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Brooklyn-based DJ and producer Son of Lee is a native New Yorker who's been active in the local underground for over a decade. He launched this label back in August with a doozy of an EP that soon sold out, and so we're glad he's back. These are four more flame-hot disco edits marbled with references to many classic sounds and artists. 'Stop Making Cents' is jangling disco-pop, while 'Different Places' slows down to an 80s synth chug and 'Louis-Dreyfus Dance Face' brings some erotically charged disco sophistication and 'Nichols In May' is a mid-tempo and dubbed out delight with funky guitars for days. Classy and effective.

Fresh from dropping a fine collection of reworks by Scruscru, Blur Records welcome back regular contributor Hotmood. He brings with him a belated sequel to his 2023 EP Disco Power. The Mexican begins in fine form via the tease-and-release, disco-funk powered disco-house slammer 'Give It To Me', before opting for a more elastic and rubbery groove on the similarly-minded peak-time bounce of 'Let Me Dance'. Hotmood decides to breathe new life into a string-laden, cowbell-sporting 1970s disco workout on 'That's What You Had', once more exploring effects-laden disco-house dynamics, while closing cut 'Summer Nights' sees him making merry with loops and samples from an old Earth, Wind and Fire favourite and some suitably powerful beats.

Bogdan Ra kicked off his new label Love Affair with some banging house cuts that threw it back to early Chicago styles. This third outing flips the script and shows his range with four disco sounds that take their cues from the late 70s and 80s: all the hallmarks are there, from the classic synths and vocoders to dusty drum machines. 'Complimento' is a smooth title track, while 'Shout' is a French-tinged funk workout., 'Paramour' glides through cosmic disco textures, while 'Fire in Cairo' brings an unexpected vocal twist and acrobatic bassline full of movement. Charming stuff.

Since launching two years ago, Craig White has used the Mister Bear label as a vehicle for quality, musically expansive deep house from a handful of established artists. Chief among these is Chicago great Vick Lavender, who here once more joins forces with trusted multi-instrumentalist Justin Dillard (and on side B, Will Jackson) for a pair of cuts fronted by honeyed vocalist Brian 'Smokey' Williams. A-side 'Experimental' is particularly special, with Williams seemingly improvising atop a chunky, bass-heavy organic house groove marked out by funky Clavinet licks, Ron Trent style percussion, spacey synths and rich organ chords. The collective goes deeper, smoother and even more intricate on flip-side 'Love Times', which is presented in both full vocal and instrumental forms.

Bassline brings together Russell Ruckman and Marcia Carr for a 12", which was originally part of a 2025 digital album, but now drops on wax and has been remastered for extra punch. Side A opens with the vinyl debut of Rani G & Raul Riena's 'Feels So Right' (World-Life-music Raw Teaser remix), which will soon transfix the floor while the driving groove of Hot Issue's 'Motion 96' is a cool vibe with wet clasp and dusty drums brought to life by cute little melodies and plenty of snap. Side B leans into deeper territory with Mercedes' Living For The Moment (Booker T remix)' and the uplifting dub energy of Never Gonna Give Up. If you like soulful house with a classic New York edge, this one bangs.

Your favourite edits (probably) crew, Local Sugar Diggers, aka the trio of sonic sculptors that are Scruscru, Tony Lavrutz and Los Protos all come together here on a new 7" offshoot label from the Soul Service. The a-side cut 'Rave w Polsce' is a full-fat funker with deep cut grooves that roll on rubbery bass and soar with rasping wind leads. Plenty is going on wherever you listen and it all serves to get you moving. 'Otra Ritmo' is an immediate portal to a communal get down somewhere sun-baked and lush with green in South America. The horns, the freewheeling percussion and the loosely assembled rhythm are all irresistible invitations to cut loose.

Harry McCanna is a DJ and producer who might be known to you for his role in running NorthSouth records for nine years with Sam Bangura and Dale Mussington, as well as staffing the decks across the capital for at least a decade and half and taking up a residency at fabric when we came out of lockdown in 2021. Here, he launches a new label, focussed on "the hypnotic, trippy, steady side of things," with his first release under his own name, having released his productions under the Henry Hyde moniker since 2015. Hypnotic it may be, but it's not lacking either in sonic imagination - check the shimmering guitar trimmings, frothy pecussion and vocal flashes of 'A Temporarily Happy Man' - or funkiness, with the basslines to 'Stand & Deliver' and 'Red Moon' the very essence of prodding urgency. Add some sparing but very effective use of neatly edited breakbeats - see the economic propulsion of 'Hard To Leave' - and you've got four track that will slip into the mix very smoothly but come with their own distinctive personality.

Hayter steps up on Hilltown Disco with a razor-sharp vinyl release steeped in acid-tinged electro-wave. A core member of the Clear Memory crew, Hayter has left marks on KRI Records, Clear Memory and a run of self-released EPs, plus a standout contribution to Hilltown Disco’s charity compilation.

This record delivers six original tracks driven by icy electro vocals, machine-funk rhythms and a distinctly intelligent, shadow-leaning mood. Dark, forward-thinking and unapologetic —this is electro for the future.

Mastered by Alden Tyrell.

Limited to 300 vinyl.

Laars presents Ghost Hunter, a four-track, club-focused EP blending funky, acid textures, and melodic house-trance influences. Drawing from 90s dancefloor language while maintaining a playful and contemporary edge, it moves through heavy drum work, hypnotic melodies and tight basslines. While each track carries its own mood — from darker, hypnotic tension to more emotional, break-inflected moments — the release holds together as a cohesive late-night journey.

Real soul heads won't need to be told that this is a reissue which stands tall over most: Lozano is a classic, much sought after and now hard to find record by young Puerto Ricans and Cubans in Spanish Harlem and the Bronx. It's the only album credited to the group and it's rich in funky arrangements and clean falsetto vocals. There are slower, more heart-aching laments like 'Loving You' next to sparkling confessionals about a moribund relationship ('Free Girl') and more empowering, upbeat grooves like 'Can't Get You Off Of My Mind' that capture the excitement of falling in love all over again. It's a wonderful rollercoaster of emotions that come with teenage romance and will have you nostalgic for those innocent times.

Erweiterte Vinyl-Edition mit Gatefold-Hülle und 20-seitigem Booklet mit seltenen Fotos, Songtexten und neuen Liner Notes von Danielle Maggio, die Betty interviewt hat. LP gepresst auf Pearl Flip / Horizon Color Vinyl. Das 1974 erschienene zweite Album ,They Say I'm Different" der Punk-Funk-Provokateurin Betty Davis besticht durch ein futuristisches Cover, das es wert ist, eingerahmt zu werden, und das David Bowies Science-Fiction-Funk mit echtem rockigem Soul-Feuer herausfordert. Den Auftakt bilden die wild-sexuellen ,Shoo-B-Doop" und ,Cop Him" (später von Ice Cube gesampelt), dazu gesellen sich Klassiker wie ,Don't Call Her No Tramp" und der urkomische, harte, tiefe Funk von ,He Was A Big Freak".

Following the success of the rework releases of Trip To Your Mind by Delfonic, LTJ Xperience, and DJ Friction, the time has finally come to reissue the original mixes of this essential and still highly sought-after Disco Funk classic.

Both the original Hithouse Mix and the re-mix by Chris Hill & Robbie Vincent were released in 1979. However, newly uncovered evidence has revealed that the track was actually recorded much earlier. After extensive research, including the rediscovery of Reginald Hudson's original flight ticket dated September 7, 1976, from Los Angeles to London, proof has emerged that the recording sessions took place in late 1976.

Due to unfortunate circumstances, the track remained shelved for several years and did not see release until 1979. By that time, the original backing band, Body Heat-a group of U.S. Army musicians stationed in Germany-had already disbanded. As a result, the record was released under the project name Hudson People.

Reg Hudson has since shared additional photographs and previously unknown information, which will be revealed in the coming months. To further celebrate the record's legacy, an official music video is currently in production and is scheduled for release this summer, marking the track's 50th anniversary.

As the original master tapes have unfortunately been lost, the audio has been transferred and restored using highest end equipment from the best available sources. In particular, the original Hithouse Mix now sounds better than ever before.

The 12-inch release will be presented in a faithful reproduction of its rare original "Disco 45" sleeve, believed to have been included only with the earliest pressings.

The Story Behind the Record

For decades, Trip To Your Mind was celebrated as a Brit Funk classic, although its true origins remained largely unknown. While the track was recorded at London's Advision Studios, Hudson People were neither a British group nor a London-based project-a fact first brought to light through the official 2022 reissue on Backatcha Records.

In interviews with label owner DJ Scientist, songwriter and producer Reg Hudson revealed that the musicians behind the recording were actually members of Body Heat, a GI band based in Germany. Like Hudson himself, most of the musicians originally came from the Chicago area.

"The band included Tony Palmer on guitar, Herva Middleton on drums and lead vocals, Charles Walker on saxophone, Harvey Perry on trumpet and trombone, and Rickey on bass-a five-man lineup," Hudson recalls.

Recorded in late 1976, the track remained unreleased for several years. By the time it finally appeared in 1979, Body Heat was already on the verge of breaking up, prompting the decision to release it under the Hudson People name.

Since the late 1990s, Trip To Your Mind has been heavily bootlegged, widely compiled, and continuously championed by DJs and collectors worldwide, cementing its reputation as one of the most enduring and in-demand Disco Funk records of its era.

50 year anniversary edition! Recorded in 1976, first released in 1979.

"US funky drummer Les DeMerle who is one of the representations of rare groove scenes. hisA1st album which was released in 1968 is finally reissued as vinyl for the first time!AMany killer tracks for diggers are included, such as ""A Day In The Life"" which is also known as sampling material of HIP HOP classic OC ""Time's Up"" and the US No.1 hit great funk numberA ""Aquarius"" by Fifth Dimension.A
In addition, great musicians were joinedAfor this great funk album such as Frank Foster, Lew Tabackin,AArnie Lawrence, Charles Sullivan etc...you can find how young Les DeMerle was a talented drummer even though he was just around 20 years old at that time!"

Scruniversal never misses, no matter what he takes aim at, be it disco, jazz, funk or whatever else. Here, label head Scru's friends are assembled to edit and remix a fine pair of jams. The first is a curious one that marries clary 80s electro and hip-hop with a hint of Latin percussion and jungle bird calls, filtered spoken word and a taught bass twang. It's body popping bait at a slow, inviting tempo. Martem & Ferdi Ferreira then step up with 'Chumba Lala,' which has muscular analogue drums and grinding bass, snappy hits and old school house chords that all add up to a colourful wedge of playful, rigid proto-breaks funk.

Off the back of an epic 3 part triple album “Sidequests”, Session Victim kept the collaborators in tow with “The Disconnect” EP, featuring the talents of Kenneth Scott, Rossano Snel, and Quarion across 5 tracks. It’s the Empire Strikes Back of Rhythm Section EPs – following up from widely acclaimed and best seller “Basic Instinct”. Balancing funk elements of breakbeats, bass guitar, rhodes and mellow synths with finessed modern production, the duo have assembled another masterclass in precise yet characterful house music.

The record begins with “Hey, Activate!”, oozing funk, ambient pads, a groove bassline and optimal arpeggiated synth noodling sets the tone for the whole EP. “Dream Theory” is quite it’s namesake, with a distant sax solo, tremolo sine motifs and a sumptuous lick combining piano and the Session Victim trademark bass guitar.

B-side opener “Flotsam” comes through with smooth breaks and incidental style sampling harking back to the vibes of Herbert, with slow filtered chord groove referencing the vibes of early French Touch masterminds Cassius.

Progressing into more relaxed territory, still ideal for dancefloor moments: “Open Minds” is indebted to old soul jams with bongos, muted guitars and rhodes followed by “Loom”, using similar elements with a vibe akin to early Bonobo.

This EP is testament to Session Victim’s mastery of housemusic, being their 40th EP and standing firm in a crowded scene. Their consistent application of production precision is carried by an emotional heart of gold that you can hear in every record they make. Not to be missed.

Named after the Latin word for the humble house spider, Oonops started his career as a club DJ in the early 2000s and has been collecting and playing strictly vinyl ever since.

In 2013, he started his own radio show » Oonops Drops«, a monthly mixtape-style show featuring a host of international top DJs, broadcast on Brooklyn Radio in New York City. This show inspired the first volume of this compilation, which was released in early 2018 on Agogo Records, alongside the album and 7-inch releases featuring artists from his radio network. Then, exactly five years ago, Oonops finally founded his own sustainable music label bearing the eponymous name. Now, just in time for the 200th episode of his Brooklyn Radio show, Oonops returns to Agogo Records with Vol. 3, which is packed with favourites and rare gems discovered through his extensive community of like-minded collaborators. As you would expect, it includes many unreleased songs that were previously only available digitally or were incredibly difficult to obtain on vinyl – true rarities from the crates. Expect a broad selection of genres, ranging from Japanese jazz and head-nodding beats and hip hop to samba-esque funk, rare groove, reggae and Brazilian-influenced styles. Get ready, enjoy and rewind!

While self-proclaimed "garage and jackin' house" revivalist Marc Cotterell has developed his Plastik People label into a fine outlet blessed with an ever-growing family of artists, he still maintains a steady release schedule of his own. The British producer is naturally in good form on his latest Plastik People missive. Check first opener 'Take Your Time', where breezy piano stabs and deliciously soulful vocals ride a squelchy bassline and loose-limbed garage-house beats, before admiring the more "trad" soulful house flex of the gorgeous and lightly funky 'Mysterious Ex'. Over on side B, 'Feed The Soul' is a string-laden slab of revivalist New Jersey garage-house goodness which doffs a cap to the early 1990s, while 'This Life Living' re-casts Jill Scott r&b classic 'Golden' as a rolling soulful house delight.

First Word Records proudly present the second single from Above The Clouds (aka kidkanevil & Magic Manfred), taking on another underground hip hop classic, 'Change'.

'Change' was originally performed by Shadez of Brooklyn, produced by Da Beatminerz and most notably appeared on DJ Premier's legendary 'New York Reality Check 101' mix compilation back in 1997.

This 7" vinyl release follows on from last Summer's MF DOOM cover 'Arrow Root', which received strong support from the likes of Japan's DJ Koco and Philadelphia's DJ Jazzy Jeff.

This new instrumental reinterpretation also features cuts by Leicester-based turntablist, Jon1st - a DMC World Online Champion, as well as being a producer & musician in his own right, collaborating on music with a number of hip hop, D&B and electronic artists.

One of the original First Word roster, UK Producer/DJ and all-round laptop music geek kidkanevil has developed a distinctive and progressive sound over the years, gleefully exploring the beats and bleeps of the electronic music universe to international recognition. Leeds born, sound system bred and raised on a (un)healthy diet of video games and anime, his solo work inhabits the curious space between bass frequencies and otaku culture. But as a devoted teenage backpack rap nerd, somewhere in the back of kid's mind was a lingering desire to reconnect with his first love, hip hop.

Not long after moving to Berlin he joined a studio space in graffiti plastered Kreuzberg, where he met multi instrumentalist wizard Magic Manfred; a disciple of all things boogie, disco, funk and soul. Born and raised in Berlin, and currently a touring musician for many an act, Manfred's musical map joins the dots from piano lessons at four, to starting a band with his teenage friends, leading him to his true calling - the bass - via the club vibrations of his hometown, which introduced him to the world of DJing and production, and a stint studying in the explosive London jazz scene to finalise his Jedi training.

Bonding over their mutual love of '90s hip hop, a friendship and musical kinship developed, coupled with a desire to honour past eras but push things forward, Above The Clouds was born; named after their joint favourite DJ Premier beat, with a touch of irony regarding their basement based studio of a windowless variety.

kidkanevil explains further "We started the project with a few covers, just as a way to get warmed up and in a certain creative headspace, of which 'Change' by Shadez Of Brooklyn was one. We both loved DJ Premier's 'New York Reality Check 101' mix when we were teenagers and this track was a favourite. The elements really lent themselves to live interpretation, and as an instrumental there was space to bring some nice movement with the bass and stuff. Hopefully we found the balance between paying tribute and finding our own pocket. For the final seasoning we hit up the homie and turntable wizard Jon1st to recreate the cuts, of which he did an immaculate job of course.

The b-side 'Urgh' is one of our favourite beats we've made so far; the title is just how it makes us feel! We actually recorded the piano with two iphones as left and right and it sounded kinda cool so we went with it..."

'Change / Urgh' is released on limited 7" vinyl & digital platforms, April 24th 2026.

The next release in M-Plant's Perpetual Masters series is Robert Hood's "Invincible" EP, freshly remastered for 2026 by Thomas Heckmann.

Originally released in 2001, "Invincible" stands as another defining example of his stripped-back, approach to Techno while still radiating tough funk and groove. Released during a period when Hood was refining the minimalist aesthetic he helped pioneer, the record balances mechanical precision with emotional intensity. The tracks unfold through subtle shifts in percussion, looping synth patterns and driving basslines, to create a meditative momentum that sounds just as fresh today. "Invincible" draws its power from restraint, demonstrating Hood's belief that minimal elements can produce maximum impact on the dance floor.

Each track will be released digitally in May, followed by the full vinyl EP in July.

This release is a homage to the Turbo label.

Turbo was a part of Joe Robinson and Sylvia Robinson’s All-Platinum Records set up in New Jersey which operated from 1967 to 1979. At one stage the fiercely independent and proudly black owned label threatened to become another Motown or Philadelphia International. That never happened, but the Robinson’s dream of worldwide success came later when Sylvia discovered Rap, recorded Rappers Delight by The Sugarhill Gang and Sugar Hill records was born.

Music historian Steve Guarnori describes All Platinum as "probably the most unusual record company there ever was. Dysfunctional, but at the same time wonderful."

The All-Platinum chaos extended to Turbo. But despite anarchy - some superb albums went straight from manufacture to be deleted and sold as cut-outs - sublime music was created. This 10" 6-track release collects together some of the most hallowed Turbo releases which between them have become cherished by collectors.

Brother to Brother "The Bottle" captures the label at its most astute. Gil Scott-Heron and Brian Jackson’s original version was an album only track on Strata-East so Turbo seized the opportunity to quickly make a worthy cover version and rush release it a single which enjoyed success.

"Ton Of Dynamite" by Frankie "Love Man" Crocker was Turbo’s debut release in 1968 (it actually sounds a later recording). At the time Frankie was a DJ on WWRL radio station in New York and the release was essentially a reward for his previous support of All-Platinum releases. The record (a b-side) is actually made Willie & The Mighty Magnificent who went on to re-record it as

"Funky 8 Corners". It took until 1975 for "Ton Of Dynamite" to get recognition when it became an anthem as the UK Northern Soul scene adopted it as part of the movement away from old skool 1960’s Soul. Whatever its’ provenance, "Ton Of Dynamite" is now revered by the Rare Soul and Funk communities.

The Optimistics "Man" from 1971 is another b side single. The group specialised in smooth harmony Soul but "Man" is a funkier affair which won support from Rare Soul aficionados and will cost you £600 plus if you are lucky enough to locate a copy of the hard to find 45.

Willie & West "Attica Massacre", also from 1971, is an even more elusive single. It is a powerful protest against the killing of 29 prisoners, many black, following a riot at a prison - Attica Correctional Facility in New York. The deaths and a subsequently discredited cover up caused outrage. John Lennon was amongst the first musicans to make a recording about the bloodbath, but the most emotional protest is this Willie & West track. Only 300 copies were manufactured of one of the most powerful civil rights recordings ever made. The vocal sounds like anti-War Edwin Starr at his most bristlingly aggressive.

Perhaps the strangeness of All-Platinum is best illustrated by the later success of Lonnie Youngblood "Sweet Sweet Tootie" which is essentially the backing track of "Attica Massacre" plus exquisite sax playing by Lonnie. Despite it selling 100,000 plus copies the label did not see this as a reason to reissue "Attica Massacre". Strange. Or as Marvin asked "What’s Going On"?

The New Sounds "Don’t Take Your Love From Me" was only issued by Turbo as an album track. Despite good music on it the LP was poorly (it at all)/ promoted and flopped. The superb "Don’t Take Your Love From Me" is a long time Northern Soul / X-Over favourite.

Larry Saunders mesmerising "On The Real Side" made no impact when released on Turbo in 1974 but was nevertheless issued in the UK by London Records. The Northern Soul discerning dancers instantly latched on to its combination of uplifting lyrics, heartfelt vocal and clomping beat and since then its’ appeal has extended across the whole of the Soul community. Without doubt an all time classic.

So six treasures from a label that despite frequently advocating cash out of chaos frequently conjured up awesome music.

ANORAX is grateful to have the opportunity to present this very special Soul selection.

2026 Repress

Chlar returns to his Primal Instinct label with 'Modern Survival'

Following the widely praised Funk Assault (Chlar & Alarico) 'Minimum One Post A Week' EP, which kicked off the Primal Instinct label last summer and won the support of the likes of Rodhad, Tasha, and Luke Slater, as well as routine plays from Sarah Story on BBC Radio 1, Chlar now returns to his imprint with solo venture 'Modern Survival'. While the first Primal Instinct release saw references to artist urges and behaviours on social media, this next instalment explores a modern recontextualisation of humanity's hierarchy of needs in yet another high-concept EP.

First up, 'Internet Soulmate' boasts a crunchy bassline as its drum work chugs along the track playfully. The groove twists and turns before the hypnotic and tribal 'Supermarket Hunting' continues with sounds of nature, loopy rhythm and syncopated bleeps.

On the B-side's 'Body Control Officer', human-made grooves intertwine with machine-like thrum, synths whirring and zapping, while 'Competitive Influencing' takes off with rolling percussion, subtle whistles and distorted vocal one-shots. Closing out another stellar offering from the Primal Instinct frontman, Chlar brings the dark 'Scout My Algorithm', a brooding slow-burner offset by smooth arpeggio snippets and warped slices of digital noise.

"In an era where technology entwines our everyday existence, where the virtual realm shapes our interactions, and where the pursuit of influence takes centre stage comes an EP that delves deep into the modern tapestry of human existence. 'Modern Survival' is not merely a collection of songs and visual clips, but a poignant reflection on the intricate dance between our primal instincts and the brave new world we navigate today. The EP invites listeners on a journey of self-discovery and reflection, prompting them to ponder the fundamental essence of our existence in an environment of fast-paced technological evolution." - Chlar

DJ Support: Claptone, Adam Beyer, Joris Voorn, Kaskade, Martin Solveig, Bob Sinclar, Deeper Purpose, Malaa, CID, Valentino Khan, Claptone, Malaa, Danny Howard, Fatboy Slim, Bob Sinclar, James Hype, Tita Lau, Format:B, Fedde Le Grand, Mark Knight & more.

Toolroom Trax Sampler Vol. 5 delivers another heavyweight selection of cutting-edge House and Tech House grooves, curated straight from the heart of the underground.

2026 Repress

That 27th split of the series is dedicated to the homeland of acid music - the United Kingdom. On my right, cult acid producer Roy of the Ravers, with some melancholic braindance and raw techno coming from his tormented acid jams. On my left, 707-addict Jerry LaFlim, with two disturbed tunes mixing funky electronica, dark breakbeat and groovy electro. From Melchester to Brighton, four heavy tracks for the 303 trainspotters !

Drama On The Corner makes a powerful return with "ORIXA", its second EP, with a vinyl release on
Betino's Records.
Designed as both a collector’s record and a club-ready release, ORIXA draws deeply from Adrien de
Araujo’s brazilian roots, reimagining Brazilian funk, samba-funk and 70s rare groove through a bold,
modern and warm production.
With these six tracks, the duo delivers instant classics, blending candomblé rhythms, broken beat, soul
and forward-thinking house music

With Get Together III, the journey moves into its next chapter, as four artists come together once again to bring the many colors of electronic music to life.
modul808 opens the journey with deep, warm chords and a driving groove that instantly pulls the listener into the depths of its sonic landscape. In “Kamuro”, shimmering details line the explorer’s path, while the magical vocals of Igor Pose are elegantly woven into the arrangement, creating a dense and hypnotic atmosphere. With “Habits”, Heidmann continues the journey in a similarly groovy fashion, leading the way to sunlit clearings filled with memorable melodic gems. Cie effortlessly picks up the uplifting mood on the B-side, where the magnificent “Schlosshotel” unfolds with majestic chords and shimmering strings, inviting every house lover to stay for a while.
Finally, the journey home begins with Dip’s “Module”, which follows a deep path once more, uncovering sparkling sonic secrets along the way.
Together, the four tracks form another chapter in the Get Together series - a warm and timeless deep house journey shaped by four distinct artistic voices.

Mit Get Together III geht die Reise in ihr nächstes Kapitel: Vier Künstler kommen erneut zusammen und bringen die vielfältigen Farben elektronischer Musik zum Leuchten.
modul808 eröffnet die Reise mit tiefen, warmen Chords und einem treibenden Groove, der den Hörer sofort in die Tiefen seiner Klangwelt zieht. In „Kamuro“ säumen glitzernde Details den Weg des Entdeckers, während die magischen Vocals von Igor Pose elegant in das Arrangement verwoben sind und eine dichte, hypnotische Atmosphäre entstehen lassen. Mit „Habits“ führt Heidmann die Reise ebenso groovig fort und öffnet den Weg zu sonnendurchfluteten Lichtungen voller einprägsamer melodischer Klangperlen. Die gute Laune greift Cie auf der B-Seite mühelos auf: Vor ihm erhebt sich das prächtige „Schlosshotel“, das mit majestätischen Chords und schimmernden Strings jeden House Liebhaber zum Verweilen einlädt. Beschwingt beginnt schließlich die Heimreise mit Dip’s „Module“, das erneut einen deepen Pfad einschlägt und auf seinem Weg funkelnde klangliche Geheimnisse offenbart. So entsteht ein weiteres stimmiges Kapitel der Get Together-Reihe - vier Künstler, vier Perspektiven und eine gemeinsame Reise durch warme, zeitlose Deep-House-Landschaften.


Early DJ Feedback:
Christian Seitz / Show "Neuland" on Radio Z
A beautiful compilation that brings together deepness and dancefloor
Sebastian / f.a.r.e.s / Bass And Space
Great EP, thanks!
ed2000 / Dangerous Drums, Cashmere Radio, Face Radio, dub intervention
Very nice set of tracks, support and thanks radio and dj set plays.
Sasha / Circus Recordings, Renaissance, Global Underground
Cool from Cie
Anthony Pappa / Selador / Renaissance
Nice tunes. Thank you.
Timo Maas / Cocoon Recordings, Crosstown Rebels, Rockets and Ponies, Mobilee, Moon
Harbour, Tenampa, etc etc
Nice Heidmann
Stéphane Chambord / Radio Resonance ("DeeJay Academy" Radio Show)
repérages : Kamuro & Habits je prépare une émission spéciale avec un mix des productions du label
Cyprien Rose / Lui, Houz-Motik, Waxdoesmatter
Amazing > Modul808 - Kamuro feat. Igor Pose
Rob Zile / Brain Food Radio (Kiss FM) / Brain Food Records
Great deep tunes
John Digweed / Bedrock Records
Downloading
T. Carlita / In My House
Good Vibe
Laurent / WTM
Another wtm's playlist is coming soon…;)
Douglas Arellanes / Radio 1
Cool chilled out vibe on this record.
Valerio Vaudano
I like "Kamuro" and "Habits". Will try these warming up the dance floor. thx for sending
Stuart Bruce / Chain DLK
Downloading for possible review on ChainDK
Noah Pred / Thoughtless, Biotop, Highgrade
Some nice ones here, thanks.
Ninu / Hipodrome
I like Habits
BARRcode / Backseat Mafia
Solid release.
Carl Craig / Planet-E
dl 4 erno thx!
Ilario Alicante / Cocoon Recordings, Alphahouse, Bosconi, Prism
Downloading for Ilario Alicante, thanks for the music!
Andrew Till / Machine, Fnoob
Cool dubbed out grooves ,,,Heidmann - Habits is my pick.
Ju / Upperberry
Dope =)
Kat Davids
nice and smooth!
Como Las Grecas / Kali Modernphase, Denis Yurgens, Alejandro Club, German MT, Como Las
Grecas
Deep mind in house groove. Interesting VA of deep house.
Dole & Kom / Death By Disco, Mixmag
Really liking Modul808's and Cie's traxxx Thank you

Human Tree Records proudly presents Ghost Town, the third EP by Bam Bam’s Boogie, landing on 30 January. Following the exclusive vinyl release on Bandcamp, this marks the digital edition of the record

The project unfolds across four tracks that push the band’s hybrid language into darker, heavier territory, while also marking a new point of departure. Ghost Town consolidates what makes the trio so compelling, a rare alignment of sound, research, and pure energy, sharpened into a focused statement that still refuses to sit inside one genre.

Ghost Town is a collision of drum and bass, funk, breakbeat, and afro inspired grooves, built for maximum impact. Expect pounding rhythms, sharp textures, infectious melodies, and lyrics that cut deep. At the core is Jacopo Aluzzi, producer, bassist, and multi instrumentalist, transforming the bass into guitars, synths, and otherworldly noise through live looping and effects. On vocals, Kiko King delivers haunting words with magnetic presence, while Eric Oder on keys and synths expands the palette and amplifies the band’s live intensity. A visceral soundtrack for nocturnal movement, a chase through neon streets and empty corners, where the ghosts of the title feel uncomfortably close.

Italian multi-instrumentalist, composer, producer and vocalist Alex Puddu is returning with at brand new album "Francia Meccanica" A strong set of songs with catchy hook lines and up tempo groove. Taking us back to the late ’80s and early ’90s disco-house production with refined, sexy vibes that introduces eroticism in both Italian and French. It’s a perfect cocktail mix that pairs seamlessly with Alex’s voice and performance, beats, funky bass, acid sax, and sultry French spoken words. Alex Puddu brings pop disco and retro vibes back in trend — always essential to his style and musical world — and sweeps us into wild French nights blending transgression and romance.

Official reissue of a German under-the-radar disco tune. The original from 1979 is a bubbling dancefloor stomper with freewheeling synth lines. For the flipside of this 7" Korkut Elbay created a spaced out balearic dub rework. Picture sleeve with a funky painting by Holger Kurt Jäger that picks up on the original.

The melody of 'Butterfly Dance' came to Dieter Bührig's mind as a butterfly floated through the recording studio during a session break. The resulting track landed on a compilation with mostly cover versions of disco hits. Now, more than 45 years later, the tune found its well-deserved single release on funkscapes.

Korkut Elbay is a fixture of Cologne's electronic music scene for over 20 years. He's part of the Cómeme camp and with remixes and edits for labels like Permanent Vacation or funkscapes he prooves his sensitive feel for the dancefloor. So does he on this rework, giving the orginal space to breathe and calm down without leaving the dancefloor.

Dieter Bührig studied electrical engineering and sound recording in Berlin. Afterwards he worked several years as a sound engineer for the music industry and as a producer. Later on he worked as a teacher for physics and music, trained trainee teachers for secondary schools and wrote articles and publications on musical education, choir and band arrangements. Nowadays he's writing, among other things, musical crime stories.

It's time to dip into the secret vault once more, and after the first two visits this year, we can't wait. The latest from this mysterious and so far anonymous new label and production crew is another scorching disco two-tracker. The opener on the A-side is full of excitable horns and funky guitar lines with irresistible hand claps and tracky grooves that roll for days. On the flip-side, 'Track 2' brings a vocal line that is brings a sing-along and uplifting vibe as it rides on busy, funky bass motifs with lovely slide in the hi-hats and more lush strings. It's a big-hearted and fulsome disco-house sound for when the whole floor needs locking in to a loved-up vibe.

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.

New York's P-Sol lands again on their small but already well-formed PS7 label with a pair of smartly crafted and soul-soaked cuts. 'Fat Beatty' comes first and glides in on silky, neo-soul style deep hip-hop with an easy, late-night warmth topped by a few bars of neat rhyming. On the flip is something more playful and funky with jazzy keys dancing over the languid rhythms. 'Legend' features some familiar gravelly but emotive tones as well as some other smart samples from the hip-hop world. Smooth yet substantial, this is P-Sol at his most relaxed and refined.

This album plays like an invitation rather than a record - a slow boarding pass to an imagined retreat somewhere beyond gravity. Analogue synths shimmer like gold, bubbling rhythms drift in gentle orbits, and playful melodies sketch out distant galaxies with an easy, unforced charm. There's a strong lineage here, with the music echoing classic library and soundtrack recordings cherished by deep diggers, yet it never feels nostalgic for its own sake. The grooves are light but nourishing - 'Uranium Jungle' has a touch of Luke Vibert's frisky funk about it, while 'Martian Sunset' is interstellar bossa nova with a light dusting of 70s analogue magic to boot - designed as much for sofa-bound drifting as for attentive listening. Musicianship is front and centre throughout, with smart, accessible compositions that reward repeat visits. A fully realised concept - sign us up for a stay.

While brothers Simon and Robin Lee have kept themselves busy, both with EPs as Faze Action and numerous offshoot and solo projects, it's been almost 12 years since we last heard a fresh, full-length excursion from the long-serving duo - at least under their most famous moniker. Predictably, Distant Dreams was worth the wait, with the Lee siblings continuing their richly organic approach - think live bass, guitars, strings, keys, flute and percussion alongside synth sounds and drum machine beats. Musically, it draws on their now well-known influences - warming disco, jazz-funk and Balearica with nods to other musical cultures - and delivers eight impeccable tracks that undoubtedly sit amongst their classiest work to date. It's good to have them back.

Released in Nottingham at the turn of the millennium, when the city was at the heart of an exciting underground scene, Lounging sits between trip-hop's slowed breaks and deep house's low-end drive. Drum programming is loose but controlled, with swung rhythms underpinning warm basslines and restrained chord patterns. Tracks alternate between vocal cuts featuring Gea Russell and Isi Samuel, and instrumental pieces built on short sampled phrases and repeating hooks. It's a perfect record for either pre-club or post-rave, especially on warmer days, and this anniversary edition has been remastered by Shawn Joseph. A welcome return for a low key classic.

A true disco anthem collides with French electronic elegance as Bon Entendeur reimagine the iconic Boys Town Gang classic Can’t Take My Eyes Off You for a new generation.

Originally released in 1981/82, Boys Town Gang’s explosive hi-NRG reinterpretation of the 1967 Frankie Valli original became one of the defining dance records of the era. The track stormed to No.4 in the UK Singles Chart while dominating dancefloors across Europe and beyond, hitting the top of the charts in countries including France, the Netherlands, Belgium, Spain and Japan.

Decades later, its euphoric energy still feels timeless. Now, Parisian duo Bon Entendeur inject the record with a fresh wave of sophisticated French touch cool. Renowned for their seamless fusion of nu-disco, house, funk and nostalgic pop culture references, the duo have become one of France’s most distinctive electronic exports. Bon Entendeur have built an international following, mastering the art of blending retro emotion with modern electronic production.

Their connection to iconic French musical heritage has become a signature. Following the success of their celebrated collaboration with Jeanne Mas on Toute Première Fois, Bon Entendeur now turn their attention to another record deeply woven into France’s club culture DNA. And it makes perfect sense. Bon Entendeur tap directly into that shared musical memory, delivering a remix that feels both nostalgic and effortlessly contemporary.

The result is a dazzling crossover of generations and styles: disco emotion, uplifting grooves and sleek French electronic sophistication wrapped around one of the most instantly recognisable hooks ever recorded.

French touch meets disco immortality. Et voilà.

a A1 Bon Entendeur Remix Ben Liebrand 12" Edit

Legofunk Records has returned with “Super Disco Edits”, continuing its signatureapproach of breathing new life into vintage grooves. This release fits right into the label’s niche: carefully crafted edits of classic disco and funk tracks, often extending breaks, enhancing rhythm sections, and making them more DJ-friendly while preserving the soul of the originals. Legofunk has built a reputation among collectors and selectors for digging deep and delivering versions that feel both nostalgic and fresh.

Trajectories collide in a wormhole as Tokyo-based Igaxx and Amsterdam-based Gropina converge on a crepuscular four-track 12-inch and digital release for Paesaggi Records. Igaxx drifts through near-beatless, spiralling psychedelia: “The Perception” is a slow-burn ascent, suspended in a state of perpetual anticipation, forever circling a climax that never arrives. “Someday in Time” settles into a steady pulse that glides outward, dissolving into the distance as if lost in quiet contemplation.

On the flip, Gropina reshapes the two pieces through his own sonic lens, like stepping through the looking glass. “The Perception (Version)” brings a supernatural, Kraut-inspired vibe, opening with a deceptive 2:35 intro before unfolding into Mother Sky-esque drums, primitive flutes, and reversed guitars. “Some Day In Time (Version)” is a dubby reinterpretation driven by a ’70s Ace Tone drum machine, a funky bassline, dub-soaked guitars, noir alto saxophone, and subtle details swirling through the mix.

Gap Mangione's monumentally influential Diana In The Autumn Wind. AKA BEWITH200LP. And, without question, Be With's White Whale.

They said it could never be done. And with good reason.

We've spent the past 12 years trying to license this legendary 1968 recording from Gap and, after much work, it's finally here. Remarkably, this is the first ever vinyl reissue of Gap Mangione's Diana In The Autumn Wind, produced with the full and extensive participation of Gap. An exceedingly rare album, it's been coveted by funk, soul, jazz and hip-hop sample fiends for decades.

It's unarguably *the* most sought after album for J Dilla / Madlib sample collectors. It has also been brilliantly sampled by A Tribe Called Quest, Large Professor, Ghostface Killah, Kendrick Lamar and Talib Kweli.

But this record is so much more than a sample-spotters curio. It's solid gold throughout. Bursting with killer funky-jazz grooves and tracks adorned with warm electric piano, the release is notable for featuring some extremely significant players at the very outset of their careers; Tony Levin, at 21, whose superb playing on both acoustic and electric bass was the harmonic mainstay of the trio and Steve Gadd, at 23, one of the greatest drummers of his generation.

With acceptable copies of this holy grail changing hands for $400, to call this reissue "much-needed" underplays just how vital it is. Gap's story is told in his words alongside rare photos across a sumptuously designed 2-page insert and, to augment this deluxe edition further, its all wrapped up in a beautiful, no-expense-spared luxury tip-on sleeve, as per the original hens-teeth release. And, while we're talking packaging, just take a look at that cover - a work of art in and of itself.

The tracks are short but complex, with that extraordinary rhythm section backing the beautiful piano, organ and electric piano work of Gap. It's like the best ever library funk breaks record you never heard - but all your favourite golden age rap producers were all over it, long ago. It's a stunning blend of the vibrant, driving music of the Gap Mangione Trio coupled with the sensitive composition and superb orchestration of Gap's legendary brother, Chuck Mangione, who helmed an amalgam of seemingly disparate elements – rock, big band jazz, solo improvisation and "classical" music - into a spectacularly cohesive whole that has aged wonderfully well. As Gap himself notes in the liners, "with this group I was able to explore and add new and exciting elements from rock, Brazilian and then-current pop music."

Opener "Boy With Toys" triumphantly swaggers out the gate, all big band horns, flutes and dextrous organ work. The synthesis of everything going on is nothing short of stunning. When one wise YouTube commentator called this tune "old school superhero music", Gap agreed. Rap luminaries did, too, amongst them Talib Kweli, who rapped over DJ Scratch's chopped up intro for "Shock Body" on his Quality album back in 2002.

You've barely recovered from that incredibly affecting opener when you get hit over the head with the exquisite title-track. And now you see how two of the greatest beats of all time emerged from one single track produced nearly 50 years earlier. Unforgettably utilised by Dilla for Slum Village's heartbreakingly good "Fall In Love" and then Madlib for his "Official" beat for Dilla to rap over, on the Jaylib record. Regardless of the records it went on to spawn, this is just a staggering tune in its own right. Be beguiled by the flutes and the flutter tonguing, the counter-melody from the trombones, the soprano sax solo. All of it. Simply beautiful.

The questing organ and horn workout "Long Hair Soulful" deserves a lot more attention, overshadowed somewhat by the opening two monsters but no less fantastic. It swings, it grooves and Gadd and Levin truly cook. Up next, Gap's wonderfully percussive, mellifluously piano-heavy cover of "Yesterday" by some fellas called The Beatles. It's a subtly arresting gem. "The XIth Commandment" is damn fine, with thick, gorgeous electric piano and snappy drum work underpinning chaotic soundtracky horns. To close out the side, "St. Thomas" showcases the "fourth" member of the Gap Mangione Trio, conga drummer Dhui Mandingo. Having performed with the Trio since 1965, Dhui‘s African-based and jazz-latin-influenced style amazed listeners and its way to hear why.

Opening the B-Side, standard "You're Nobody Till Somebody Loves You" breezes along in the late-night jazz club fashion before things get super deep with the outstanding and - up to now - un-sampled "Pond With Swans". It's simply heavenly, and how its moody, melancholic intro has yet to be pilfered is anybody's guess. It oscillates between gentle, sombre movements and bombastic grooves, equally hypnotic and joyous. The rendition of "You Are My Sunshine" is yet another showcase for Gap's virtuoso playing and Gadd's mastery of the pocket. Indeed Gadd's drumming on "Free Again" is nothing short of neck-SNAPPING! Ghostface took it for not one but two "Iron's Theme" tracks across his seminal Supreme Clientele. It's got that Galt MacDermot "Coffee Cold" feel. Suuuuuper cool. The frantic "Dream On Little Dreamer" hurtles along and must've surely had the whole room absolutely swinging from the chandeliers back in Rochester in the late 60s. The album closes with the magnificent Graduate Medley, featuring memorable renditions of "Scarborough Fair", "The Sounds of Silence" and "Mrs. Robinson". The warm electric piano lines of the former were sampled by The Ummah (Dilla again!) for Tribe's "Pad & Pen" from their reappraised final album, The Love Movement, as well as by Large Professor on his much-loved "The LP (For My People)".

Under the watchful eye - and extremely attentive ears - of Gap Mangione himself, the audio for Diana In The Autumn Wind has been carefully remastered by Be With regular Simon Francis, with a few much needed tweaks here and there, according to the artist's wishes. At the prestigious Abbey Road Studios, 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 the always stellar Record Industry in Holland. The artwork restoration has taken place here at Be With HQ and has that drop-dead gorgeous cover artwork popping like new. Buy on sight!

Masterpiece of Japanese spiritual jazz - Jazz funk originally released in 1971.

Japanese traditional instrumental 'Shinobue /Noh pipe' played by Suiho Tosha and arranged by Norio Maeda.

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

Swooped Records would like to introduce our limited series of vinyl only edits We love many of the edit labels with 1-2 tracks per release, and we’re going to help you value up with 4 top-shelf cuts on every record! We kick it off with Chainsnatcher “Jump Up In It” Vox that is straight up, dirty, bumping House music! It’s also featured on Derrick Carter’s for The 6 Mix w/ Mary Anne Hobbs on BBC’s flagship BBC Radio 6 Music. Next up Ric Viera of Guided Methods fame teams up with Elrose for “Only Ewe”. This funky House take on an afro-boogie jam will shake the dance floor and keep the discerning heads nodding. The flip side brings us Chainsnatcher “Jump Up On it” Dub. This is for those that want a stripped back version of the Vox with well placed, minimal vocal snippets and that dance floor boogie. Agent 818 rounds it off with “Don’t Let Nobody” and it’s time to get the summer time vibe started pronto! This jam will do the trick whether it’s day party-fun to after-hours strutting, just ask DJ Heather as she’s been playing it for a minute now.

Hope you dig!

In ein paar Jahren kann viel passieren. Für Jarred Beeler von DJ Plead bedeutet das, ein ganz neues Album aufzunehmen, es dann wegzuwerfen und schließlich etwas völlig Anderes zu veröffentlichen. ,Please" wurde zusammengestellt aus einem Ordner mit 120 Demos und Skizzen, die zwischen 2023 und 2025 entstanden sind, und präsentiert die unverwechselbare musikalische Palette des libanesisch-australischen Produzenten, die Techno, House und Dub aus dem Club mit den Dabke-, Mijwiz- und Shaabi-Klängen eines levantinischen Tanzkreises verbindet. ,Please" folgt auf ,Relentless Trills" aus dem Jahr 2020. Veröffentlicht als Teil von Boomkats ,Documenting Sound"-Reihe war diese Veröffentlichung eine Offenbarung, die über die hochintensiven Hard-Drum-Kracher hinausging, die über Livity Sound, Nervous Horizon und sein eigenes Label Sumac erschienen waren, hin zu einem eher ambienten Ausbruch seiner markanten Percussion und gewundenen Maqam-Melodien. ,Please" ist ein noch intimeres Werk, dessen Cover eine Nahaufnahme von Beeler zeigt , der in der einen Hand eine Tasse Kaffee hält, in der anderen seine Habseligkeiten. Handy, Schlüssel, Tabletten, Tiger Balm. Es ist eine zutiefst persönliche Darstellung des Alltags, die die gemächliche emotionale Resonanz der Trackliste des Albums widerspiegelt. Ein melancholischer Ambient folgt auf das verzierte Dahintuckern von ,Seven Eight, Too Late", das von Downtempo-Atmosphären heimgesucht wird. Das sanft groovende Klavier, die Gitarre und der Bass des Abschlussstücks ,Traffic" verschmelzen mit dem organischen Nachhall und Verklingen von Raum und Zeit. ,Ich fühle mich nicht ganz wohl dabei, diese Tracks zu veröffentlichen. Ich fühle mich verletzlich", sagt Beeler, der Smalltown Supersound-Labelchef Joakim Haugland als entscheidend für die Verwirklichung von ,Please" würdigt. ,Ich bezweifle, dass diese Demos jemals von jemandem gehört worden wären, wenn er sie nicht aus dem Ordner geholt hätte." Aber haben wir nicht Glück, dass er es getan hat? Die schwülen Keyboard-Improvisationen des Albums bei Höhepunkten wie ,Right On Time", ,Pa700" und ,Open Era" sind eingebettet in eine Mischung aus schwankenden Found Sounds und mikrotonalen Läufen. ,Bei einigen Songs spiele ich auch einfach nur Keyboard über einem Loop, den ich erstellt habe. Da gibt es nicht viel Produktion oder Glanz, hinter dem man sich verstecken könnte", erklärt Beeler. ,Gerade diese Tracks wirken ziemlich roh." Diese behutsamen Schritte außerhalb von Beelers ästhetischer Komfortzone aus Kontrolle und Funktion hin zu ungefilterter Offenheit erzeugen eine spannende Spannung. ,Please" nähert sich gekonnt jenem schwer fassbaren Punkt zwischen Distanziertheit und Sentimentalität, wo das Alltägliche, das Spezifische und das leicht Absurde auf das Tief empfundene und aufrichtig Bewegende treffen.

DJ Support by Massimiliano Pagliara, Fabrizio Mammarella, Ally Tropical, Sofa Elsewhere, Alexander Back, G-ha, Secret Soul Society, Olle Abstract, Logan Fisher, Timmy Stewart, Erki

The Vendetta Suite continues to show his broad range on Hell Yeah with the Scrabo Electric EP. Youthful memories, mushroom trips, 80s electro, dub and sleazy disco all colour a nostalgic tribute to early beat street culture in his home town of Newtownards.

Gary Irwin is a label mainstay with a thirst for weird and unconventional fusions that reframe 70s and 80s references through a contemporary lens.

Drawing on memories of breakdancing, dub reggae, and teenage mischief, he channels the spirit of demolished record shops, discos, and local haunts that shaped his musical identity. From tape-swapping electro compilations and local characters to dub influences and teenage discos, each track reflects a personal chapter rooted in 1980s Northern Irish life.

The wiggy rhythms of the title cut to the echo-laden 'A Dub For Dave', the punchy 80s drums of 'Uprock At Digby's Disco' and raw, textured funk breaks of 'Lead Mines Bonus Beats' all mean this EP blends cultural memories and musical history with undeniable style.

For WOLFEP088, we’re welcoming an Italian stallion to the WOLF stable. DJ Soch is a renowned DJ, producer, and label owner whose roots in house music run deep. Beginning his journey behind the decks in the mid-1980s, he has spent more than four decades honing a sound shaped by house, techno, disco, funk, hip-hop, and the timeless influence of Detroit and Chicago. As the founder of Black Angus Records and a resident DJ at the renowned Italian club Serendipity, he has shared lineups with some of the best to ever do it, helping to shape Italy’s underground electronic music scene.

When his tracks hit the WOLF inbox, we knew we were onto something special. The first one we heard, ‘Let Me Tell You’, was an instant yes, must sign moment. There’s skippy drums, warm keys, church organ, a heavy bassline and a pleading, soulful male vocal. One of those tracks that should come with a neck-brace. Soulful, but powerful. There’s also a ‘Power Mix’ version that keeps all the elements we loved, but strips back the vocal and ramps up the church organ. Absolute Holy Ghoster! This is the type of track that would have torn up the dance floor at the Shelter, a real Timmy Regisford tops-off jam.

On the flip, there’s a hypnotic deep house groove entitled, ‘Chewing Gum’. This is proper stuff, heads-down, deep house for the dance floor. We’ve paired it with a remix from Prince Palmer, one of the standout remixers of recent years, and a great group of guys. The Prince has delivered a reinterpretation that gives a nod to 90s US Garage, complete with all the trademark production chops you would expect from a regular on the stellar Bobby Donny label. It’s a track that wouldn’t sound out of place on a peak-period Strictly Rhythm 12”, so that’s all you need to know.

Four belters, all on one record, designed for maximum listening pleasure.

Salon Records is proud to welcome Lil Mark & Jason Hodges for the single Wait. Pure house anthem with a strong focus on groove and funky drums declined also in an instrumental version. Stuttgart based producer Anneke Laurent, known for his production with Markus Schatz under Neverm!nd, delivers a classy deep house version of Wait, while Moritz Piske & Antislash, long label buddies joined their forces to produce a badass remix, slightly more funky, minimal and full of off beat humour.

Zero Netcost returns with “Ten Years Later”: an elegant downtempo cut driven by delicate piano and a spellbinding vocal. To beef up the maxi, the legendary duo Bent reunites once again with Zero Netcost, delivering two remixes packed with warm, finely textured detail. And there’s more heavy company: Funki Porcini drops an instrumental version with an oblique, late-night twist. A vinyl made to glide from warm-up to after-hours without losing the thread.

A fresh reinterpretation project from 20/20 Vision’s Ralph Lawson and Carl Finlow that revisits their own classic Blaze remixes for 2026.

Originally remixing ‘Lovelee Dae’ back in 1997 for German label Playhouse and ‘Wishing You Were Here’ in 1999 for Slip ‘n’ Slide, these new takes deliver stripped-back dub versions and refined edits crafted for the dancefloor.

The collection blends classic Blaze soul with deeper, groove-driven house textures—highlighting the timeless songwriting of Blaze while giving it a fresh underground perspective

Risk/Reward’s third installment comes from Brooklyn-based California native Chuwee, a rising star with records in the bags of the scenes most discerning selectors. Teaming up with homies Sasta, Seb Hall and Gaspar Muniz to form the Wizards on Waverly, they deliver a wildly creative and versatile collection of funk-drenched floor fillers.

On the a side: 4TJADEN combines crunchy electro house drums with a twisting, monstrous analog bass lead and 80s synth pop strings, before euphoric chords and a killer acid line send this one in to the cosmos!

Let’s Talk About Sex is a big, bad, booty bouncing slice of West Coast electro funk. An ultra groovy and addictive bass line, naughty vocals, spooky synth lines and rays of acid sunshine straight from California, make for an infectious party cut that gets the floor rocking every time.

On to the b-side: Slippy Jim’s is a laid back, dubwise, chugger, perfect for warming up, day time sessions or late in the afters. Crunchy analog drums patter over a warm, playful bass groove, speckled with dubby stabs, an imposing synth lead and vintage Jamaican spoken word vocals transport you to Kingston after party where the rum and vibes flow in equal measure.

Pioneer of the dub tech house sound Grant Dell delivers a gargantuan remix, with enough weight to break even the sturdiest of scales. Chunky yet detailed drums, a sub-heavy & driving bass line, acid squelchs and dubbed out stabs create an absolute weapon of a track, with a truly epic breakdown featuring a legendary vocal that gets right under your skin and stays there.

Heavy support from Enzo Siragusa, Harry McCanna, Bushwacka!, Dyed Soundorom, Anna Wall, CHKLTE and more.

,Free Your Mind And Your Ass Will Follow" ist das zweite Album der Funk-Pioniere Funkadelic, das 1970, nur wenige Monate nach ihrem bahnbrechenden Debüt, erschien. Das Album, das bekanntermaßen aus einer einzigen, von LSD begleiteten Marathon-Session hervorgegangen ist, zeigt die Band bei der Verfeinerung ihres Songwritings, lässt aber dennoch viel Raum für experimentelle Jamsessions. Es markierte den offiziellen Einstieg des legendären Keyboarders Bernie Worrell und erreichte Platz 92 der Billboard Pop-Charts.

Respect The Craft returns with its sixth release, featuring Chicago House mainstay DJ Sneak and a rework from Tripmastaz. The record unites facets of Sneak’s style, shifting between raw house and acid experimentation yet remaining grounded in a direct, club-focused approach.

“Future” sets a tougher tone than typical for Sneak, anchored by driving drums, sharp 303 lines, and tribal-leaning percussion that fuel the track's momentum. On “No Reasons”, energy eases into a deeper house swing, with soulful vocal snippets atop a slower groove and acid accents adding subtle tension.
On the flip, “La Clave Boricua” stands out with looping Puerto Rican vocals, dense percussion and a rolling structure proven effective in larger rooms throughout Tripmastaz’s sets over the past 3 years. Tripmastaz’s “Spectral Pressure Dub” distils the original track, emphasising its funky bass and vocals, using subtle pads to expand the space over time.

With Future EP, Respect The Craft expands its catalogue with a release that strikes a balance between character and utility, bringing together established voices in a format that remains focused, effective, and built for the club.

The Pleased As Punch crew have every right to be as they roll out another eccentric disco 12". It's Saison that kicks off with the expressive and true 'I Can Make Good Music', a freewheeling collage of excitable loops, florid strings and disco drums with loopy vocals building the heat. 'You Are The One' from Fresco Edits is a chunky, drum-first sound with bobbling bass notes and great swing. Mainline's 'Heat Up The House' calms the vibe and sinks into a deeper, more smooth house sound for when the mood switches once the sun sets and DiscoPlex's 'The Funk' then brings a big finish with monstrous kicks and chopped and smeared synths bring the colour to a Kerri Chandler style groove.

Reliance is one of the many millions (ish) of labels that UK powerhouse Burnski heads up. This one has a focus on UKG vibes and Skeptic fits right in. His EPs are so inherently playable that they always fly off the shelves and straight into sets all across Europe. This one opens with 'Swing It', a nice sleek swinger with muted vocals and neon pads. 'Funky Flava' has more grit and bite to it with some sharp percussion and rude boy vocal stabs, then 'Steppa' is all bubbly and vibey with a smooth flow and the sort of bass that will get lips curled in mock disgust. 'Lose Control' shuts down and might be the best of the lot - gloopy bass and nice round kicks with liquid melodies and a late night warmth. Pure fire.

20:20 Vision has been defining the house underground for decades now, and much of its earlier material remains as revealing as its newer output. A case in point is this reissue of the rare Echo Beach release. Founder Ralph Lawson and his old pal Carl Finlow's recordings from The Farm in the Rhubarb Triangle retain a warmth and analogue weight that contemporary production struggles to replicate - all hands-on-deck live passes through drum machines, synths and outboard desks, the process audible in every groove. The discovery of unreleased cut 'Blues Dimensions', which was rescued from corrupted DATs, is the real find here: rasping Moog bass, P-Funk refrain and heavy Rhodes that sounds anything but archival. Top drawer excavation.

All Day I Dream bids farewell to another radiant summer with its Summer’s End Sampler, a 12-track collection of deep, melodic, and transportive sounds. Carefully woven together from a mix of rising favorites and emerging talents, the compilation encapsulates the warmth, nostalgia, and new beginnings that arrive with seasonal change.

Auf ihrem zweiten Album erweitern Psyché ihre einzigartige Mischung aus Groove und Psychedelia um eine subtile politische Dimension. In Psychés Vision dient ihre Heimatstadt Neapel als pulsierender Schmelztiegel, in dem Klänge aus Nordafrika und dem Nahen Osten auf die Echos ferner Küsten wie Brasilien und Kolumbien treffen. Ihr Sound bewegt sich zwischen Cosmic Funk und Desert Blues, Cumbia, Dub und Jazz und wird durch den Einsatz analoger Synthesizer und treibender Basslines getragen. Die LP gewinnt dank der Zusammenarbeit mit dem tunesischen Sänger Ziad Trabelsi und der türkischen Sängerin MERVE (Altın Gün) an internationaler und politischer Bedeutung. Psyché II ist die Essenz einer Reise durch Kulturen und Identitäten: ein Album, in dem die gegenseitige Befruchtung und ein nomadischer Geist die Grundpfeiler eines zeitgenössischen Sounds bilden – verwurzelt im Mittelmeerraum und gleichzeitig weltoffen.



b 02: Hurriya (We Must Resist) feat. Ziad Trabelsi


b 02: Hurriya (We Must Resist) feat. Ziad Trabelsi


[b] 02: Hurriya (We Must Resist) [feat. Ziad Trabelsi]


[b] 02: Hurriya (We Must Resist) [feat. Ziad Trabelsi]


[b] A2 | Hurriya (We Must Resist) [feat Ziad Trabelsi]

“In The Mix: Volume 1” is the first vinyl compilation of artists that have performed in one of New Orleans most beloved record shops - NOLA Mix Records. Though these aren't live recordings, they capture the spirit and soul of both the shop and the Crescent City itself. You’ll hear everything from Jazz and Funk to Hip-Hop, House, and Latin — all infused with the unmistakable energy of New Orleans.
The artists included on this 10-track compilation are: Flagboy Giz, Troy Sawyer and The Elementz, Water Seed, Santero, ET Deaux, Alfred Banks, Connie Price & The Keystones, A Lovely Triangle, Lisbon Girls, Loucey, Bo Dollis Jr., Hasizzle and more…

2026 Repress

Houseworx is back with VOL.9 of the"Lost Housetracks" mini compilation series.
This time we present tracks from long time fellows Amaury Trevino on A1 with a peaktime summer house anthem and Franco Strato feat. Ale Castro on A2 with a perfect matching house tool for club entertainment.
On B side we welcome 2 new faces to the Label: Lucia Scholtus originally from Argentina now based in Hamburg / Berlin with a funky oldskool flavoured tune and Sebastian Habben from the cologne collective and Label I'm in Love with a deep house mover called "Neighbors" that perfectly rounds up the ep.
House music all night long!

Last year, following the special vinyl 45 release of Samba De Flora - the Romero Bros from Argentina presented a full LP of Latin and Brazilian club flavours to be exclusively distributed worldwide on vinyl by Echo Chamber Recordings.

It received brilliant feedback from a wide range of DJs across the planet and the full version of Samba De Flora was licensed to Acid Jazz Records for their legendary Totally Wired Compilation LP - so it was a natural idea for a couple of those people to be involved in this next release on a vinyl 45 - with the two tracks that gained the biggest feedback

Side A - “Cravo E Canela” with the Romero’s great take on the classic Brazilian anthem from Milton Nascimento originally on their LP from last year which gained a lot of airplay at the time. This 45 release this has been given an extra special remix / update from the legendary Chris Bangs. He adds more bass bounce to the ounce and a funky shuffle to make it even more club friendly

Side B - “Gabriel” - their Latinized version of Roy Davis Jr’s 90s club smash. LA based DJ Greg Belson was such a fan after he got the LP, that he immediately made an exclusive edit to put on a 45 dubplate - to pack on his 2025 UK Tour - dropping it to devastating effect in place like Glastonbury and club dates across the country. So it was a natural choice to include this version on the flip of the 45 - under his Preacher monicker to align with his other releases on the sister label - Echo Edits

The Pleased As Punch crew have every right to be as they roll out another eccentric disco 12". It's Saison that kicks off with the expressive and true 'I Can Make Good Music', a freewheeling collage of excitable loops, florid strings and disco drums with loopy vocals building the heat. 'You Are The One' from Fresco Edits is a chunky, drum-first sound with bobbling bass notes and great swing. Mainline's 'Heat Up The House' calms the vibe and sinks into a deeper, more smooth house sound for when the mood switches once the sun sets and DiscoPlex's 'The Funk' then brings a big finish with monstrous kicks and chopped and smeared synths bring the colour to a Kerri Chandler style groove.

Needlewreckordz drops a heavyweight 7" for hip-hop and funk lovers with a great collision of source materials, making for sharp edits with undeniable groove. Opener 'Doin It (In The Park)' features a classic refrain from a Detroit jazz great, but layered over a funky groove that never quits. On the flip, 'Madness' slows the tempo with a more deep cut and rolling groove that brings slick r&b vocals that tug at the heart while bumping kicks and hip-hop fragments further flesh out the fun. Plenty of familiar touches dropped into irresistible grooves make this a gem for party-starting sessions.

40 years after Dave curated the 'Garage Sound of Deepest New York' series featuring the cream of the crop of American US Garage, the series ran for 4 instalments. Dave re-ignites the torch to bear once more and champion the sound more locally, the leafy area of Crouch End, London, to be precise. This four tracker is a testament to the knowledge and expertise Dave Lee has with this particular soulful sound & genre. First up is 'Everybody Needs Somebody' with its powerhouse gospel vocal performance from Rance backed up with swathing chords, piano & organ work by Matt Cooper and Dave's swinging heavy drums. 'Every Second Every Minute Every Hour' is next from Dave Under, his new Hillman Avenger alias, who takes things in a more jazz funk direction, with masterful piano & brass work and scorching synth solo as the cherry on top. 'Our Love' is an updated rework of a vintage Republic Records track featuring the dynamic vocals of AJ Lewis. Bouncy house drums backbone the syncopated chord stabs before a gear change around the halfway mark signals a big heads down, hands up moment. Before the famous clock tower of Crouch End strikes 12, we have time for one more cut by the name of 'No Excuses' featuring the legend that is Lifford, who does what he does best, soulful yet mighty vocals. This is a peak time, feel-good slab of the Garage house that would have maybe made it onto one of Dave's original comps back in the day.

Formed in 1969, Soul Media set out with a clear mission to fuse jazz and rock. That approach took a decisive next step with In The Groove, recorded in 1973. Here, the sharpness of jazz is brought to the forefront, rock elements are dissolved and refined to give a cutting edge, and funk is injected to add drive, elasticity, and physical force. The result is a body of music that transcends existing genre labels—jazz-rock, jazz-funk, or fusion—and stands instead as something simply, undeniably cool: strong yet sophisticated.

This album is often described as Soul Media’s response to The Crusaders, a band that saxophonist Jiro Inagaki was paying close attention to at the time. The aim hit its mark. With In The Groove, Soul Media acquired a “refined black feeling”, setting them firmly on the path toward their ultimate destination: Funky Stuff.

"The LP featuring the opening theme “Makafushigi Adventure!” (performed by Hiroki Takahashi) and the ending theme “Romantic Ageru yo” (performed by Ushio Hashimoto) from the TV anime Dragon Ball, which began airing in 1986, along with the original background score composed by Shunsuke Kikuchi, is being reissued on clear orange vinyl.

A true Dragon Ball-themed analog record!"

Incl. Pryda, Dexter Connection, Superfunk feat. Ron Carroll, Dave Swayze, Chris Bangs feat. Rita Campbell, Hyper Pearl, Daniel Bovie & Roy Rox, The Disco Freaks, The Mackenzie feat. Jessy



Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 9 & 10, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 9

A1) Pryda - Allein (Original Release 2012)

Pryda, the legendary alter ego of Eric Prydz, has earned iconic status in the electronic music scene with his refined productions and epic tracks. Under this name, he has released several hits that have stood the test of time, including Allein. This track is a progressive house masterpiece built around a sample from Polarkreis 18's Allein Allein and is infused with the characteristic Pryda sound: grand, hypnotic, and emotionally powerful.

With its timeless and universal appeal, Pryda - Allein has captivated fans worldwide. The track is an absolute floor-filler that forms a highlight in any DJ set. Notably, this iconic track has never had a vinyl release, making this edition extra special for both collectors and lovers of true electronic music history.

A2) Dexter Connection - Baby Be Mine (Original Release 2003)

Released in 2003, this delightful groover samples Michael Jackson's Baby Be Mine and Brothers Johnson's Stomp. The track combines funky basslines with a tight, rhythmic groove that immediately invites dancing. The nostalgic vibes from the classic samples provide a familiar sound, while the modern production gives it a fresh, contemporary twist. Ideal for DJ sets where you want to get the crowd in the right mood.

A3) Superfunk feat. Ron Carroll - Lucky Star (Original Release 2000)

This track needs little introduction. Released in 2000, with soulful vocals from Ron Carroll, it quickly became an iconic hit within the house scene. Lucky Star was the breakthrough single of Superfunk, a French house group,and sold over 500,000 copies worldwide. The track reached number 42 on the UK Singles Chart and has since become a staple in house and dance sets.

With its funky basslines, catchy melody, and infectious groove, it's a perfect mix of disco, house, and soul. The track includes a sample from Chris Rea's Josephine, adding to the recognizable and nostalgic vibe. Lucky Star became not only a floor-filler but also an anthem of the French house movement, alongside acts like Daft Punk and Cassius who dominated the world in the same period.

B1) Dave Swayze - Goldwave (24K) (Original Release 1996)

This 1996 trance classic needs little introduction. Goldwave is a timeless track that continues to resonate with trance lovers, thanks to the unique combination of dreamy synths, hypnotic rhythms, and epic build-up. The track is a true ear-candy and touches anyone who hears it. Originally released in 1996 on Belgium's DiKi Records, it quickly became a classic in clubs like La Bush, Illusion, La Rocca, and many more.

To this day, Goldwave is still played in the sets of many DJs, and remains a favorite at retro trance events. The track has stood the test of time and remains a key track for fans of old-school trance. It's a piece of electronic music history that makes people dream on the dancefloor with its dreamy Goldwave.

B2) Chris Bangs feat. Rita Campbell - Warm Weather (Ibiza BeachBall Vocal Mix) (Original Release 2000)

Warm Weather by Chris Bangs feat. Rita Campbell is a summery, uplifting track that perfectly evokes the atmosphere of Ibiza. The song blends house and trance with the infectious vocals of Rita Campbell, creating a warm, relaxed vibe. The Ibiza BeachBall Vocal Mix adds a touch of Balearic energy, with a calm rhythm and melodies that immediately remind you of sunny beaches and carefree days. Originally released in 2000 on the UK label INCredible, it remains a hidden gem for many trance lovers.

C1) Hyper Pearl - Can You Feel The Pain (Up & Vox Version) (Original Release 1995)

This 1995 trance classic made a lot of noise in clubs like Illusion, La Bush, Lagoa, and At the Villa. Pure old-school trance with emotion and drive like only that era could produce. A fantastic track, produced by Carl Drake, Matt Spinner, and Zzino, originally released on Belgium's Aquatic label.

C2) Daniel Bovie & Roy Rox - Stop Playing With My Mind (Dub) (Original Release 2008)

Daniel Bovie (aka Danny Van Wouwe) is a versatile producer with dozens of tracks to his name, many of which are considered classics. This track is no exception. Originally released on the legendary Strictly Rhythm label, co-produced with Dutch producer Roy "Van Luffelen" Rox, this track quickly became a floor-filler and charted in Belgium and the Netherlands. The vocals wereprovided by the talented Nelson.

D1) The Disco Freaks - Make My Dreams Reality (Chord Memory Mix) (Original Release 1997)

Originally released on an EP by The Disco Freaks, the alter ego of producers Bart Grinaert and Lajos Meszaros. This mix, which is much stronger than the original, quickly became a club classic and was played extensively in clubs like Illusion, Carat, and Extreme. A delightful, groovy, and uplifting track that combines disco elements with house. The Chord Memory Mix adds a nostalgic touch by using warm chords, funky basslines, and uplifting percussion.

D2) The Mackenzie feat. Jessy - I Am Free (Marino Stephano Club Mix) (Original Release 1997)

I Am Free by The Mackenzie needs little introduction and is a must in every DJ and vinyl lover's collection. This mix, often played at our parties, is something special. The man behind many legendary trance classics, Marino Stephano (RIP), hasreworked this version in his unmistakable way. The remix has an energetic and captivating vibe, with deep, hypnotic beats and floating synths. A beautiful track in its original version, it continues to fascinate.

Jacksonville returns with Heavy & Gold, a powerful five-track EP rooted in the raw energy of underground house and analog machine funk. Produced by Chris Lyth, the record blends Chicago-influenced drum programming, hypnotic basslines and deep melodic textures into a set of highly functional DJ cuts built for the dancefloor. The EP moves between muscular jack tracks and deeper hypnotic moments, balancing driving groove architecture with subtle emotional tension. Heavy & Gold opens with the title track, a dense and rolling house cut driven by heavy drums and warm synth layers, before Just Another High delivers a tighter, more stripped-down groove with classic underground swing. Rapido pushes the energy further with a direct, rhythmic workout built for peak-time transitions. On the flip side, Parallel Love expands into a deeper and more atmospheric territory with evolving textures and hypnotic momentum, while closing track Miz & Ida delivers a long, hypnotic groove combining analog warmth and late-night dancefloor pressure. True to the Skylax philosophy, this release focuses on timeless groove design rather than trends, offering DJs and collectors a record built to last in the bag for years. Written and produced by Chris Lyth with executive production by Hardrock Striker and artwork by H5 (Simon Renaud), Heavy & Gold continues the Skylax tradition of uncompromising underground house music.

After the acclaimed Bar Mediterraneo, Massimo Di Lena and Lucio Aquilina return with People Of The Moon, expanding their sound into a space of creative freedom. The “People of the Moon” are not fictional, but a dimension within us all: a deeply personal yet universal force, an alternative mindset that emerges when freed from social constraints.



Under moonlight, the album explores anxieties and aspirations through groove and rhythm, expressed in Neapolitan, Arabic, English, Spanish, and Portuguese. It moves fluidly from Afro-Cuban influences in “Celavì” to Anatolian textures in “Ma Tu Che Bbuò”, blending highlife guitars with Nu Genea’s signature mandolins-new rhythms filtered through an Italian lens.



The first single “Sciallà” (2025) introduced this direction: dance as catharsis, not escape. The title track reflects a quiet resilience-persistent rather than triumphant. “Onenon”, featuring Tom Misch, channels Mediterranean brit-funk, while “Acelera”, with María José Llergo, evokes a flamenco-tinged pursuit of the unattainable.



“Puleza” recalls Nuova Napoli with driving energy and vintage synths, while “Shway Shway”, sung by Celinatique, captures the album’s orbital flow-measured, rich, and rhythmically complex, echoing afrobeat explorations with Tony Allen.



Melody remains central, as in “Carè”. Across ten tracks, falling, flying, and dancing merge in a suspended groove. Gabriel Prado’s “Ondas Do Mar” embodies this pull: a cyclical motion, like the tides—irresistible, transformative, and alive within us.

2026 Repress

If ever an album could transport you to the hazy sunshine and imagined halcyon paradise of Southern California in the mid-1980s, could capture the early evening warmth of hanging at an inclusive boogie jam as it approaches “magic hour” in Santa Ana or Anaheim, then it’s Vaughan Mason and Butch Dayo’s Feel My Love. A brilliantly produced deep slung, low rider funk classic originally released on Salsoul in 1983. It’s a masterpiece of “funk love music”.

Yes, this is indeed a perfectly formed five track “mini LP” of unparalleled heat, but there’s one song here that, above the rest, represents Orange County boogie-funk. A straight killer beloved by all that have had the pleasure of moving to it. A track that can fill up a dance floor within seconds of its starting. That song is the eternal title track, “Feel My Love”.

This is a work of art that made people fall in love with the funk. It transcends the limitations of genre. “Feel My Love”’s deceptive simplicity makes it perfect to drop during a house set, a classic funk party or at a west coast rap jam. It’s sexy, deeply emotional, melancholic, hopeful, passionate and just radiates so, so much raw energy. This is music.

The rest of the record is hardly filler though. Opener “Oh, Love” is a dizzying, emotional slow jam. With heaven-sent vocals riding gorgeous, sweeping keys that alternate between sweet twinkling lines and funk-fuelled stabbing. It’s sensational. A rollerskating jam named “Rollalong Songs” is an ultra-swish piece of dance floor dynamite. Its slick drums, staccato piano and neck snapping claps underscore Dayo’s buoyant vocals. It’s essentially “Bounce, Rock, Skate, Roll Part II”.

The flip begins with “Party On The Corner”. Smoother than silk vocals, day-glo synths, a bubbling bassline and guitar licks that surely received the Prince seal of approval. It’s another example of how Vaughan Mason and Butch Dayo flirt with perfection so routinely. The most majestic closer, the kaleidoscopic, cow-bell-assisted synth-funk heater “You Can Do It” is a proto-rap groover that truly smokes.

This prized LP is a stone cold jam and finding original copies on vinyl at affordable prices has been tough for years. Mastered brilliantly by Simon Francis, cut by Pete Norman and with lovingly reproduced artwork, this fresh Be With reissue ensures this legendary LP now sounds, looks and feels as sensational as it should.

Mr Bongo presents a reissue of the 1619 Bad Ass Band’s self-titled album, originally released in 1976 on the ultra-rare tax-scam imprint TSG Records. Formed by Khalid Abdul Shalid, the record was the only album released by the group, and has since become a mythical, highly sought-after prize for collectors and DJs, ranking among the most coveted albums on the 1970s rare soul scene.

This New Jersey soul-funk gem captures the raw energy of mid-‘70s underground funk and soul. Its journey began in relative obscurity having been released on TSG, one of several US “tax-scam” labels operating at the time. These labels exploited loopholes in the tax system by inflating production costs to create write-offs against their tax bills, meaning commercial success was never the objective. Records were often pressed in extremely limited quantities, with little to no promotion or distribution and in many cases, artists were unaware their music had even been released. While this led to the 1619 Bad Ass Band’s album slipping into obscurity upon release, it later cemented its status as a holy grail for diggers and DJs. Unfortunately, like many releases of its kind, it also meant the band never received the recognition they deserved at the time.

Musically, the album is a unique listen with a varied palette that will appeal to fans of a broad range of tastes. From the luscious, dreamy ballad ‘Rain’, which will melt even the stoniest of hearts, to the raw, drum-heavy funk of ‘Love To Love’, it showcases the group’s depth and versatility. Highlights include the string-laden, floaty stepper ‘Just From You’, and ‘Nothing Can Stop My Loving You’, with its spacey synth lines, which will be a joy for modern soul fans. Elsewhere, ‘Step Out’ opens with a heavy drum break (later sampled on Latyrx’s ‘Interlude’ from their 1997 debut) before unfolding into a brilliant male-female vocal exchange.

Every track on here is a winner and it’s criminal that the band never received the publicity or credit they deserved when it was first released. Alongside the TSG Records release in 1976, the album was later released again in 1978 with alternate cover art on another tax-scam label, Graham International. Both versions have since become highly collectable and over time, the album has steadily gained the recognition it always deserved. This reissue by Mr Bongo offers a wider audience the chance to experience a truly special record, one that stands as a testament to the overlooked brilliance of the era’s underground soul and funk scene.

2026 Repress

The undisputed Godfather of Boogie, Leroy Burgess’s Logg project is his grand masterpiece.

The self-titled LP, originally released on Salsoul in August 1981, is one of the greatest albums of the post-disco era. It’s one of Be With’s favourite ever LPs and so it’s a complete honour to be giving it our reissue treatment. With all the touchstones of Burgess’s finest work - breezy grooves, undulating synths, funk-drenched bass and life-affirming lyrics - delivered with gospel-derived vocals and harmonies - it’s a record to uplift both body and spirit.

Already a cult soul figure as lead singer of seminal vocal group Black Ivory, Leroy Burgess cut his teeth as arranger, vocalist and songwriter with legendary producer Patrick Adams on essential late-70s projects like Phreek and Dazzle. He went on to define the essence of “boogie”: the vibrant underground dance sound that stood in contrast to commercial disco. With its reduced speed - mid-90 to under 110 BPM - the cool boogie of Burgess has the disco bounce, just more laidback.

All six tracks here could have been stand alone 12" hits. Indeed, some of them were. But together they are also an incredibly cohesive album, where all the compositions are deeply relevant to each other. In short, it’s essential; a thrilling showcase for Burgess’s finest arranging and production work - with his vocals at their euphoric peak alongside the inventive rhythm section of Aaron (Sonny) T. Davenport on drums and James Calloway on bass.

Opener “(You’ve Got) That Something” is a balmy sunshine groover with an insistent chorus whilst the timeless vocal of “Dancing Into The Stars” - married to percolating synth and airtight drums - showcases the chemistry between Burgess and the rhythm section.

The fusion of funk and gospel-influenced harmonies which propels “Something Else” is remarkable - deep, joyous and bouncy. Infamously mixed by Larry Levan, “I Know You Will” is an easy glide, all rollicking electric piano underpinned by a precise and relentlessly upbeat groove. “Lay It On The Line” radiates smooth, understated brilliance, elevated by interstellar keys and finally album-closer “Sweet To Me” is a chilled-out gem of profound soulful elegance.

Logg has long been a hit with the likes of Kenny Dope and Dam-Funk whilst, in the last decade, MCDE and Harvey Sutherland have routinely cited it as a huge influence. Accordingly, finding original copies on vinyl at affordable prices has been a thankless task. This fresh Be With reissue ensures this legendary record now sounds, looks and feels as sensational as it deserves to.

Mastered brilliantly by Simon Francis, cut by Pete Norman and with lovingly reproduced artwork, we think this is a reissue that does justice to this classic LP.

We here at TSTD are longtime fans of UK producer/musician/Label maker MATT HUGHES. For a few years he is delivering tasteful, deep, dubbed reworks for Too Slow To Disco, some in Edit form, but also his 2 official remixes for Goodvibes Sound on The Sunset Manifesto 2.
Both new TSTD Edits on this 7 inch are slow disco masterworks, he is giving the originals his trademark deep, warm versions. Who is the guy….?
Matt Hughes is a music producer from the north of England. A purveyor of all things funk, soul, disco, jazz and house! Most recent releases have been with Outcross Records, Bubblegum Pop, Editorial and Too Slow To Disco. A large number of Matt's works have been released under the MAM project with Miguel Campbell remixing the likesof the Climbers, Deadmau5 and Flight Facilities, as well as putting out releases via Wolf+Lamb, Future Classic, Hot Creations, Outcross Records, BPitch Control and Editorial Records to name a few.
Among his most notable collaborations are works with Derrick McKenzie, drummer of Jamiroquai; Drop Out Orchestra, Art Of Tones, amongst others. Each of these collaborations has allowed him to explore new musical dimensions, enriching his characteristic sound with diverse and fresh influences.

With a musical style deeply rooted in disco, funk and jazz, Monsieur Van Pratt combines classical elements with contemporary touches, creating a sound experience that is both nostalgic and innovative. His work not only stands out for its technical quality, but also for its ability to connect emotionally with the listener, making him a central figure in the evolution of modern dance sound.

DJ Support: Kerri Chandler, Folamour, Louie Vega, Jazzy Jeff, Dimitri From Paris, David Morales, Dave Lee, The Shapeshifters, Brian Tappert, Quentin Harris, Michael Gray, Terry Hunter, Hector Romero, Tedd Patterson, Dr. Packer, Marcel Vogel, Dj Pippi and many others

Groove Culture main men Micky More and Andy Tee are once again at the controls as the label presents its' Third collection of “Groove Is In The Heart”. As with the popular imprint's various EPs, the focus is on joining the dots between organic house, revivalist disco, uplifting dancefloor soul and colourful jazz-funk. There's much to admire from start to finish, a very strong bunch including MM & AT,Gianni Bini and Angela Johnson celebratory cover of EWF swirling disco-funk ‘In The Stone', a wonderfully rolling and funky-House joint titled ‘Let The Rhythm’ from Ralph Session & Djfudge, Memi P. And Gisele Jackson tasty Feel Good Classic-house Tune “Make It On My Own” and the soulful-house warmth of Audiowhores ‘Touch The Ground' Feat. Angela Johnson.

- 2026 repress -

SHDW & Obscure Shape launch new label Mutual Rytm with powerful eight-track V/A "Federation Of Rytm I", featuring VIL & Cravo, Lars Huismann, Grindvik and more.

Favourites for many within today's modern techno landscape, Stuttgart-based pairing Marco Blasi and Luigi Urban, aka SHDW & Obscure Shape, continue to grow their profile and position as artists leading the current new wave of techno. Having launched their first label From Another Mind in 2014, releasing material from themselves alongside remixes from the likes of Rodhad, James Ruskin and Dax J, early December welcomes the arrival of a new project and a second imprint to the fold, Mutual Rytm.

Showcasing a new dimension of techno and electronic music, celebrating originality and innovation by combining timeless cuts from the past with cutting edge sounds of the present and the future, the label will serve as a breeding ground for new artists alongside established talent and legends from the scene. Opening the imprint in style, the label bosses head up the first-ever release and the first V/A "Federation Of Rytm I" as they welcome a selection of new and established talent.

"Since the beginning of the global pandemic, we have been diving deep into the roots of our music and working on the aesthetics of our sound. That's when we realized that now is the right time to start a new project which differs from FAM, in both musical and artistic direction. The project will showcase a new dimension that aims to channel the authentic perspectives of both established and up-and-coming talents. With our new label, we want to give all artists the opportunity of musical freedom and expression of their versatility as producers. It is an honour to accompany the young artists on their careers, to see them grow and to help them in their development as musicians." - SHDW & Obscure Shape

The duos rolling opener "Conquest Of Paradise" quickly sets the tone and builds to reveal a classy and slick offering, combining rich stabs with tough drums and sharp hats, while Invexis keeps the tempo high as he weaves escalating synths and pacy kicks across "Elektronenwind". VIL & Cravo combine on the jacking and lively "Apolonia Loop", as eerie synths work amongst warped vocals across a tweaked out peak-time effort, before Alarico keeps the energy levels up throughout the relentless funk of "I'm Into You".

The second half of the package sees Lars Huismann enter the fray with the no-nonsense, snaking grooves of "Hyper Dub", with Nicolas Vogler's "Sauva Bite" fusing hypnotic tones with straight regimented claps for an intense yet playful ride through sounds and sonics. "Your Dry Lips" switches up the aesthetic as Grindvik journeys down a wormhole of metallic percussion and warping low-ends, before closing the show with authority via Stigmata's grinding and menacing offering "Gestas".

Skull Snaps 1973 album on GSF is iconic because of the huge number of times tracks on it have been sampled by the Hip-Hop community.

The album, produced by genius George Kerr, and featuring the talented Ervan Walters and Sam Culley, was released with a flourish and in a classic gatefold sleeve but GSF floundered and the album flopped. It’s discovery by Rap music makers has been well documented but before that happened it was discovered by UK Soul detectives in the 70s.

As the Northern Soul scene shapeshifted on from 60’s Motown sound alikes into contemporary black music a whole new music rosta took over the dancefloors. And just as Gil Scott-Heron and Brian Jackson’s “The Bottle” got its debut British spins in the North, so did a whole slew of other acts - includung the Skull Snaps.

“My Hang Up Is You” became a single from the album and an underground anthem. One venue that became synonymous with the track was the Ritz in Manchester where the legendary Soul and Jazz -Funk All-Dayers helped shape UK dance music culture. Paul Mooney has created two 2026 remixes - one vocal and one instrumental - that pay homage to that 1970s golden era when Soul and Disco gelled into an unstoppable force. Fittingly both remixes have been dedicated to those Ritz All-Dayers.

Welcome ALL to another amazing modern soul release by Louise Marshall & Geoff Gascoyne – after the hits soul release from last year “Happy on my own” & Stop look and Listen” both these tracks had lots of radio spread around the world.

Two superb vibes A side - “And I was like….” a mid-tempo eyeworm soul vibe with a funky cheeky message with its. On the double AA side is the uplifting “Where’s the Party?” this has a strong dance groove and feel, superb top like vocals which you just can’t help to sing along

Roy Porter Sound Machine's 1975 follow-up to their 1971 debut, Inner Feelings, drifted deeper into Blaxploitation-era grooves by layering flanged guitars, jazzy horns, undulating basslines and electric piano licks with plenty of the flair that defined their standout debut album, Jessica. Standout track 'Panama' gets its first 7" outing here via a Muro re-edit alongside the original vocal version. The instrumental has busy keys and punchy drums, while the vocal adds bustling character and playful conversation, bringing a lively narrative to the tight funk framework. A seamless bridge between jazz sophistication and cinematic soul that shows off Porter's adventurous spirit and groove mastery.