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2 x LP Vinyl with Printed Inners & Outers

Ten years after Marcos Valle’s debut long player (Samba Demais) introduced Brazilian music lovers to the immense talents of the Valle brothers, a new direction and backing band helped the singer expand his musical palette. Showcasing a groovy funk and jazz-fusion influence with help from then current backing band Azimuth (later known as Azymuth), synthesizers, Fender Rhodes, and electronic sounds took Valle’s samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), along with the inspiration of black American music and psychedelic rock from prior albums, to dimensions unheard. While not a complete departure, the vocals, grooves, and engaging songs of Previsão Do Tempo are guaranteed to make you feel free and think deep.

Repressed LP on Neon Orange Vinyl. Come Away With ESG - 35-year anniversary release of the classic genre-busting debut album by the Bronx sisters ESG. The sample-friendly opus that’s the inspiration for hip-hop, house and post punk. Music that falls outside of the no wave, new wave and post punk library, it’s for the dance floor but it’s not funk, there’s no horns, no driving organ; it’s the opposite of Sly And The Family Stone but no less cool and no less groovy. “A lasting document of their unique brand of minimal funk that would influence subsequent post-punk, hip-hop, and dance music acts. Stripped down to the most basic of drumbeats and rudimentary bass lines, ‘Come Away’ confirms the notion that the real rhythm is what happens between the beats. AllMusic // “This is dub disco with a punk edge.” Paste // “Uncut punk-funk straight off the streets of the South Bronx.” Record Collector // “ESG are that rare thing” Guardian // “Come Away with ESG sounds so shockingly current.” Paste // “A musical snapshot of New York City at the beginning of the '80s.” Allmusic

"Time Is Slipping Away is an album by American R&B/jazz fusion producer, composer, keyboardist and vocalist Dexter Wansel. It is the last of four studio albums released at Philadelphia International Records. The album contains songs with different styles from P-funk to sophisticated quiet storm music to instrumental jazz-funk. It features the two popular songs ""The Sweetest Pain"" and ""I'll Never Forget (My Favorite Disco)"". The former song features vocals by soul singer Terri Wells. Time Is Slipping Away is available as a limited edition of 500 copies on purple coloured vinyl and includes an insert with lyrics."

Did you know that Judy Freeman and Blackrock cut more songs than the 4 that were put out in 1971? We know of at least one.

"I Know Where You're Coming From" is a 70s funky Northern Soul masterpiece. We've rescued a lost, never heard before, track by the group for the A-Side here. Fans of their music will immediately connect with this blistering anthemic Northern Soul monster. Go ahead and grab the talcum powder, and prepare to dance up a storm to this one.

We've selected the completely unrelated, previously unreleased Marshall Hooks "She Is All I Need" for the B-Side on this one. A relatively straight ahead Otis Redding-styled Soul original that thumps and a nice compliment to the A-Side. If you aren't familiar, Marshall released one LP on Blue Horizon and a monster R&B 7" in 1965 on the Muriel label.

The Nu’rons were a family group consisting of two sets of brothers and cousins, the four young men in question being brothers Daryl Howard and Raymond Gibson (Daryl’s mother registered him under his father’s surname of Howard and Raymond under her maiden name of Gibson) together with Otho Bateman and Charles Bateman. They were all born and raised in Salem, New Jersey and from the age of ten and eleven began singing with a fifth member and Gibson brother Rudolph as a group called The Gospel 5. They eventually decided to crossover to secular music and as a group known for their energetic dance routines they came up with the new performing name of ‘The Nu’rons’ (taken from the word ‘Neuron’ which is a cell that transmits nerve impulses). However Rudolph was soon to leave the group due to physical illness. Also Daryl Howard and Charles Bateman had also been part of a working group known as The Devotions prior to becoming The Nu-Ron’s.Following hours of practice The Nu’rons eventually felt confident enough to put their own shows together and began to perform at local dances and parties around New Jersey and Philadelphia, often being used as a non-paid warm up act for bigger named artists. They moved between several different managers including Jimmy Bishop (Duo Dynamic Productions) until they came under the tutelage of WDAS radio DJ Georgie Woods (his wife Gilda, being the owner of the Philadelphia Gil, Dion and Top & Bottom record Labels). It was Georgie who introduced them to Manny Campbell who in turn invited them to an audition at his and partner Charles Bowen’s Emandolynn Music studio in Chester P.A. The song The Nu’rons chose to audition with was the self penned “I’m A Loner”, the audition went well, as during late January/early February of 1970 Manny and Charles took The Nu’rons into the Sigma Sound Studio’s with Tom Bell and the TSOP musicians to record “I’m A Loner” and “All My Life” which was released on the Nu-Ron label in April of the same year. The two studio takes presente don this release came short after the band moved on from the collaboration with producer Emanuel Campbell to take music matters in their own hands. Beside recording "Disco Hustle" to be part of the disco boom in Philly of the times, they recorded also “You Came Thru”, a rough yet beautiful heavy bassline driven soul funk recording, and the just amazing “Hurry Up Tomorrow”, here presented in one of the original Studio takes.

For vinyl enthusiasts and music lovers alike, this 7" release is an inspired pairing that bridges generations and genres. The A-side is Rock & Smooth’s masterful blend of soulful production and heartfelt lyricism. The iconic saxophone sample and poignant verses have solidified it as a timeless classic. On the flip we have The Beginning of the End's 1971 “When She Made Me Promise”, a vibrant funk track that exudes a breezy, carefree vibe. Its infectious groove and lively melody have made it a favourite for sampling by various hip-hop artists over the years

2026 Edition, black vinyl.



New 12" from the "Fonk" french master Dabeull, with a lot of vintage synths, 80's sounds and hairy moustache. Vintage Funk from today.

Stank In Here
Have no fear, the stank is here! Temu & Mofak are bringing it with their new single “Stank In Here”. Serving as a long-awaited follow-up to their first collaboration back in 2015, “On the Come Up”, the duo returns with an even smoother, soulful yet futuristic dance smash meticulously composed by Mofak for people of all ages to enjoy. Meanwhile, Temu addresses the listeners directly with a message of love and togetherness while echoing back to the era of EWF, Kool & The Gang, Zapp & Roger, and The Gap Band.

Heralds of the Stank
Temu is back on the scene with his new solo single “Heralds Of The Stank”. Temu recalls the first moments when the stank hit him personally and credits the ones who introduced him as its heralds — his parents — in an infectious funky tribute song. (Ever heard something so good it made you frown and pucker your lips while nodding your head? That’s the stank face!) Standing ten toes firm on his Funk roots, Temu both lyrically and musically draws inspiration from George Clinton, Sly & the Family Stone, Jackson 5, Prince, and James Brown. Be on the lookout for his upcoming album titled “HERALDS”.

Chicago's finest lyricist MC Juice, infamous from the mid 90s from beating Eminem in the Rap Olympics, is back with a scorching 9 track EP (3 instrumentals and an accapella included) on 12" vinyl! Following on from his two 45s on Nobody Buys Records and well as the hit album The Man, all of 3 of which rapidly sold out this is some of Juice's best work displaying his razor sharp wordplay and effortless flow to its fullest. The sound scape provided by Bankrupt Europeans for their 3rd collabo with Juice ranges from the upbeat & funky original version of All Day to the murky oboe of its remix, the dramatic strings on Where You Go and the sinister vibes of Unseen, in short, the perfect set up for Juice to get loose! We are beyond excited to be delivering some of MC JUICE’s finest ever work and there is a general feeling around Nobody-Buys-Records HQ that this may just be our finest release yet. Between the absolutely incredible artwork by the immensely talented Big Crunch, the beautiful marble vinyl, and the exquisite beats and rhymes, this EP is quite simply the perfect summer package. As always, every record is hand numbered!

Few artists can make chaos sound this fun. Steel Beans, the self-titled album from the genre-bending one-man band, is a wild ride through rock, funk, jazz, and whatever else happens to cross the radar of Everett, WA’s Jeremy DeBardi — the multi-instrumentalist and mad scientist behind it all. Known for his jaw-dropping live performances where he sings, shreds guitar, and drums at the same time, Steel Beans brings that same unfiltered energy to tape, capturing the spirit of a garage jam gone cosmic.

The album moves effortlessly from fuzzed-out psych-rock to greasy funk breakdowns and tongue-in-cheek lyricism, mixing humor and virtuosity in equal measure. It’s unpredictable, unpolished in all the right ways, and full of personality — the kind of record that feels alive because it’s never trying to be perfect. Steel Beans isn’t just an album; it’s a reminder that music can still be weird, raw, fun, and ridiculously entertaining. Whether you’re hearing him for the first time or you’ve already seen the madness live, this album is the perfect introduction to the wild world of Steel Beans.

International DJ and collector Elado is well known to edit lovers for his work on the likes of Funkyjaws Music, Razor N Tape and Eddie C's Red Motorbike. He has been digging in his vaults again, this time for Scruniversal, and turns out a pair of blazing Brazilian edits. First up is 'Sabor' ,which is a tight, funky sound that sways low with lush claps and wandering basslines, but the vocal harmonies are what make it, and your heart, soar. 'Debbie' then follows off with some soft, honours Portuguese soul vocals and instrumental disco-funk grooves that are super sophisticated and perfect to go with a cocktail at sundown somewhere nice.

Tripmode made a superb start to life with its first EP and is now back with more goodness, this time from family member Daniele Temperilli. We're told he is inspired by 'love, freedom and matured childishness' and he brings some big bass and bouncy minimal house to this 12". 'Beatback Haze' is tight and clipped in its tech funk, then 'Peace What?!' Brings more low-swinging drums and a prying bassline topped with big hits and warped pads. 'BeesTreb' taps into a darker vibe with gritty drum textures and more rapping, farting bass that's perfect for a darkened room. Last of all is 'Pachyderm', which bounces and swings, with macho drums but a sense of lithe energy that keeps you on your toes.

Some grooves don’t rush to the dancefloor — they crawl there, slow and heavy, like smoke wrapping around a bassline. With Fragments of Reality, The Balek Band sculpt an electronic funk that lives between shadow and light — an end-of-the-world fever dream, a Barjavel-style Ravage where chaos turns nihilistic.

No sequencer grid here — just four musicians sharing the same room, shaping air and tension together: drums locked tight with a slap bass, a guitar dripping with echo and heat, and a one-man orchestra behind his machines, weaving acid lines and synth arpeggios while mixing the band live — drenching it in delay, reverb, and saturation, like a dub producer in a Kingston studio, Lee Scratch Perry or King Tubby conjuring ghosts through smoke.

This isn’t fusion — it’s friction. A living ritual where the TB-303 hums, and machines don’t dominate but converse with the human pulse. Each track feels like a night that refuses to end — that humid in-between where trance slips into languor, and the body starts to think for itself.

The record recalls the cosmic jazz of Alain Mion or Eddy Louiss meeting the fiery energy of West African afrobeat musicians freshly arrived in a smoky Belleville basement in the mid-’80s. When The Balek Band summon ghosts, it’s only to reshape them — bending the past into something futuristic, alive, and strangely refreshing. Both disciplined and delirious, Fragments of Reality feels like a promise at dawn: dark funk for the late hours, slow acid for warm blood.

This EP isn’t nostalgic, though it remembers. It’s a transmission from a parallel past — a moment when jazz players met drum machines and decided never to stop playing. Each note sweats, each rhythm breathes. You can almost see the light cutting through the haze, faces half-awake, half-possessed.

The Balek Band aren’t recreating a moment — they’re keeping it alive.
Flesh and cables. Impulse and patience.
A band, not a loop.
A trip, not a format.

A dynamic DJ and producer, the Galway-born, Berlin-based artist is driven by mood not genre, gleefully scribbling outside the lines to craft rhythmic, high-vibration dancefloor cuts that make them a delicious match for the Chunkers. Just reference their pin-sharp releases on Radiant, Punctuality, Planet Euphorique and their own World of Worlds imprint. While anyone who’s caught their throwdowns at Draaimolen’s legendary forest stage, Horst Festival or London’s infamous queer party Club Are already knows what’s up.

Their contribution to the BSC catalogue is bang on. Lead cut ‘Track Like’ is a straight-up Chunker. Beginning life as an instrumental, it’s a pumping house cut marked by a grooving bassline, tight drums and a contained ravey energy, before Eoin DJ added that vocal that took the production into peak-time party territory.

A producer who requires no introduction – Jennifer Loveless join the Chunkers fold with a full-bodied remix of ‘Track Like’. Lock in for a funky maximal re-rub with the attitude turned up to 11. Back in Eoin DJ’s corner, the crisp ‘n’ punchy ‘Pure U’ is driven by fat kick drums, euphoric chords and a chunky rolling bassline. Exquisite stuff. A tight Dub version is included in the pack. The EP rounds out with the perky ‘Feel Deeper’, which channels ‘90s New York house and circuit sounds and is built around a hooky vocal line and rhythmic drums.

Eoin DJ follows BELLA, Eliza Rose, Papa Nugs, Paperkraft and remixes Peach and CARISTA in joining the Big Saldo’s Chunkers family as Sally C delights in growing the label via a carefully curated roster of artists.

“I loved the label already, so I was super stoked when Sally asked me to do a release. Chunkers is always

so on-point and consistent with its output. All of the releases are certified party starters – fat basslines, catchy vocals, full of energy and tuned to perfection to hit on the soundsystem. I used that as a jumping off point when making the EP. You could say it’s Chunkers – Eoin DJ style.” – Eoin DJ

“I was hooked on Eoin’s sound since they released ‘Ode to Beachball’ in 2024 on Punctuality Records. I love their ability to weave emotion and groove so seamlessly. It’s been a pleasure working on this EP – I’ve been endlessly rinsing all of the tracks. Such a great producer!” – Sally C

NOW That’s What I Call 70s Soul brings together 50 era-defining tracks from one of the most powerful decades in soul music, featuring classics from Motown legends, Philly Soul pioneers, smooth balladeers and funk innovators – all pressed across 3LPs on beautiful blue vinyl… Out April 24th!

LP1 opens with one of the decade’s most recognisable love songs: Al Green’s ‘Let’s Stay Together’, a US #1 and UK Top 10 hit that became his signature recording. It’s followed by Marvin Gaye’s ‘What’s Going On’, the socially conscious masterpiece and title track from his landmark 1971 album, and Diana Ross’ Ain’t No Mountain High Enough’, which topped the US chart and became her first solo #1. Stevie Wonder’s ‘Signed, Sealed, Delivered (I’m Yours)’ remains one of Motown’s most joyful recordings and comes before Commodores’ ‘Easy’ introducing Lionel Richie’s smooth ballad vocals. The side also includes Bill Withers’ timeless ‘Ain’t No Sunshine’, a Grammy-winning classic, and The Stylistics’ lush ballad ‘You Make Me Feel Brand New’, a UK Top 3 smash, before closing with Rose Royce’s beautiful ‘Wishing On A Star’, one of the most loved soul ballads of the era.

Flip the LP over and The Jackson 5’s ‘I Want You Back’ – the group’s explosive debut single opens the side. Smokey Robinson & The Miracles’ ‘The Tears Of A Clown’ became a UK #1 and is followed by The Supremes’ Nathan Jones’ showcasing the group’s evolving psychedelic-soul sound. Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, Chairmen Of The Board’s Top 3 smash ‘Give Me Just A Little More Time’ and The Trammps’ ‘Hold Back The Night’. The O’Jays’ joyous ‘Love Train’ leads to The Blackbyrds’ Walking In Rhythm’, before the side closes with the romantic classic ‘Always And Forever’ from Heatwave.

LP2 opens with The Temptations’ epic ‘Papa Was A Rollin’ Stone’, a Grammy-winning US #1 remains one of the most stunning recordings from the Motown catalogue, is followed by Isaac Hayes’ ‘Theme From “Shaft”’, an Academy Award-winner and a US #1 smash. More funk follows from Ike & Tina Turner, James Brown with one of his key tracks ‘Get Up (I Feel Like Being A) Sex Machine’, Edwin Starr’s powerful anti-Vietnam protest song ‘War’, and Sly & The Family Stone’s hugely influential ‘Family Affair’. The Delfonics’ sublime ‘Didn’t I (Blow Your Mind This Time)’ comes ahead of Billy Paul’s timeless ‘Me And Mrs. Jones’ which closes the side…the other side begins with the 1977 #1 from The Floaters with ‘Float On’, before the breathtaking vocals of Minnie Riperton on ‘Lovin’ You’. The Isley Brothers’ Summer Breeze’ and William DeVaughn’s ‘Be Thankful For What You Got’ have become enduring classics and are followed by a run of ‘80s pop-chart crossover hits completing LP2 from Detroit Emeralds, The Moments Raydio and The Tymes’ #1 ‘Ms. Grace’.

LP3 opens with the unmistakable voice of Barry White and his US #1 hit ‘Can’t Get Enough Of Your Love, Babe’, before Aretha Franklin’s ‘Until You Come Back To Me (That’s What I’m Gonna Do)’, delivers one of her smoothest performances. Al Green’s ‘Tired Of Being Alone’ and Gladys Knight & The Pips’ ‘Midnight Train To Georgia’ are followed by minimalist soul classic ‘Why Can’t We Live Together’ from Timmy Thomas, and the side closes with a trio of defining ballads:- George Benson’s ‘The Greatest Love Of All’ Diana Ross’ ‘Theme From Mahogany (Do You Know Where You’re Going To)’ and The Jackson 5’s ‘I’ll Be There’, their biggest hit…while over on the final side…Freda Payne’s #1 ‘Band Of Gold’, opens alongside Ann Peebles’ influential and much covered ‘I Can’t Stand The Rain’.Marvin Gaye’s sensual ‘Let’s Get It On’ became another US #1, while Harold Melvin & The Blue Notes featuring Teddy Pendergrass deliver the contemporary standard ‘If You Don’t Know Me By Now’. Three massive UK #1s are next…The Stylistics with ‘Can’t Give You Anything (But My Love)’, The Three Degrees’ peerless ‘When Will I See You Again’ and Deniece Williams’ ‘Free’. This amazing collection closes with two timeless ballads: Earth, Wind & Fire’s ‘After The Love Has Gone’, a Grammy-winning classic, along with ‘Three Times A Lady’, a huge worldwide #1 for the Commodores.


NOW That’s What I Call 70s Soul, 50 defining tracks from one of music’s greatest decades. Out April 24th.

The tenth anniversary edition of Venetian Snares' Traditional Synthesizer Music adds ten more tracks and alternative versions previously available only on a limited edition compact disc from the artist's Bandcamp.Traditional Synthesizer Music is a collection of songs created and performed live exclusively on the modular synthesizer by Aaron Funk. Each sound contained within was created purely with the modular synthesizer. No overdubbing or editing techniques were utilized in the recordings on Traditional Synthesizer Music. Each song was approached from the ground up and dismantled upon the completion of its recording. The goal was to develop songs with interchangeable structures and substructures, yet musically pleasing motifs.

Many techniques were incorporated to "humanize" or vary the rhythmic results within these sub structures. An exercise in constructing surprises, patches interrupting each other to create unforeseen progressions. Multiple takes were recorded for each song resulting in vastly different versions of each piece, a number of which are released for the first time on vinyl and digital for this updated version of the album. BIO Aaron Funk, mainly known artistically as Venetian Snares, is a Canadian electronic musician based in Winnipeg, Manitoba who’s been working since the mid nineties. He is widely known for innovating and popularising the breakcore genre being something of its breakout star. His signature style features complex drums and unusual time signatures and a knack for making ultra-vivid music that takes listeners into unusual places, from the aggressive and extreme, to the surreal, comic and sometimes plain beautiful. His musical explorations extend out in many different ways, from the complex Hungarian, classical-inspired Rossz Csillag Alatt Született, to acid explorations as Last Step, to innovations with modular synths on Traditional Synthesiser Music.

As a collaborator, he’s made music using intimate recordings as musical elements with the artist Hecate as Nymphomatriarch, as Poemss with Joanne Pollock, where they both sing over strange delicate pop. He’s recorded an album of rich, edited improvisations with producer and guitarist Daniel Lanois and he’s also part of the sometime duo Speed Dealer Moms with John Frusciante. Most recently he features on Rosalia’s album Lux on the song Reliquia, providing drum programming and production input.

2026 Repress

It’s rare that a certain sound is entirely an artist’s own. Although undeniably a stew of impeccable influences – from blues to folk to Latin to dusty funk, soul and hip-hop – one cannot hear a Tommy Guerrero song without immediately recognising it as his - and his only.
The cult skater from San Francisco is globally renowned as one of the original members of the legendary “Bones Brigade” team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who’ve basked in its blissful glow.
There’s something elemental about this music that really stirs the soul. Strikingly beautiful and instantly addictive, it’s a kind of funk-fuelled, melody-driven, groove-based magic. There’s a serenity and heart in the playing that radiates warmth and splendour, as if crafted for endless sunsets. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it’s two of his most vital LPs that we’re honoured to reintroduce.
The originals were quietly pressed on to a single piece of vinyl so we’ve worked closely with Tommy this year to bring you these fresh, limited editions. They have been lovingly remastered, cut nice and loud on to heavyweight double vinyl and presented in deluxe gatefold jackets.
Soul Food Taqueria continued Guerrero’s guitar soul but represented a step forward with its polished production and greater complexity of instrumentation. Denied the promotion it deserved upon release, it flew under the radar. It is now the most wanted record of his wondrous back catalogue.
Guerrero’s atmospheric touch and subtle guitar provide lush, glimmering pieces of musical texture. Within his spacious compositions, uniquely arranged instruments flourish alongside each other to create a languid soundtrack for halcyon days.
As ever, the diversity on display is beguiling. From bossa nova, samba and cumbia rhythms to understated folk, funk and soul grooves, this is another exotic set of mellow gold; perfectly represented by ESPO’s memorable artwork. Furthermore, the title’s hybridity reflects the intoxicating sweep of stylistic flavours served up, reminding us that, however tricky it is to categorise Guerrero’s special blend, it’s always a pleasure to indulge in something so creative and adventurous.
Dubby, bass-heavy instrumentals give way to moody folk-soul – witness “It Gets Heavy”, featuring melancholic vocals from Gresham Taylor – whilst “Thank You MK” is a gentle ode to the tropics, featuring ethereal instrumentation, bright bass and warm, jazzy guitars. The second half in particular contains a number of stunning ambient tracks – check “Lost Unfound”, “Another Brother Gone” and “Broken Blood” - built around minimalist, laid-back grooves and detailed guitar orchestrations which wouldn’t be out of place on the latest Jonny Nash release.
Guerrero closes this flawless set with a moment of true beauty. Restrained and graceful, “Falling Awake” is a pared back piece containing meditative guitar melodies set against melancholic piano arrangements. It brings proceedings to the most peaceful close. Seductively good, it reminds you just how great simplicity can sound.

New Supa Killer Boogie Funk album of Funk Lab "Natural Feeling"

Boogie Vice & N-You-Up Return to Definitive Recordings with 'Decadisco EP'

Definitive Recordings continues its run of forward-thinking house releases with DEF2603, the new four-track 'Decadisco EP' from Boogie Vice and N-You-Up. Following their 2025 collaboration 'Come On Closer', the duo returns to the label with a fresh collection of groove-driven club tools that balance modern energy with classic house foundations. Recent releases on sister label Get Physical Music further underline the duo's strong creative momentum.

Boogie Vice is a French DJ and producer known for his groove-led house sound that blends funk, soul, and percussive club energy. With releases on labels such as Get Physical, Rekids, and Definitive Recordings, he has built a reputation for warm, dancefloor-focused productions supported by tastemakers worldwide. Now based in Cape Town, Boogie Vice has expanded his creative work into film scoring and executive production, adding new depth to his already rich musical palette.

N-You-Up, Southern France native Nick, brings decades of DJ experience and a deep-rooted love for jazz, funk, and disco. Formerly known as The Beatangers, he now channels those influences into a refined house fusion under his N-You-Up alias. Alongside Boogie Vice, his collaborative releases have appeared on labels such as Nervous Records and Get Physical Music, with their joint productions receiving support from key artists including Solomun, Dennis Ferrer, Jamie Jones, Pete Tong, Laurent Garnier, Radio Slave or Mita Gami, firmly establishing the duo as a reliable source of dancefloor-ready house music.

The EP opens with 'Game Concept', a driving house cut built on percussive drums, a rolling classic house bassline, and catchy vocal samples. Dreamy, deep synth chords float above the groove, creating a hypnotic yet energetic opener. 'Wurkin Like Dat' follows with a disco-infused house vibe, stacking groove upon groove as vocal snippets and disco elements take center stage, delivering pure dancefloor momentum. Rounding out the EP are two DJ-focused versions of 'Wurkin Like Dat'. The Invasion Tool strips the track back into a flexible club weapon, while the Drumapella isolates the rhythm and percussion, offering maximum versatility for creative mixing.

With 'Decadisco EP', Boogie Vice and N-You-Up once again showcase Definitive Recordings' ability to deliver modern house weapons that honor the genre's past while pushing the sound firmly forward.