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Mood Child label owners Sirus Hood and Manda Moor curate a sonic journey featuring global talent as they proudly present their latest compilation, ‘Various Moods’. A kaleidoscope of experiences, the release showcases six tracks from diverse artists, each contributing their unique vibe to this eclectic musical package.

Hailing from Brazil, Wayne Le’s ‘This is How’ pays homage to the origins of electronic music with a rolling bassline and a vocal tribute to classic Roland machines, the 808 and the 303. The track’s energy crescendos, making it a highly sought-after ID. Spanish duo Fourth Phase brings ‘WTF’ to the compilation, a groovy masterpiece characterized by 909 drums, a massive bassline, and a playful vocal, reminiscent of the 90s. From Curitiba, Brazil, guerrA. presents ‘Storno’, a fast-paced old-school beat that weaves chopped vocals from a rap DJ tool into a groove enriched with analog drums and a powerful bass sound.

A fusion of French and Taiwanese influences, Nathan Alzon’s ‘Flashback’ captures the essence of a new beginning. The track features a vocal saying “take me away”, blending seamlessly with the groovy sound characteristic of Alzon’s productions. Representing Mexico, Gama delivers ‘Tatata’, an explosion of Latin percussive elements blended with a hypnotizing groove. Inspired by his hometown Cancún, Gama experiments with new rhythms and sounds, infusing a significant Latin influence into the track. Marseille’s Malikk, known for his releases on Hot Creations and Hottrax, collaborates with Palermo-based Side B. The duo draws inspiration from '80s disco, funky, soul, and retro movies, crafting ‘How I Feel’ with punchy drums, a heavy bassline, and unique grooves.

Moxie’s On Loop imprint proudly presents ‘Manifold’, the highly anticipated debut solo EP from Amaliah. The rising Londoner delivers on her burgeoning ravey promise, unleashing a remarkable trio of percussive club tracks that link UK house aesthetics with global soundsystem influences, and comes with a wonderfully knotty remix from celebrated producer Call Super.

Borne Fruits founder Amaliah has rightfully ascended through the musical ranks of her native city to emerge as one of its most exciting voices. As a DJ and producer, she intersects at the exhilarating crossroads of contemporary house sounds, soundsystem culture and UK club influences to packed dancefloors weekly across the UK and EU. The Manifold EP flexes Amaliah’s parallel trajectory as a wicked tunesmith, offering her long-awaited and most substantial musical offering to date for Moxie’s much-loved On Loop imprint.

Opening track “Helix” curls a percussive membrane around its funky core, pumping along with nocturnal rave menace punctured by sirens and grotty synths. Next up, “Me So” shimmers with bubbling assuredness, diffusing Detroit-inspired melodies atop a bumpy house stepper that spurts with synthetic glee along its way. “Spooky Dub” greets us on the flip, wasting no time in igniting its punchy dembow groove while peppering its rubbery bassline amongst some dub-drenched fx. It briefly retreats for a half-step breakdown before re-launching us straight back to dancefloor salvation. Can You Feel The Sun’s Call Super sees us out with a typically psychedelic labyrinth-like remix of “Helix”, refracting a minimalised Electro groove through a magnificent fairground ride of wide-eyed sound design and intimate melodics.

Early support from Saoirse, Call Super, Parris, Moxie, Niks, Roza Terenzi, ISAbella and featured in Pangaea’s BBC Radio 1 Essential Mix.

'Give Me The Strength To Be Me' is the exclusive single for Lovemonk by Soulnaturals, featuring London singer Chalibrann. This stunning track fuses all the power and beauty of gospel and soul music with exquisite arrangements that take Soulnaturals to spiritual heights, akin to contemporary artists such as Michael Kiwanuka and Sault.

Soulnaturals is the London-based project of songwriter, producer and band leader Tony Cannam, who collaborates with outstanding guest singers and musicians on high-quality soul/R&B music which has received rave reviews from Blues & Soul, Craig Charles Funk & Soul Show, Jazz FM, Andy Peebles at Smooth FM, Solar Radio, Clash Magazine and London Live TV, among others. Cannam is influenced by the rich heritage of 60s and 70s US soul/funk artists and arrangers such as Norman Whitfield, Curtis Mayfield, Stevie Wonder and Quincy Jones.

Soulnaturals released their debut album, "Love Says Yes!", in 2017 as part of Record Store Day, receiving strong critical acclaim and a nod as contender for album of the year from UK Vibe. Their second album, "Parlo Discoteca", came out in October 2023 on their own label, British Soul Standard.

Zenit is a jazz ensemble from Krems in Lower Austria, founded in 1976 by Hannes Treiber and Willi Langer. Their music was celebrated locally, but to reduce them to their local fame would be a shame: After all, their first two LPs, Stimmungswechsel (Change of Moods) and Früchte (Fruits), quickly gained them a much wider audience of discerning listeners. Arguably, however, Zenit's third and final LP Straight Ahead is the most special of their records. It initially came out in 1986 on the producer's label Spray Records, and is today one of the hardest-to-find Austrian jazz records. Its centrepiece is the infectious slow-motion disco piece 'Waiting,' with vocals by American jazz singer Linda Sharrock. Effortlessly bringing together pop, soul and new age vibes, this is a record that is as unique as it is difficult to date. Does it sound like from the 80s We're not sure. To our minds at least, it could also be from the future.

Andrew Macari joins up with Paka Project for a first outing on the fledgling Greenhouse Recordings labels here and delves deep into some true-school deep house. 'Beeston Fields Drive' is a warm and diffuse opener that rolls on loopy drums with balmy chords melted over the top.

'Hold Dat' has jazzy motifs and funky bass riffs down low that remind of early West Coast tech house sounds from the likes of Fresh & Low and 'All We Need' then layers up r&b samples and even more smooth and silky late-night chords into a real smoocher.

'PR Process' ends on low-slung and lumpy drums and spoken word samples run through with dubby chords.

The Chilean label and record store 5 Universos Records present the third release of their vinyl only series where music and creativity speaks for itself.


On Side A, label owner 5UNIVERSOS, delivers two captivating hypnotic tracks, approaching to micro house. "NEK” immerses us in a funky roller with deep bass and acid touches, guided by an Asian voice. “TOKO” leads to an enigmatic dream voyage across the Atlantic incorporating Koto, the national instrument of Japan.



On Side B, the versatile Chilean artist Claudio Solis introduced us with "ABHASA", an enveloping track with dub-techno airs and a solid groove at 132 BPM.
For closing Side B, Denis Kaznacheev, Russian master of minimalism, presents a happy remix of "Abhasa", infusing a healing atmosphere and his distinctive sensitive and hypnotic groove.

This third pressing is an exceptional compendium on vinyl not to be missed; only 300 copies, no repress, soooooo grab this one to your collection !!!


#Chileansareplaying



Mastered by Claudio Solis

Established in 2016, Little Giant Records is the Brooklyn-born label founded by Anna Cavazos that specializes in the kind of deep house sounds that belong in the dark and sweaty basements of underground clubs. Anna is a DJ, producer, and vocalist who has played out across the globe for over 15 years mixing and blending the deep house sounds of Chicago, New York, and Berlin. . Her discography includes original compositions, remixes, and collaborations with the likes of Satoshi Tomiie and Eli Escobar.

The EP kicks off with the original of ‘Love Interlude’ - melancholic and piano-heavy with an ultra-deep baseline embellished with warm pads and soulful drums. Anna’s soulful vocal floats above the melody creating an emotional and moving interlude. Next up Matthias Vogt delivers a deep-house masterpiece adding extra keys, drum accents, and a well-placed baseline that is weaved neatly into the vocal hook while Vogt delivers the warm, jazz-flecked vibrations he is well known for.

Up next Rick Wade weighs in with some ever so classy house laced with flashes from the Motor City of Detroit. Warm electro piano, glowing synths, and vocal parts contrast with the deep sub baseline. Closing out this EP Rissa Garcia draws heavily on her New York house inspirations. Organ riffs and a funk-inspired bass line lead the charge dropping in and out between vocal harmonies and subtle synth work. Percussive accents bring it all home making this closing cut one dancefloor destroying, peak-time bomb.

Having been re-discovered as a groundbreaking slice of proto-grime from 1994, Dylan Beale’s legendary soundtrack for the SNES game Wolverine: Adamantium Rage finally gets the reissue treatment it deserves via Sneaker Social Club.

When the game came out in 1994, Beale’s soundtrack for the SNES edition stood out from the pack for its gritty beats, deceptively weighty low end and edgy orchestra stabs, but few would have guessed how certain tracks would predict the shape of music to come. Around 2016, the ‘Tri-fusion’ track in particular was picked up on by London-based producer Sir Pixalot as a mind-blowing slice of Eski beat coldness. To prove his point, Pixalot ran an acapella from J-Wing over the track and the results spoke for themselves.

While ‘Tri-Fusion’ is a straight-up accidental grime sheller, there’s scores more heat packed away in Beale’s soundtrack for Adamantium Rage. The limitations of the space on the game cart meant Beale had to get creative with the most limited samples. Fortunately his background producing UK hardcore and jungle in Rude & Deadly and Stuck To Your Lips meant he knew his way around the restrictions of an Akai s950. Fuelled by the inspiration of jungle and West Coast rap, he worked on the game soundtrack with a similar spartan attitude, limited to 200kb with which to load up the music engine for the game, samples and all.

Given the importance of minimalism in the effectiveness of soundsystem music, it’s not surprising tracks like ‘Cyber’ and ‘Dark Queen’ pack a punch which could absolutely set a dance off. Watch out for ‘Weapon X Lab’ too - another stand out bomb creating a deadly machine funk out of the tightly clipped bass samples and weird animal groan loops. Alongside the full, original soundtrack, this first issue of Wolverine: Adamantium Rage OST comes with additional tracks never used in the original game which widen out the styles Beale was exploring within the shockingly limited means at his disposal.

“I vividly remember when we first played the soundtrack on a bigger set of speakers to the boss,” Beale recalls, “his initial reaction was one of amazement that we had created something so ‘real’and different in comparison to everything else out there in terms of video game music, which I remember with great pride and fondness. Comparing to everything out there, it was totally unique- a moment in time.”

HEART-SOUL & INSPIRATION Featuring VINCE HOWARD - I’M GONNA LOVE YOU MORE

Mythical band ‘Heart-Soul & Inspiration’ and their band leader, L.A. drummer and producer Vince Howard cut their self-titled (and only) album in 1974 for the Los Angeles-based Viscojon label. The result was an astonishing collection of music filled with playful sexy moans, climaxing grooves and soulful hooks.

One of the album’s highlights (and clocking in at an epic eleven minutes) is ‘I’m Gonna Love You More” - a tantric reimagining of Barry White’s 1973 sexually charged classic. Where White was content delivering a subtle and syrupy innuendo, Howard transformed the break-heavy track into a meandering funk workout.

We are proud to present ‘I’m Gonna Love You More’ on a 7” for the first time - cut at 33⅓ RPM over two sides (Parts One & Two)

Aphrose reveals her sophomore album, 'Roses,' a captivating amalgamation of Neo-Soul and R&B, delving into the wellspring of ancestral strength and love.

Hailing from Toronto, Canada, Aphrose, also known as Joanna Mohammed, unveils her sophomore album, establishing her as one of Toronto's best-kept musical treasures. Known for her commanding vocal prowess within her hometown, this gifted songwriter and vocalist is rapidly garnering global acclaim and accolades from both fans and music critics alike. Signed to independent Soul label LRK Records, 'Roses' remains firmly rooted in Aphrose's signature style characterized by resounding R&B vocals. However, it also embraces a softer, more introspective aura that brilliantly showcases her remarkable versatility in navigating diverse genres, moods, and musical approaches with remarkable finesse.

This album offers a little something for everyone, catering to enthusiasts of Neo-soul, traditional Soul, Hip Hop, and R&B. Produced by her longtime friends/collaborators at SafeSpaceship Music (Scott McCannell, Chino De Villa, Ben Macdonald), the album serves as a compelling testament to the collective creativity of Aphrose and this exceptional production trio, delivering a kaleidoscope of soundscapes, textures, rhythms, and grooves. 'Roses' weaves together both lighthearted and profound elements as Aphrose explores her life journey, delving into her familial past and present, grappling with the challenges of new motherhood, and contemplating her relationships with herself, her partner, and her friends. Across the 35-minute LP, Aphrose draws inspiration from Neo-soul icons like Jill Scott and Erykah Badu, pays homage to Soul legends such as Aretha Franklin and MJ, and infuses contemporary R&B influences from artists like Frank Ocean, SiR, and SZA. The result is a sound that distinctly bears the 'Aphrose sound,' reflecting her deep admiration for her inspirations while imparting a refreshing twist to familiar genres.

The album commences with its title track, 'Roses,' which was released as a single on August 25th. This song sets the stage, invoking the strength of Aphrose's ancestors, particularly her late Grandmother Rose. Following suit is 'YaYa,' also released as a single on July 7th. This buoyant dance track whisks listeners back to the disco era of the late 70s and early 80s. The album's third track, 'Heavenly Father,' offers a brief interlude featuring a recording of Aphrose's Grandmother Rose engaged in prayer, setting the tone for the subsequent track, 'In The Time Of Sorrow.' This contemplative, chill piece captures Aphrose's musings on navigating a world often shrouded in fakery, while craving authenticity. 'Honey (Don't) Come Back' seamlessly transitions between two distinct musical personalities, commencing with a deep, almost Trap-like bass/drum beat before transforming into a spirited Funk/Soul jam—an anthem of empowerment encouraging the listener to leave a situationship that is no longer working. 'What You Don't See' strips the production down to its core, as Aphrose and guitarist/co-writer Heather Crawford craft an intimate ode to a friendship's sad ending.

The B-side opens with the evocative 'Weapons,' featuring a five-person choir including LRK label-mate Claire Davis, Nevon Sinclair (Daniel Caesar and LOONY), Kyla Charter (Aysanabee and Alessia Cara), Lydia Persaud, and Marla Walters. The track is adorned with a stirring string arrangement courtesy of Jessica Deutsch. 'Chop The Cake' acts as a breather, interlude-style, easing the intensity. 'Soft Nuclear' channels the spirit of the early 2000s R&B movement, bearing traces of influence from Lucy Pearl. 'Good Love,' released as the first single off this body of work on May 19th, transports listeners to the 70s with its soulful resonance, drawing inspiration from the likes of Michael Jackson and Teddy Pendergrass. 'Higher' stands as Aphrose's tribute to Prince, capturing the essence of his music within its hook and production. The album's culmination arrives with 'ZAG,' an acronym derived from Aphrose's daughter's name, commencing with the sound of her daughter's heartbeat in-utero from a sonogram taken when Aphrose was pregnant. This heartfelt composition serves as a dedication to her daughter and all parents navigating the rollercoaster of parenthood, emphasizing the imperative of nurturing love to shape the future.

'Roses' stands as Aphrose's homage to her history—her Grandma Rose and the ancestral trailblazers who paved her path to the present life she enjoys; her current experiences—her self-discovery, her relationships with her partner and friends; and her aspirations for the future—her daughter and the generations to come. This album crystallizes these temporal dimensions, prompting introspection, celebration, laughter, and tears. 'Roses' is a musical odyssey that scrutinizes the multifaceted beauty of existence, inviting listeners to partake in this thing called life.

The radio world has taken notice of Aphrose's talent, with national Radio Capital's Italy Massimo Oldani spinning her latest single "YaYa" for the entire month of July on his show "Vibe." And both singles getting to number 10 in the UK soul chart.Additionally, Aphrose has received national radio play on renowned stations such as BBC in the UK, RTVE in Spain, and Radio France FIP.

Aphrose has also made CBC's Top 100 finalist list for their Searchlight competition.

Huey Morgan played "YaYa" the second track off the album on his BBC radio six show

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

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

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

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

Fr!sky Buziness is known for his rolling minimal house sound on labels such as Hoarder and Pathway Traxx. Now presenting on Girasole his Heartquencher EP. A 3 track EP with a full sunrise to sunset feeling.


A1 Dreaminizer starts slowly perfect for sunrise with a rolling tech
rhythm. A2 Cyberspanker again rolling but a bit deeper and will hit you with that funky bassline. The B side is complete for Heartquencher with its warm and sexy bassline which will get you dancing with the sunset in mind.

Banana Club is without doubt one of the top new labels on the Breakbeat scene today. Led by the young and highly prolific Cadiz artist, FM-3, it was set up in 2020 with a strong identity and powerful, effective dancefloor grooves inspired by English bassline and 2step/garage and a touch of funk.

On this first vinyl release by the label, entitled Funky Beats, FM-3 kicks off his musical discourse with One for Me, a track which showcases the characteristic quality and forcefulness of his groove. This is followed by the album eponymous track Funky Beats, a collaboration with the multiple Spanish and World Scratching Champion, Jose Rodriguez, who dazzles with a number of superb passages in which improvisation and funk come to the fore.

The B-side opens with Panorama, featuring Orak. This fascinating, highly-experimental track offers a fusion of breaks and tech house and an elegant acid line which acts as a common thread and brings cohesion to the whole idea. The record closes, as you would expect, with a collaboration with Bowser, another of the label regular artists, entitled Bubbling.

A classic bassline dancefloor filler, it will take you back to the best tracks of the late nineties and early noughties. The classic black 12", mastered and cut by Simon, a veteran sound engineer at the Exchange Vinyl in London, has achieved a sound which is quite simply brutal.

FullTime Production is honored to presents Kano "I'm Ready" featuring remixes by Mousse T. and FrescoEdits!

"I'm Ready" published in 1980 on FullTime Production, among the first
success, also peaked at #21 on the R&B and hip hop songs in the United States and at 8# on the most popular songs being played in nightclubs across the United States.

Kano combining elements of 1970s disco, funk and R&B while extensively using synthesizers and percussive handclaps as well as raw-processed and vocoderized vocals inspired by United States and European disco, from Chic and Giorgio Moroder.

The great producer Mousse T. gave us his great musical experience, he wanted to make the song a real hit in the house music and disco music genres.

The piano, the voice and harmony were transformed into something softer and less computerized and metallic. Mousse T. made us glimpse the immensity behind a remix and the most diverse musical facets that only an excellent producer can astound and leave the listener speechless.

The musical break of the "extended club remix" at minute 03:24 makes us raise our arms to the sky and clap our hands!

FrescoEdits introduced his more afro side to the remix by expertly
marking the percussion and resulting in a funk and tribal remix.
FrescoEdits is an artistic project that has based its success from the
love and art of sampling big hits as well as a label and a community, is
among the most highly regarded artists in the disco edits.

Italian legend Walter Del Vecchio aka Quiroga pays tribute to the acid house era on Hell Yeah with a new package that comes with two originals, an ambient mix and a remix from cult hero DMX Krew.

Quiroga released his last sublime album Passages on this label and it came as the latest entry into a discography filled with beauty and detail. He is a talented musician from Naples who has his own left-of-centre take on the Mediterranean sounds of the city, as he shows once again here with a house-leaning outing.

Quiroga has teamed up with cult musician Dario Bassolino and called upon Whodamanny's mixing skills for these new tracks. First is 'Once Again', a punchy and chunky house cut with skewed bass spraying about the mix. Its rough analogue edges are lit up by searing acid lines that never quit and will turn any party into a cauldron of intensity. The Ambient Version is a full-flavour downtempo workout that keeps the wild acid lines, adds in some FX, old-school piano chords and a yelping female vocal next to a blissful breakdown. 'Once Again' (DMX Krew Remix) is then a bumping acid-electro monster with fat drums and the manic 303 offset by serene chord work to make for a perfectly emotional dance floor delight.

'Freak The Funk' is a second original cut, as rides of crisp snares and snapping drum breaks blend with a warm bassline and smeared cosmic chords up top. It's a classy peak-time house cut with magical pixelated synth melodies.

Alongside superb artwork from PlanetLuke, this is another essential package from Hell Yeah.


DJ Support:

Sean Johnston (ALFOS), Kristian (AME), Fango, Front De Cadeaux, Sinchi Collective, Phat Phil Cooper, Balearic Gabba Sound System

8 tracks of genuine mid-90s acid, techno, and ambient for fans of AGE, Spacetime Continuum, Caustic Window & Air Liquide.

Reissue of A3000 "Magnetic Gliding" album, produced by Swiss musicians Marco Repetto and Stefan Riesen, also known as Synectics on Rephlex and founders of Axodya Records. Originally released in 1995 on the Italian Disturbance label, it has now been remastered and proudly reissued for 2023 in a limited edition of 500 copies by Musique Pour La Danse. Enjoy this trip.

Marco Repetto was a member of the world-famous wave/punk band Grauzone. In the late '80s, he delved into techno, ambient, and psychedelic music, drawing inspiration from nature and shamanic knowledge. His performances are described as colorful, playful, and mind-opening experiences. His main project now is "Bigeneric," which he releases on his label, Inzec Records.

Stefan Riesen has been a prominent figure in the Swiss techno scene since 1995. He is the founder-manager of Phont Music, SuperBra, Morris/Audio, Floppy Funk, and Speaker Attack. He has (co-)produced numerous tracks under various aliases on different labels, including Box Blaze, Flaptrack, Hooper, Nylon, Sonic Tourism, Spin, A3000, Box Blaze & Deetron, Dialogue, Lausen, R.B.R., Sidestepper, Silver Zone, Skank Burner, Synectics, and more.