conrad McDonnell have crafted a dubbed-out, disco-tinged style that permeates their countless productions, remixes and DJ sets. Speaking of the two tracks Dan has chosen to rework for this EP he mentions, “Having been caught under an avalanche of good music from Mr Bongo, I took it upon myself to extend and add effects to a couple of the fantastic tracks from the Juan Pablo Torres LPs they recently re-issued. Just for disco jockey and barn dance use.”

First, Dan looks to Cuban maestro Juan Pablo Torres’ 1978 album 'Algo Nuevo', taking one of the standout tracks ‘Cacao’ and giving it more space to breathe. Teasing out the scatting vocal line and percussive climax that nods to George Kranz's ’83 electronic disco anthem 'Din Daa Daa', whilst adding more cosmic tripped-out synths and space echoed dubs, Dan builds the tension to fine effect. This track sounds immense on a big club system and the swirling synths felt like they were lifting the ceiling off when we played it at the amazing La Paloma ballroom in Barcelona.

Dan then turns his attention to Torres’ 1977 'Super Son' album, giving the psych-Latin-funk track 'Pastel En Descarga' a dub makeover. Rich in delay and drama, whilst maintaining and extending the breakers funk intro, he juices it up into a punchy, no-nonsense, cosmic-funk delight.

On the B side, Tangent co-founder, long-standing Life Force resident and seasoned rework master, Nick The Record, revisits an edit that he originally constructed in 2009. Clocking in at over double the length of the original cut, Nick’s edit of Grupo Los Yoyi’s 1977 cut 'Paco La Calle', is made with dancers firmly in mind. This secret weapon builds and simmers, with the drums and percussion pushing and pulling before the psychedelic synth lines return in a sweltering fashion. In this new 2025 version, Dan is drafted in to work some brilliant new synth lines into the mix.

Tom Carruthers is back with his debut drop on Syncrophone Prod, bringing straight fire with raw vibes and slick beats. “No Frequency" hits hard with four bangers that blend old-school flavors with a fresh twist. A must-grab for vinyl head



Feedbacks:


Laurent Garnier : Old school vibes. Another super cool release by Tom Carruthers. Will play
Uncertain (RSPX, WRKTRX, Suara) : good ol dayz!
Truncate : Dope!
nd_baumecker (Ostgut Ton) : Synchrophone once more show that they are absolutely not stoppable at the moment. Their output is crazily good for a long period of time now. I like. Thanks!
Erol Alkan (Phantasy Sound) : Downloading thanks!
The Advent : Nice OG Sounding, Reminds me of origins or TECH - YES..
Richie Hawtin (M_Nus) : downloaded for r hawtin
DVS1 : Thanks!!

The fifth album from H. Hawkline (Huw Evans), ‘Milk For
Flowers’, is released via Heavenly Recordings.
Following the 2017 album, ‘I Romanticize’, and 2015’s ‘In
The Pink of Condition’, the album was produced and
features musical contributions from long-time collaborator
and celebrated solo artist Cate Le Bon. Artwork is
designed by H. Hawkline.
Recorded at Rockfield Studios in Monmouthshire, the
album features a host of musical collaborators - Davey
Newington (Boy Azooga) on drums, Paul Jones (Group
Listening) on piano, Tim Presley (White Fence, DRINKS,
The Fall) on guitar, Stephen Black (Sweet Baboo) and
Euan Hinshelwood (Younghusband, Cate Le Bon) on sax,
Harry Bohay (Aldous Harding) on pedal steel and John
Parish (PJ Harvey, Aldous Harding) on infrequent bongo.
The record was then engineered by Joe Jones (Aldous
Harding, Parquet Courts) and mixed, after an unlikely and
fortuitous crossing of paths, by the Grammy-nominated
Patrik Berger (Charli XCX, Robyn, Lana Del Rey), and
mastered by Heba Kadry (Deerhunter, Cass McCombs,
Cate Le Bon).
‘Milk For Flowers’ is at once visceral and enlightened, its
soundscapes verdant yet delicately rendered, and with this
latest, most intimate work, H. Hawkline bares his blood,
bones and soul beautifully. And quietly, along with the
entrails and rubble held in ‘Milk For Flowers’’ reliquary,
there hides a small, green kernel of life; hope, perhaps,
that today’s decay might nourish tomorrow’s blooms.
Available on CD and LP with rigid ‘tip-on’ sleeve with antiscratch matt lamination and digital download code.

(marble organe, black coloured vinyl) This ep contains 5 dancefloor fillers, produced by Belgians finest; Dj Ghost, Jamie Dill, Jan Vervloet, Danny Corten & Bestien. From techno to hard trance, all productions are made with an old school twist, the signature from the new label Don Ghost Records.

Khen has landed on All Day I Dream with his new My Pure Soul EP, a sentimental three-track collection that marks his first release on the beloved electronic label.

Written in dedication to his father, My Pure Soul explores themes of introspection and transcendence, blending organic percussion with lush synth work to create an emotive sonic journey. Offering a robust medley of dynamic rhythms and mesmerizing melodies, Khen’s hypnotic house grooves envelop listeners as the EP progresses from the titular track through its accompaniments ‘Lyup’ and ‘Uchi Mata’. A wondrous debut from Khen, My Pure Soul embodies the entrancing soundscapes synonymous with the label’s curation for more than a decade.

Eardmann is a true trailblazer—a traveler in search of ever-new paths, both metaphorically and literally. On his field studies between Jeju Island and Lake Titisee, he accidentally landed his first release on the New Work and Corporate Well-Being label Way to France.

Spanning the space between House and Italo Disco, the debut of this Renaissance personality unfolds. Additional features come from Jiin Yoon (M1) and Brauer & Stein (B1). As the cherry on top, hip-hop legend Hulk Hodn delivers a hard-hitting techno remix under his new alias Rüdiger (B2).

Reissue of this hitsingle from 2000.

CLUB U NITE RECORDS presents: Deep Trax Volume 3

Deep, groovy, and straight from the soul!


Purple Kush - It's a Feelin' kicks things off with a hypnotic shuffle beat and sizzling hi-hats. Deep house at its dopest!
DMA - Feel Da Rythm brings smooth, soulful female vocals over classic 90s house vibes. Pure!
Mellow Man - Touch The Sky lays down jazzy Rhodes chords on a laid-back deep groove. Minimal, yet oh so effective.

Flip it over ...


Manhattan Project - Get It Right revives that early 90s Italian house magic - melodic, timeless, beautiful.
Mellow Man - Dive Into The Deep closes the 5 Track-EP with a deep house gem that pulls you under like an ocean of pure sound.

Get ready to dive deep and touch the sky!

Sebastian Sandmann, from Elsteraue in Germany, has been DJing and producing since 1999, honing his skills in clubs and gigs such as the ‘Endstation’ event series in the Leipzig Distillery which resulted in him being picked up by the renowned Leveltrauma booking agency where his obvious talent flourished leading to residencies at the Sky Club, Leipzig and the Tube Club, Merseburg. Sebastian’s music repertoire covers many genres inc. multiple forms of techno, house, hardcore and DnB which has culminated in releases on some insane German labels including “Rage & Error”, “Leveltrauma” and “PsychoDevils Records”.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in
Scotland, we’re getting more extreme than we’ve ever been before with an absolute ‘Onslaught’ of speaker
punishment grade screaming techno. This is Sebastian Sandmann’s first ever solo vinyl release and it‘s utterly lethal. Featuring four aggressive crushin’ tracks to get all them imprisoned clubbers marching
to its accelerated beat. This aint dance music, this is stomp music, and you best not pound on down in front of
anyone when it’s spinning or you’re gonna get trampled on, mark our RIOTous words.

The full digital release also features one bonus brain mashin’ track so you can dive even deeper into your own infernal techno psyche.

WARNING: ONCE THE RIOT SENTINEL APPEARS YOU MUST OBEY ……………. OR ELSE

Credits:

Written by Sebastian Sandmann
Mastered by Joe Farr
Artwork by Nomad

Luc Ringeisen's very first album release, featuring surround sound experimentations converted to fit vinyl's stereo. Page Blanche covers different moods from beatless moody sound design to peak time dance floor burners.

The multi-talented global traveller Shawn Lee starts the new year 2025 with "Lost", the first album by Shawn Lee's GPS Band. The story behind the album is best told by the artist himself: "Inspiration can come from the most unlikely places. In this case…Italy. While on tour there in 2024, I found that I never knew where I was or where I was going. For that matter, I affectionately dubbed it 'The Lost in Italy Tour'!"

Shawn Lee continues: "While listening to music in the car barreling down the open road, GPS voice directions kept barking instructions over the tunes. Suddenly, the full musical concept of the 'Lost' album smacked me right between my ears. Instrumental tracks equipped with GPS voices on top robotically guiding me to my various destinations. Sometimes it was a venue like the Parasdiso in Amsterdam. or record label like Légére in Hamburg - and for goodness' sake, even a pizza restaurant in Italy! The possibilities were infinite.

"I lovingly explored the sounds of the late 70s & early 80s delicious brew of Post-Punk, Post-Disco, Krautrock, Punk-Funk, old school HipHop and No Wave. Armed with a P bass,Madcat Telecaster, a handful of synths and a few choice effects, the album was both a minimal and focused affair. Sometimes less is more… The world on the other hand, is way more than less and a very big place to get 'Lost'. So this is just the beginning of a long journey and with my GPS Band, I will always arrive at my destination."

Newskool Tribe/tekno from Wallyens.
Creative and sweet sounds, dancefloor, thin and class.

A side brings a long tekno tunes, 147 BPM, and the flip 2 majestuous freetek at 157 BPM.
All three got a solid story telling and emotion as well powerfull dancefloor effect !

ENJOY !

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

For their third release Ethos Records invites DimDJ. The well-established Greek artist digs deeper,
matching the label’s previous releases, delivering an unfiltered & raw sounding EP.
This will be sent to the record shops.
The release will be a limited pressing with each record featuring a hand stamped number on the label. Ethos Records is a vinyl only record label based in Athens, GR. It’s aim is to present music from carefully curated artists that are consistent & true to their sound regardless the current trends or hype.

Refreshing, Supreme Soul from Rising Japanese Artists

A stunning collaboration between Japan's up-and-coming producer 01sail, from the creative collective/label w.a.u, and Tokyo-based singer-songwriter/guitarist toya—now available on a 7-inch release!

Blending 01sail's signature deep grooves and soulful melodies with toya's expressive, husky vocals, this track delivers a rich, nostalgic soul experience. Originally released digitally in 2023, it marks 01sail's third single and the first solo project from toya, frontman of iihatov.

With doo-wop-inspired harmonies, lush guitar work, and a timeless warmth, this song effortlessly channels the raw, earthy charm and sweet elegance of classic soul. A must-have for any collector!

Remastered and recut 2024
LTD 300 repress !

Super new hardtek from 2005/2006 ! Killer from original Okupe crew.

Dancefloor and progressive on the B side, the A side provides a solid acid groove you might enjoy.

Dancefloor !

Techno legend Cari Lekebusch debuts on Mind Medizin with an 8-track double pack of underground Techno.

Stockholm-based sound architect Cari Lekebusch has helped to shape the sound of the underground over the last two-plus decades. He has long been at the heart of his native scene alongside peers such as Adam Beyer and Joel Mull and heads up his own H. Productions label while also serving up his timeless sounds on cultured outlets such as Drumcode and Planet Rhythm.

Opener 'Mind and Matter' opens with quick, compelling drum programming and trippy synth details peeling off thebeats. Muttered vocals bring a dark intensity as the percussion also adds layers of tension. The fantastic 'Freakout' isanother classically inclined and linear techno banger with thudding kicks and futuristic synth lines weaving in and outof the beats. There is no let-up in the pressure with the excellent 'Ninguno es Uno' keeping it deep, driving and late night, this time with squelchy acid lines adding character. 'Heritage' shuts down with a hypnotic blend of shimmering
cosmic synth lines and pulsing deep techno drums that keep the mind and body fully locked in.

This second half kicks off with 'Cause and Effect', a bustling blend of scuffed-up kicks and snares, glitchy hits and jangling synth sounds that bring great looseness to the driving grooves. The funky 'Handkante' delivers flailing percussive patterns and wisps of synths that spit out of the mix next to a drunken synth lead. 'Strulgubbe' keeps the pressure on with more muscular drums, this time underpinned by darker bass and unsettling synth twangs. The fantastic closer 'Tuli Taivaalla' offers up a serene sound that is backed with sustained chords and marbled with edgy vocals.

As Hudd Traxx approach their 15th anniversary year, Iron Curtis steps up for a mini album split in 2 parts. As a long-time label collaborator and friend, it’s no surprise that Curtis delivers his 5th and 6th EP for the label. Total Art Of Living contains straight up house jams, hints of techno, nods to broken beat, references to Detroit and a few interludes for good measure. These new cuts are further proof that Iron Curtis music has always celebrated the deepest foundations of house and all its varieties, whilst resolutely refusing to get nostalgic. Curtis’ previous 4 Hudd EPs have gone on to be classics, Total Art Of Living has all the ingredients to become a future classic too.

DAYBREAKERS, a new London based label focusing on the deepest of deep house, from classics to rarities, dubs, hits & b sides.First up for the label is a focus on Jeffrey Collins’ Music Station label from Englewood, New Jersey. Music Station was a staple on dancefloors across the USA in the 90s. This EP selects four of the best from the label.The A Side has Mixes of Elaine Monk’s - Something For Nothing, mixes so good we had to include them both. On the Flip, the Club Dub of Cherie Lee’s 'Love Me Or Leave Me' will keep the dancefloor rolling, and then B2 is the Smack Rain Vibe Mix of Gerideau’s 'Take A Stand', a deeper than deep anthem perfect for any discerning red lit basement full of dancers.Don't miss out, buy or cry.

In this edition we welcome back Samuel Padden and XOTR, and also see first collaboration release on tone dropout from label head honcho Sween and good friend Alphonse , and of course save the best to last a absolute banger from firm dropout fave Kostas G.

That side kicks off with a melodic uplifting breakbeat smasher called Downfall(epic mix), from Sween and Alphonse , lots of stabs and synths and pianos a real gradual classic, then we welcome XOTR- with Oddessey , an absolute stonker of a warehouse banger , real big deep sounds with a real old warehouse and trance feel, sounds great on the dance floor , this side starts with Samuel padden and a great four four bleep bass track called teslas still alive, then finally kostas G tears it up with an absolute breakbeat classic , beats bass and bleeps all make a dance floor filler and round off this quality selection of dance floor trax from the tone dropout crew .

Mr Bongo proudly presents an official reissue of an iconic, exploratory album by Indian maestro of the sitar, Ananda Shankar, aptly titled 'Ananda Shankar And His Music'.

Released on His Master's Voice in 1976, the album is a sublime collage of sitar-funk, traditional Indian classical music and psychedelic grooves, from the Indian sitarist, composer and musician. Nephew to India’s legendary sitar virtuoso Ravi Shankar, Ananda’s musical family and upbringing led to a deep respect and love of the wealth of music that emanated from his birthplace. His travels to the west coast of America in the late ‘60s though, saw Shankar immersed in the full swing of psychedelic rock. The collision of these two musical worlds with a whole range of other Eastern and Western influences on 'Ananda Shankar And His Music', is a truly entrancing combination.

First big in the UK in the mid-‘90s jazz/rare groove club scene, when it was unearthed by adventurous DJs and crate diggers, the sensational Indian-funk tracks 'Streets Of Calcutta' and 'Dancing Drums' became firm dancefloor favourites. The mixture of drum-heavy funk with Indian music and psychedelia is the perfect melting pot. Flavourful and balanced, it still feels fresh and exciting 40 years on.

Like a fine wine, this album keeps getting better with age and once-overlooked tracks are now seen in a new light. Aside from the main 'club' cuts that many have praised and loved, 'The River' is a part blissed-out, Balearic gem, part cosmic wild west soundtrack, that would provide the perfect complement to any sunset session. Elsewhere, 'Dawn' is a spiritual and meditative journey into Indian classical music, with ‘Cyrus’ floating you away to heavenly heights. On a different tip, 'Back Home' fuses styles and themes via an organ and Moog-infused, tripped-out excursion, whilst 'Renunciation' hits with a psych-rock sentiment to its sitar-soaked grooves.

A beautiful time capsule of Eastern culture meets Western influence, where experimentation and intrigue produced a fusion of sounds that still sound as vibrant and alluring as they have ever been.

QUEENDOM is an album that marks a new era for the project while staying true to the essence of Minuit Machine. Produced under the SYNTH RELIGION label, this opus immerses us in Amandine's introspective realm, oscillating between darkness and light, between doubt and self-conquest. While retaining the emotional DNA of previous productions, QUEENDOM stands out with a more pop-oriented touch, featuring tracks where Amandine sings in French for the first time.

The first single, "HOLD ME," is a powerful pop anthem addressed to the queer community, celebrating the freedom to be oneself and breaking free from societal and patriarchal norms. This track is a true empowerment statement, with striking electro beats supporting a strong message of emancipation and pride.

"Créatures," a collaboration between RAUMM and Minuit Machine, is a modern fairy tale—a timeless love story that could take place in any era. This salvific love, rarely seen today, embodies a poignant depth and beauty.

Continuing the journey, "Cent Fois"—a French-written track—takes us into a techno-pop universe with nostalgic yet hopeful undertones. This song perfectly reflects Minuit Machine's evolution toward a more radiant approach while staying faithful to its dark heritage.

"Party People," on the other hand, is a return to roots with dark wave/italo sounds. This hypnotic and haunting track questions identity in an increasingly robotic society, where individuals are forced to conform to imposed norms. This exploration of the individual versus the collective lies at the core of Minuit Machine's DNA.

"Mes Souvenirs," created in collaboration with Rebeka Warrior, dives intimately into the memories of Amandine and Rebeka. Together, they reveal fragments of their past—precious and vibrant memories that resonate through powerful and melancholic electro sounds.

Finally, the eponymous track "Queendom" invites us to plunge into the depths of Amandine's world—a universe that is both tormented and icy, yet resilient. Supported by a slow and captivating rhythm, this track is designed to grip and haunt the listener, like an incantation.

QUEENDOM is a bold and hybrid work where each track reflects a pursuit of sincerity and artistic reinvention while maintaining the ability to express emotions through rhythms that are both danceable and introspective. The album showcases Minuit Machine's artistic maturity, establishing itself as a must-listen in the darkwave and electronic pop scene.

Amandine entrusted the artistic direction of this album to Manon Dupeyrat, a brilliant young artist who crafted a bespoke universe perfectly aligned with the produced tracks. The album cover, both intimate and anachronistic, invites listeners into Amandine's private world through her bedroom, revealing what she wishes to share.

Joel “Pibo” Márquez is a renowned Venezuelan percussionist, who specializes in salsa and Latin jazz. He has been part of projects of artists such as Chico Free-man, Arturo Sandoval, David Valentin, Dominic Miller, Cheick Tidiani Seck, Juanes, Alfredo De La Fe, Guayacán Orquesta and Aterciopelados. 5to Aniversario

This album draws inspiration from the sounds of 1970s New York salsa and en- gages with the contemporary language of Colombian salsa. Featuring a four-trombone arrangement, it showcases solo performances and musical inter-ludes. The album also includes collaborations with prominent figures in today's salsa scene, such as Ray Bayona, Eliazar Medina, Marcial Istúriz, and Wason Bra-zobán, among others.

Inaugurating the New Year as he means to go on, German record producer and live act Monolink returns with his brand new single, Mesmerized. From the very first note, Mesmerized draws listeners into a world of contrasts. Deep longing is intertwined with stirring instrumentation, as Steffen Linck’s pensive lyrics glide over layers of pulsating percussion and moody synths, creating a track that’s equally suited for moonlit dancefloors and reflective moments. It’s a journey that balances vulnerability and groove, inviting listeners to get lost in its hypnotic embrace.
On the B-Side Monolink presents a beautiful acoustic reinterpretation of the track. He takes listeners on a thought-provoking sonic journey with this acoustic version. The hauntingly beautiful rendition strips away the electronic layers of the original to highlight the raw emotion in Monolink’s soulful vocals and acoustic instrumentation, breathing new life into the already poignant narrative.

Studiomaster was born from an experiment I ran for a little over a year, releasing tracks exclusively on Bandcamp. I wanted to see how far music could travel without the institutional machinery of a label, without physical products, and without relying on mainstream platforms. The experiment worked so well that Studiomaster has now evolved into a label with physical vinyl releases. Throughout this journey, I found myself missing the physicality of music. So, to celebrate it, I decided to release something in a format I had never used before: the cassette tape. What better occasion to bring together a collection of previously unreleased tracks in the physical world and craft a mix the old-school way? Get your tape quickly, it's limited!
ps: The tape unlocks download for all the tracks featured in the mix!

This group is led by Roland Nieto, a former trumpet player and composer for Or- questa La 33, who has 18 years of experience in international tours. Additionally, the lead vocalist and songwriter is the versatile musician Pío Molina. This album emerged from a desire to explore the origins of brass bands in various parts of the world, including Colombia, Mexico, the United States, Serbia, and Nigeria. In two of its tracks, it also delves into electronic sounds and Dub. While inviting listeners to celebrate with a powerful ensemble of winds and percussion, the album's lyrics address socially relevant issues.

2025 Repress

Hoarder present Occibel with "Voyager 1 EP" Massive dancefloore killers!

What lies on the terrain for which no map exists? Tifra has volunteered to take the plunge and find out. For the 28th record on Haŵs, the Dutch DJ/producer steps up to the frontline with ‘Terra Incognita’ - a primitive force to be reckoned with that reveres the hypnotising, ominous unknown. Four investigational tracks unify the checkpoints, wandering through themes of 00s/90s leftfield house, prog, and continuous, undulating grooves.

The EP sets sail with ‘Invoke Hysteria’, scavenging through malevolent, hostile waters and a caution of pad synths, drums and agitated melodies.

Relenting onwards, ‘Serpent’ slinks into a mellow respite, moving slowly and deliberately like a snake in the moonless dark. Deep, resonant synths coil around the percussive heartbeat of the track, weaving together velvet layers of bass, wind instruments and steady, surrendering exhalations of breath.

The titular ‘Terra Incognita’ hoists up the anchor and yields to the trance of the summoning liquid night. Repetitive melodies form the contours of its shifting course, moulding a ritualistic rhythm under the dissolving face of the sky.

Admo steps up to the wheel for the remix, smoking out the initial perfume of the atmospherics into a new, tough brutality. Hauling the track out of its initial spacey orbit, he re-embellishes it with dour synths, drums and a primal, subterranean growl.

Some say that there is no worse poverty than that of connection, so why not be the first to take the risk, break the divide and find out what lies beyond the veil? Otherwise, make your own guesses, and then let them guess who you are.

Crush of Souls is the musical endeavour of Charles Rowell (Crocodiles, Flowers of Evil, Issue). One foot in early Industrial and the other in 80’s Synth-Pop, Crush Of Souls hold the whip and demand that you submit your soul.

Returning once again to Catacomb Soul studios where he had recently finished recording “(A)Void Love”, Charles Rowell mapped out the next chapter for Crush of Souls, limitations were set in place while new faces appeared to lend a fresh coat of black magic to the album.

The album is a love letter to Paris; all of its beauty and decay. “Lézire” which is a slang mixture of the French words for Lizard and Desire provides a sinister title to an album full of hard hitting, romantic songs.

Harry Howard (These Immortal Souls) provides his signature snarl and profound lyrics to the haunting ballad “You Rose Up”. Long time sax player Stanislas de Miscault colors the dark corners of the record with his unhinged personality and one half of new look COS, Stevan Dinet bangs both the martial beats and the Fairlight sample pads.
An album cover full of chains and S&M can provide enough of an explanation as to the new direction of Crush of Souls. Cronenberg’s “Crash”, David Lynch’s “Lost Highway”, Psychic TV and Sisters Of Mercy are constantly mentioned.

BAG Records' long awaited return is led by Italian powerhouse Riccardo in his ‘In Space EP’. Delivering 4 dancefloor oriented tracks embodied by groove driven techno transmissions from deep space.

With their debut album Channels on !K7 Records, Kassian (Joe Danvers-McCabe and Warren Cummings) have come full circle, focusing on the warmer, sample-based, and house-inspired sonics that brought them together. Kassian periodically revisited these initial pieces throughout the last five years until they felt able to journey deeper, using their rapidly developing craft and refined production techniques to build a debut album that momentarily steps away from some of their more club-focused excursions. “As we were writing, we realized that all the tracks had the unique potential to tell a story,” reflects Cummings, with Channels leading the listener through a series of different atmospheres and emotional terrains.

Essential to Channels is Kassian’s focus on time’s ability to reorient human perspective. Kassian worked on the album over an extended period, with instrumentation, field recordings, and percussion first constructed and then subsequently stripped away and refined.

Channels contains their early love of tube warm, sample based sounds and live instrumentation as the foundation for this album. The working process for these rippling pieces used both sequenced workflow and improvisational arrangement, live instrumentation inspired by an array of deeper emotional content. Both members of Kassian experienced great personal loss during the period of making this album, and a tenderness is felt throughout the record.

This record is an earthy thing, its naturalistic track names evoking recognisable and cyclically familiar moments, Kassian have provided a map for the listener at the forefronts of their minds. Channels features Ezra Collective’s Joe Armon-Jones on keys, and Timothy Kraemer on cello distilling this body of work into a deep stream between the organic and improvised, and the sequenced and planned.

- Also available on black vinyl - First ever official reissue - Produced in full cooperation with Hiroshi Yoshimura's estate - Liner notes by contemporary music writer and professor Junichi Konuma - Remastered from original sources by John Baldwin - First time on vinyl, cassette, and streaming - 2xLP vinyl housed in gatefold jacket - Discs cut at 45 rpm for optimal sound quality // Following their 2024 reissue of Hiroshi Yoshimura's classic album, Surround, Temporal Drift proudly presents the first-ever reissue of FLORA, Yoshimura's underappreciated ambient classic. FLORA was originally recorded and completed in 1987, and remained unreleased until 2006, nearly three years after Yoshimura's passing in 2003. The album is chronologically and stylistically a follow-up to his acclaimed 1986 works GREEN and SURROUND, wherein Yoshimura continues to play with the ambience of sound and the sound of ambience, underscoring his mastery in the field of environmental music. Yoshimura's other recorded works include Music For Nine Post Cards (1982), originally produced to be played back inside a museum space, and Pier & Loft (1983), commissioned as accompaniment to a contemporary fashion show.

Der Waffle House Index bemisst in den USA seit 2011 die Wucht von Katastrophen: Grün = vollständiges Menü - Restaurant hat vollen Strom, Speisen unbegrenzt, Schaden schlimmstenfalls begrenzt. Gelb = eingeschränktes Menü - kein Strom, Verfügbarkeit von Speisen ist begrenzt. Rot = Restaurant zu - ernsthafte Schäden oder Überflutungen. Übertragen auf den freigeistigen Jazzrock der Band Kuhn Fu: Die Musik auf dem neuen Album "Katastrofik Kink Machine" springt mit Begeisterung und Verve zwischen Grün und Rot hin und her, und lässt die laue Mitte aus. Dem Wort Jazzrock haftet etwas Altbackenes an: Musik, in der seelenlose Virtuosität den Spirit und die Unmittelbarkeit ersetzt hat. Der Gitarrist und Komponist Christian Achim Kühn allerdings spielt mit seiner Band Kuhn Fu einen mit E-Gitarre infizierten Jazz, dem die Spielfreude und der Spaß am tiefschürfenden Unsinn (und eben dann doch auch: die Virtuosität) aus jeder Pore dampfen. Spaß an den Extremen nicht zuletzt, Grün und Rot, kein Gelb.

There's iconic. Then there's *iconic*.

A MASSIVE speaker-smashing release, decades overdue. It's been bootlegged - shamefully so, many times over the years - but finally we present the first ever officially licensed reissue of this truly special Afro-disco-not-disco LP from 1979. A favourite of Harvey, Antal, Young Marco and, er, every great DJ to ever play deep records ever, basically. It's not hard to see - or, indeed, *feel* why.

Gem after gem of relentless, irresistibly funky gold, it's an incredibly revelatory album with endlessly complex drum patterns and basslines to dive into, throughout. Truly, this is uniquely FIRE music, unlike anything else you've ever heard, based on Gwo ka music from the gorgeous islands of Guadeloupe and Martinique. A thrilling synthesis of primal, hypnotic drums - the most tribal of percussive elements high in the mix throughout - with the loping synth pyrotechnics of, amongst a whole host of other greats, Wally Badarou and bass power of disco funk don Sauveur Mallia (Arpadys, Spatial & Co.)

Originally released on the seminal French label Barclay, you'd be hard pressed to even find an original copy in nice condition anywhere, let alone for a reasonable price, so it's high time an officially licensed, remastered reissue came around. It's just the latest in a long line of Be With reissues where the music sounds like the - drop-dead dazzling - cover. This here is a true drum attack. BUY ON SIGHT!

Tumblack was a short-lived project, produced and arranged by electronic wizard Yves Hayat and it can certainly be regarded as one of the first examples of Zouk, mixing powerful disco-funk arrangements with Gwo ka, traditional music from Guadeloupe. Gwo ka is an Antillean Creole term for "big drum". You can say that again! It refers to both a family of hand drums and the music played with them, which is a major part of Guadeloupean folk music.Whilst the first side is credited to the exceptional Tumblack band, the flip is given over to "Tumblack & Friends". These weren't just any old friends. Oh no, they were the absolute cream of the French scene (think Arpadys, Voyage, Le Club, Giant, CCPP, Synthesis, Swing Family) such as Sauveur Mallia, Wally Badarou, Marc Chantereau on percussion, Slim Pezin on guitar and Jean-Paul Batailley and Pierre Alain-Dahan handling drum duties.

The urgent, frantic "Fracas" gets things moving straight away with a cavalcade of drums and percussive funk before giving way to the stratospheric "Invocation", one of the album's many, many highlights. It's effectively one long heavenly drum break, a really hard, raw, tribal drum workout without a whole lot else going on - and all the better for it! One to make you sweat, no question. Up next, "Jubilé" is announced with a bellowing accapella voice, chanting the titular name before the heaviest of kicks smashes out your system and lulls you into an absolute state of bliss for nearly 6 minutes. Whoooooosh! Rounding out the sensational A-Side, "Vaudou" is a scratchy, funky patterned drum workout which - yep, yet again - absolutely slays your neck muscles, making them snap and contract in extraordinary fashion. TURN IT UP!

Ushering in the B-Side, the brief, fidgety, African chant-funk of "Parlement" segues seamlessly, beautifully into "Waka", an overwhelmingly rich gem of percussive funk. You do not want this to end, once it hits its stride. For maximum heavenly drum pleasure, you'd need to go a long way than the moment "Waka" feels like it's fading out before it kick-drum-blend into the mighty "Caraïba (Intro)". It's just staggeringly good. It's a minute-long layered drum prelude to the gigantic track which follows. Indeed, "Caraïba" is arguably the best loved and most well-known cut off the LP. And with good reason...featuring that Mallia bass, warm Rhodes and clavs, synth magic, memorably alto sax lines and, of course, tribal chanting.

Another mighty super-ahead-of-its-time classic, the bouncing bass heavy synth funk of "Chunga Funk" deploys Mallia and Wally Badarou (on Mini Moog) exceptionally well. I mean, come on, that bassline is just ridiculous. Try not to move to this one. This extraordinary record closes out with the more traditional Gwo ka sounds of "Bateau La Passé", the tribal chorus making the hairs on the back of your neck stand up.

Tumblack really is a gorgeous late-70s disco-not-disco essential. It's an absolute MONSTER that will completely blow you away; and, yes, it's as compelling and trance-inducing as the cover. The audio for Tumblack has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The cover of Tumblack is so iconic and we sought special permission from original artist Hélène Majera to recreate this at Be With HQ. It absolutely zings off the print and serves as the perfect finishing touch to this long overdue re-issue.

"30 unforgettable hits from the decade that brought movie classics from The Breakfast Club to Back To The Future.
There was no greater era for movie soundtracks than the 80s! Featuring some of the most iconic and memorable soundtrack moments including the title track from Ghostbusters, ‘Holding Out for a Hero’ from Footloose, ‘I’ve Had The Time Of My Life’ from Dirty Dancing, ‘A Kind Of Magic’ from Highlander, ‘Eye Of The Tiger’ from Rocky III, Gladys Knight’s classic Bond theme from Licence To Kill plus many more. This epic double vinyl will have you reminiscing on those beloved 80s film classics and their amazing music."

A classic and much sought after EP from Bay B Kane, gloriously remastered and repressed from DAT source.

Another classic and much sought after EP from Bay B Kane, featuring the dark anthem "Hello Darkness", all gloriously remastered and repressed from DAT source.

Back in stock due to popular demand, the 41st release in our signature Brazil 45’s series. Turning the spotlight to two monster funk/bossa nova cuts from Rosa Maria, we reissued a double header of firm favourites here at Mr Bongo HQ. Originally released on 7” in 1972 via Tapecar, copies of the OG are extremely difficult to get your hands on.

The A side houses ‘Deixa Nao Deixa’, with its distinct afro-Latin feel courtesy of the guitar, horns and percussion. Add in the catchy lead vocal, strong harmonies, funk/bossa drum grooves, shuffling percussion and the continuous build to the end, and you have one of the greatest Brazilian funk records ever pressed.

‘Avenida Atlantica’ takes the B side. Funk and bossa drum grooves alternate underneath the layers of vocals, horns, piano and percussion for a fiery, energetic dancefloor heater.

This fantastic debut from MshCode on the Guidance label. Full on dark edges jungle mayhem, perfectly produced with clean drums and atmospheric pads, but a sense of deep menace and a claustrophobic toughness to the tearing amens and broken beats.

This year marks the 75th anniversary of the release of John Lee Hooker's 'Boogie Chillen'. Recorded in Detroit in September 1948 by Bernard Besman - who had his own Sensation label - it was licensed to Modern Records in Los Angeles and released on 3rd November. The flip side was 'Sally May'.

To say that the single caught fire is an understatement. It is believed that 'Boogie Chillen'' shifted in the region of a million copies in 1949 placing Hooker on the map as a blues guitarist and singer of the first rank - where he stayed until his death in 2001.

The original was, of course, released as a 78rpm single. In 2020 we issued 'Boogie Chillen' with 'Boogie Chillen' #2 on the flip as a limited edition of 500 copies that played at 78rpm.

We now present 'Boogie Chillen'' and 'Boogie Chillen' #2' as a limited edition 7" single that plays at 45rpm. Despite being 75 years old, this classic recording still sounds so fresh and rhythmically propulsive it is hard to believe that you are listening to one man and his guitar playing live and stomping his feet in a room. Besman caught lightening as it flashed, just like Sam Philips did some years later with Elvis Presley in Sun Studios.

There are classics. There are stone cold classics. And there is 'Boogie Chillen''.

Romanian producer and DJ, Cîmpian Mark Alexandru, known as Cim Pian, proudly presents his milestone vinyl release, Chronosphere, on Phonichouse1. Hailing from Reghin, Romania, Cim Pian has been a dedicated figure in the electronic music scene, with a deep connection to the country’s influential minimal house movement. Over the years, he has released multiple tracks on Phonichouse1, a respected Romanian label known for curating refined underground sounds.

The release features two original tracks that highlight his distinct artistic vision. The title track, Chronosphere, is a profound minimal breakbeat composition, enveloped in textured, dark atmospheres, guiding listeners through an immersive sonic journey. Complementing this is Djinn, a classic 4/4 minimal house track infused with oriental influences, building tension with its ghostly textures and hypnotic groove.

Adding an extra layer of depth to the project is a masterful remix of Chronosphere by Barac, one of the most revered artists in the minimal scene. His interpretation brings a fresh perspective to the track, reinforcing the release’s impact.

The mastering has been handled by Rob Small, ensuring a refined and high-quality sonic experience.

The artwork is an original drawing by Andrei Ardelean, with layout design contributions from Cim Pian himself, visually capturing the essence of the music.

Chronosphere marks a pivotal moment in Cim Pian’s journey, showcasing his evolution and dedication to pushing the boundaries of minimal house. Released on Phonichouse1, this vinyl is a testament to his enduring presence in the underground scene.

Soul Jazz Records" Studio One Showcase 45 features a roll call of classic Studio One reggae legends including Horace Andy, Cornell Campbell, Bob Marley and The Wailers, Jackie Mittoo, The Heptones, The Skatalites and more - seminal reggae artists who all launched their careers at the legendary Studio One label. The album was previously only ever released as a long-deleted limited-edition seven-inch box set for Record Store Day. This album has now been expanded into a super double-vinyl album edition as well as first time on CD, with both featuring a massive eight bonus tracks of wicked Studio One classics and rarities.

Fade 2 End (aka Nick Woolfson & Mark Shimmon) only put out two releases to their name both originally on Shining Path Recordings in 1996 and in limited numbers. For this Rezpektiva we have compiled the tracks from those two releases and put them onto this double EP which perfectly encapsulates the project - tough beats, hypnotic vocals and tracks that tell a story - roll them out and let 'em do their thing. Rezpekt to Fade 2 End !

This time BOOOoo! is bringing you to a more housy trip, curated by Bousti.
Italy, France & South Korea are represented here.

New Theo Parrish? Yes please. The Sound Signature boss remains in a class of one and continually finds new ground to explore in the studio, often taking a freeform jazz mindset to roughed-up house and techno that blends the mechanical with the soulful in otherworldly, hypotonic fashion. 'Orange Barrel Action (Yellow Flashing Light mix)' is very much in that mould with lumpy drums detuned and off-grid keys and hissing hi-hats all coalescing into something seductive and subversive. 'Pianamonn' is a deep house foundation topped with weird and wonky keys in inimitable Parrish style.

DJ support: Lenzman, Redeyes, Trail, Satl, Flight, Doc Scott

Rosebay Music presents its 5th release: a collaborative effort from Submorphics & Zar. These 2 producers linked up in Manchester for an inspired afternoon in the studio before playing at iconic club night @hitandrunuk 'Another Level Of Love' is a timeless piece of D&B magic. Classic 90s strings, melancholic piano and a live bassline set the tone for aya dia’s grainy vocals to cut through the mix and straight into your soul. 'Western Times' is a deeper and subtler moment. A chopped-up Rhodes sample glides over woeful guitars and beautiful pads creating a hypnotic, cinematic atmosphere. Visionary music written for your deep winter nights.

Repress!

Up next on Open Space is the first installment in a new series of 12 inch records for DJs titled ‘Open Space Club Tools’ - as the name suggests, you’ll find a variety of tools handmade by our favorite producer-DJ’s. Sticky drum beats and tricky rhythms for the nearly-extinct club deejay.

OSCT01 features Benedek, and John Jones as ‘Calvin’ representing our LA-MIA connection, Lachlan McGeehan aka ‘Liluzu’ from Australia, and of course our Miami boy Goiz; once as himself on the A-side, and again on the B-side under his newest percussion-focused alias ‘Glue Boy’. A mixed bag of hammers, nails, screwdrivers and more… All greased up and ready for whatever the club world may bring your way.

Special thanks to Joern Wilkens for his didgeridoo performance on Yarra.

A scorched expanse, the air thick, sand shifting in slow waves. Didgeridoo rises from the dust, circling in dry spirals. The earth cracks open, voices calling from below. Drums roll, electric currents move like eels. Sunlight bleeds through the haze.
From arid to humid, SDM006 unfolds in four movements-ritualistic, tactile, lost between fire and flood. Percussive, club-ready heat.