Suche:j house

Vinyl Only!

Tenampa kicks off 2026 with a release from one of the most respected minds in electronic music, equally renowned for his work as an audio engineer and producer. Known under several aliases including Freestyle Man or Sasse, Klas Lindblad uses the latter for this special outing on the Mexican imprint.

Under his Sasse moniker, Lindblad delivers a refined selection of dubby house cuts, infused with warm, spring/summer energy.Effortlessly groovy with a subtle, hypnotic flow, this is music designed for the dancefloor yet built to stand the test of time, showcasing the depth and sonic excellence that define his work.

This release is strictly limited to 300 copies worldwide and available exclusively on vinyl, reinforcing its status as a true collector's item.

The artwork comes once again from the always outstanding Manuel Cetina, aka El_Stitch, whose visual approach adds an extra layer of character and value to this timeless release, earning it a well-deserved place in any serious record collection.

Art-work by renowned Mexican artist: Manuel Cetina aka el_stitch's.

Following his acclaimed debut album Whateverism, Italian producer Turbojazz returns with Memorabilia, a heartfelt tribute to the roots of dance music culture and a personal journey through memory, community, and sound.
The album delivers a rich and diverse palette of house and soulful grooves, music to dance with both your feet and your ears, and features a heavyweight lineup of collaborators including Robert Owens, Rona Ray, Javonntte, Cor.Ece, Bad Colours, Doni Nicole, alongside longtime allies Veezo and Broke One.
Crafted with reverence and a forward-thinking spirit, Memorabilia is more than an album. It is a message to the dance music world that culture lives on through those who carry it forward.

2026 Repress

Deadbeat & Tikiman's occasional collaborative performances have since blown the minds of many audiences

Deadbeat. Tikiman. Infinity. Dub. A quadrangle of such obvious statement and perfect musical inference may very well never have been uttered for those of the wholly weeded out persuasion. Indeed, when the great book of Dub music is written the names Scott Monteith and Paul St Hilaire will undoubtedly figure highly in its chapters devoted to recent years. Monteith, the last great prodigal son of the doctrine handed down from the Blue Mount of Lord Scratch and King Tubby, St Hilaire the undisputed voice of a generation, those fanatical warrior monks, followers of the most Holy House of Ernestus and Von Oswald incarnate.

Having developed a fast friendship from their very first meeting in Montreal at the premier Micro Mutek event a decade ago, Deadbeat and Tikiman's occasional collaborative performances have since blown the minds of audiences from Berlin to Tokyo and many points in between. No great surprise then that their first album length venture is a Tour de Force of Dub music of the highest order.

Nearly a year in the making, the genetic code of Deadbeat's Infinity Dubs series gets shot through with a Dreader than Dread Kingstonian logic, hi hats dropping back from the three to the one, Tikiman at his most militant, poetic, fierce, and flowing. These are the recordings of two lions uncaged, and none who bare witness shall escape their fiery judgement.

If music is truly eternal, here be two voices which shall echo in infinity with all the weight, reverence, and dire power unleashed with every tectonic bass hit, and every whimsical turn of phrase. And if these eight burnt offerings are any indication of what happens when these two sit down for a session of smoke and reasoning, here's hoping they choose to do it frequently. Dub without end. Ad Infinitum.

Bosconi Records proudly introduces Neon Cyberwave, the first solo EP on the label by Italian electronic visionary Miguel Herrnandez, marking a milestone in the evolution of an artist who has consistently bridged Detroit-rooted aesthetics with the experimental pulse of the European underground.

Based in the Val d’Elsa region between Florence and Siena, Miguel has forged a unique sonic identity shaped by his devotion to vinyl, his deep connection to the techno capital the “Motor City”, and his passion for deeply rooted yet still futuristic electronic culture.

His productions and DJ sets—built on a seamless fusion of raw electro, deep house attitudes, new beat flavors, and timeless grooves—have appeared on respected labels such as Bosconi, Rawax, and Norm Talley’s Upstairs Asylum. With Neon Cyberwave, he now delivers his most complete and personal statement to date.

The EP opens with “Neon Cyberwave”, a powerful acid-driven stomper built around a rolling 303 bassline, warm melodies, and an emotional breakout moment that captures both the effectiveness and the sensitivity of Miguel’s approach. It flows naturally into “Italo FM”, a track infused with Italo disco spirit—choir-like harmonies, a punchy bassline, and a groovy, ecstatic progression that turns into a genuine dancefloor trigger.

The journey deepens on the flip, where “VHS Direct Drive” introduces a dystopian atmosphere characterized by constantly shifting, unusually toned bass movements—unpredictable yet catchy, fresh yet rooted in classic electro DNA. This is followed by “Electric Soul Stranger”, where Miguel navigates Drexciyan undercurrents and subtle Gigolo-era references, balancing between straight rhythmic propulsion and broken-beat twists to create a cold, mental, transportive electro experience.

The record closes with the epic “Punky Shift”, a dramatic and powerful finale echoing the spirit of artists like The Hacker. Dramatic strings, an intense acid bassline, and a massive groove come together to shape a timeless closing track—one designed for peak emotional moments, sunrise sets, and long-lasting memories.

With Neon Cyberwave, Miguel Herrnandez has crafted a work that feels fresh yet nostalgic, classic yet forward-facing, and deeply personal. It stands as a versatile DJ weapon, a tribute to electro’s past and future, and a defining chapter in the artistic evolution of one of Tuscany’s most intriguing electronic voices.

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.

“One foot out the door, another in the otherworld…”
So begins Hannah Lew’s debut, self-titled solo record, soaked in imperious, wide-eyed pop songwriting and a girl-group/post punk aesthetic that belies the artist’s history in the U.S. underground. A towering, hook-laden album, it’s infused with an optimism and surrealism that conversely deals with the times we find ourselves in.

Recorded at home in Richmond, CA and in The Best House studio with Maryam Qudus in Oakland CA, with the assistance of a crack team of West Coast musicians, this album sees Hannah Lew stepping out from behind the legacy of her two groups Grass Widow and Cold Beat. While musically bearing similarities with her previous work, “Hannah Lew” is a bold leap into direct pop territory, making ample use of a vocal style that teases out the inherent melancholy in her melodies. Mastered by Sarah Register, each song is a perfectly honed nugget that frequently pulls the heart in two directions at once.

Themes of change, breaking up, shattering old ways of being are shot through the record. For the front cover, a photograph of the artist’s face was printed, ripped up and re-assembled, resembling the creative process embarked upon by Lew for her first “solo” material. The album feels instinctual, almost dream-like in its assemblage of sweeping synths and pulsating, propulsive drum machine beat patterns with Lew’s vocal performances sensitive and caressing over the top. Increasingly relying on the subconscious and dreams to guide her creative process, Hannah Lew frequently abandons literal interpretations or linear narratives, the songs seeming to exist in a swooning, effortless flow-state while remaining emotionally hard hitting.

On an album where every song could be a single, there are kaleidoscopic shades and varying emotional tones in abundance. First single Another Twilight is carried along a pumping, Italo-disco-style 4/4 beat and mono-synth bass line, the low end pulling at the heart and body. Lew’s vocal melody teases the track before swan-diving into a gorgeous chorus as she sings “it’s all over baby and I don’t mind… in decline, I take my time…” The album is suffused with moments like this. On slow builder Damaged Melody, an arpeggiated synth elongates the verse before a cascading synth showers down melodic glitter. The stunning Replica uses dual swirling synth patterns before a driving, synthpop chorus for the ages carries Hannah Lew’s vocal into the stereo field, sailing in on a high register singed with the embers of a break up.

In a departure from previous groups, her solo songs are guided by dreams and free association inspired by Dada and the Surrealist movement and sculpted afterwards. As such, the songs reveal themselves on repeated listens, revealing traces of heartbreak inspired by both personal and global elements - Hannah Lew regards the album “a wartime album.” On Move In Silence, Lew intones “there’s a war outside, just out of view,” revealing the dichotomy at play throughout. With the songs evolving naturally and in a flow state, the pressures and sadnesses of the modern age bleed through, mixed in with Lew’s inherent love, sensitivity and fractured-but-intact optimism. On the swooning, sublime Sunday layers of Numanoid synths open up for the commanding vocal performance pontificating on grief, love, pain as she “feels the ache on Sunday…” As the chorus builds and Lew’s call-and-response vocal adds to the emotional tension, it almost feels like too much to take.

Elsewhere, there are echoes of Hannah Lew’s previous work. On Time Wasted a bass guitar comes in with a heavy, punk attack before the synths and vocal harmonies reminiscent of later Cold Beat elevate everything. The glassy, sweetly resigned closer The Clock sounds like so classic it could be cover, a sweetened Jesus & Mary Chain tune perhaps, before it erupts into volcanic chorus that could only come from Hannah Lew in 2026.

Capturing Bubs’ high-energy Italo sound, this EP features a collaboration with iconic Italo master Vanello, alongside progressive house remixes from CLOSE PROXIMITY and Nairless. A bold, high-voltage collision between dancefloor nostalgia and modern club intensity.

Our latest Holy Grail reissue is this private press spiritual jazz gem out of California from Rickey Kelly and his vibes & marimba. Features Diane Reeves (vocals) & Adele Sebastian (flute)!

Heavyweight 180g LP with tip-on sleeve, individually numbered 1-1000, card enclosed for liner notes & audio download

"Rickey, I know these are your friends, the guys you went to school with, but if you wanna record an album, you record with musicians who have been playing their whole life; whatever you write, they'll put their whole life into it. You play with your friends; they may not even play in tune."

These are the words of Slave guitarist Kevin Johnson, and they were to change the course of young Rickey Kelly's life.

It was 1978, and music student Kelly had approached Johnson with a tape of rough demos of some songs he'd written. A San Francisco native, Kelly had recently moved the short distance south to study music at LA City College in East Hollywood. He was a member of E.W. Wainwright Jr.'s African Roots of Jazz, and was spending up to 10 hours a day in practice on both vibes and marimba. He also played with Horace Tapscott, and had his own band made up of fellow students, but it was his ambition to make an album that led to the conversation with Johnson. It was a turning point in his education, and a decision was looming.

The next thing Johnson said was "You call the best jazz musicians. How'd you like to play with Billy Higgins?", a line that would seal it for anyone; for a youngster like Rickey just starting out in the business, you just don't turn down the opportunity to play with the likes of highly accomplished musicians, especially those of the calibre of legendary jazz drummer Billy Higgins.

Some calls were made and the date was set to record at Studio Masters on Beverly Blvd, a studio set up just a few years previous in 1973, owned and operated by Dot Records founder Randy Wood with his son John. Some of the other music professionals set to record with Kelley that day were flautist Adele Sebastian, bass player Tony Dumas, saxophonist Charles Owens and vocalist Diane Reeves, none of whom had previously played with Kelly before.

Kelly was impressed with the studio, with the gold records displayed on the walls and the famous musicians hanging out. 'It took a lot of humility for me to record with them, I mean I was nobody, nothing, and for not a lot of money either' remembers Rickey in a later interview with Calvin Lincoln, 'It taught me a lot, to practice hard, and study for the rest of your life, to give your all, and there's a lot of all to give'.

As the recording session took place, John Wood was listening in. He was impressed. Kelly didn't have the funds to manufacture and release the album himself, so Wood suggested it was pressed up on his in-house studio label, Los Angeles Phonograph Records, and thus the LP 'My Kind of Music' was released early in 1979. The album also saw a subsequent pressing soon afterwards on Dennis Sullivan's New Note label.

Kelly remains humble and proud of his debut album to this day. 'I was still a beginner' he says, 'These masters walked in, smiling, and gave me something worth gold'.

In discotheques and dark rooms across Europe, Boys’ Shorts have earned the trust of the queer and wider clubbing communities as generous stewards of a timeless sound that, like themselves, never stops moving forward. The duo of Vangelis and Tareq initially met at an underground club in their native Greece. Sensing a rare sonic connection, the pair became friends, forming Boys’ Shorts to meet again and again, travelling from their adopted cities of Thessaloniki and London to appear as far afield as Berlin’s Panorama Bar and New York’s Le Bain, as well as supporting Goldfrapp and Hot Chip on tour. Their motivation? In their own words, “we make people dance!”

Following years of gradual, thoughtful studio sessions, and EP releases on tastemaking electronic labels including Phantasy Sound and Live At Robert Johnson, Boys’ Shorts establish their own imprint, ALL SORTS, in order to deliver a fantastically ambitious debut album, ‘What Does It Take To Make These Men Happy?’

The LP opens with the grandiose, cosmic vista of ‘The Space Between Us’, a classic passage of strings and synthesis, before the shared Boys’ Shorts vision falls back to earthier territory with deep groove of ‘Let’s Fall In Love’, mixing universal sentiment with a patient vision of human potential and the voice of Greek electronic pioneer, K.BHTA. ‘Come’ aligns with NYC’s Michael Cignarale, offering an excitable invitation to the mind and body sculpted by the way of a throbbing, warehouse-sized statement of nineties house sensuality. Channeling heroes Lowe and Tennant at their most introspective, ‘Short Life’ maintains the dance, yet dares to ask, “what if the parties aren’t enough anymore… Can you ask for something more?”

Out of the pet shop and straight into the strobe lights, ‘Disco Romantica’ makes true on the promise of its title, a lovelorn monologue giving way and slipping into rave stabs and whirring synthesis that looks forward to a memorable, emotionally-charged night ahead. Underpinning this feeling of anticipation, ‘Going Out Hoping To See You’ introduces the voice of Justin Strauss to Boys’ Shorts' musical world. A certified icon of club culture, spinning from The Mudd Club to modern day DJ booths, Strauss’s generation spanning experience of nightlife leans into the fundamentals of human connection and the pleasure of musical discovery, wrapped in irresistible chug.

Another transformative figure in club music, Fischerspooner’s own Casey Spooner dips into French for the Motorik cyber sleaze of ‘MECANIMAUX’, their own vocals pitching up and down with playful EBM abandon. ‘Montage’ offers a different kind of composition, conjuring an ecstatic club banger that finds inspiration in nineties indie rock motifs alongside the rave scene, while ‘Run’ promises to blow out sound systems before its weighty electro bassline succumbs to waves of glistening synths.

Such bombast into beauty perfectly sets up the record’s blissful conclusion; ‘The Stars Are Out For You’ is electro-pop so delicate as to heal aching feet (and mend broken hearts), while offering the final tender moments of the album as a form of tribute on ‘Untitled (For Mitsi)’. It’s a thoughtful ending to a thrilling trip through a shared passion for electronic and pop music in all its glorious potential. What does it take to make these men happy? It’s a pleasure to find out.

Vinyl Only!

Unsung Hero Lady D appears out of nowhere, delivering three cuts of pure dancefloor attitude. Raw 90s house energy on “Son of a Gun”, deep Balearic moods and a forward-pushing Dub on the flip.

Released via kickin’ up dust on dark blue vinyl. Limited to 300 copies.

Roberto Zanetti, better known as Savage or Robyx, is without a doubt a fully realized artist. When he stepped into the world of dance electronics in 1983, success came instantly. Not only across Italy, but far beyond its borders. Alongside his own chart-defining run as Savage, Zanetti was simultaneously shaping the scene from behind the desk, developing talent and refining a signature sound that would define an era. By the late ’80s, Robyx was already an established powerhouse producer. Around that time, he wrote three tunes for Maurizio Felici, performing under the alias Wilson Ferguson. These tracks carried all the hallmarks of Zanetti’s late-’80s aesthetic: lush melodies, smooth, flowing arrangements and high-energy grooves built for the dancefloor. In Europe, where house music was rapidly taking over, this sound faced tougher competition, but in Japan, where Eurobeat was exploding into the mainstream, these productions were untouchable. Felici’s rich, throaty vocal delivery gave the tracks an unmistakable emotional weight and identity.

Responding to long-standing requests from fans, Vintage Pleasure Boutique now revisits the most melancholic and emotionally charged of these three recordings: “I’m Singing Again”, a bittersweet tale of lost love told through the language of Italo disco. It’s a perfect fusion of Savage’s late-’80s sonic elegance and a truly distinctive vocal performance.

For this new release, the story is pushed one step further with a fresh remix, slightly faster in BPM and clearly nodding to Robyx’s classic Eurobeat instincts, a version built to move bodies while keeping the original’s emotional core intact.

Logistics makes a highly anticipated return after a three-year hiatus, with a whopping 24-track album.

Released across four 12 inch records, housed in spined sleeves, and presented in a premium two-piece lift-off box with scratch resistant matt laminate, matt varnish, and with fully printed packaging throughout. It is a beautiful presentation of this new LP from a Hospital Records legend.

Dropping almost out of the blue, the current reception from fans, artists & industry heads off the back of the 'ambush' announcement has been incredible. The album campaign is illusive, but rewarding to fans who have been waiting so long for brand new music from Logistics, they've now got 24 brand new tracks to get stuck into!

‘Confession' is an album of quiet upheaval. An album about closeness that arrives late and unexpectedly. About stability rubbing up against desire. About the way friendship can suddenly tilt into something charged — and how that charge unsettles everything around it. Where earlier work often observed from a distance, Confession turns inward. The voice is closer, warmer, less shielded. “This wasn’t the album I intended to make,” says Carla dal Forno. “I originally wanted something veiled and abstract, but I realised I couldn’t hide behind abstraction — the songs only worked when I leaned into emotional truth.”

This is dal Forno’s fourth LP, written and recorded over several years in a small country town, in a studio housed inside a partially abandoned hospital. Long corridors, humming lights, emptied rooms — a place built for care and waiting, now quiet enough for thoughts to echo. That stillness shapes the record: intimate, watchful, unadorned. “I live in a small country town that offers a stillness my life didn’t previously have,” she explains. “In that quiet, feelings I might’ve ignored in a busy city grew loud.” Dal Forno sings plainly and conversationally, with an emotional precision that sharpens the everyday into something quietly unsettling.

The album moves through paired states: going out and staying in, wanting and withholding, devotion and distraction. Domestic calm set against private unrest. A long-held relationship offers safety and routine, while a newer connection opens emotional fault lines — longing, jealousy, fantasy, self-exposure. “At the heart of the album is a friendship that became emotionally charged in an unexpected way,” dal Forno says. “That shift brought daydreaming, jealousy, tenderness, confusion, self-awareness — and eventually acceptance.”

The drama here is internal, incremental, lived. Musically, Confession feels lighter on its feet than its subject matter suggests. Melodic basslines anchor the songs while guitars, harmonies, and gently off-kilter rhythms move around them. There’s a looseness, even a playfulness — “like the sensation of tension lifting once you finally admit something to yourself,” as dal Forno puts it. The album traces a subtle arc: attraction blooming where it shouldn’t; obsession quietly taking hold; fantasy overtaking reality; clarity arriving slowly, sometimes painfully. Visually and emotionally, Confession returns to modest spaces: backyards, beds, night streets, overgrown paths. “The record exists in that contrast,” dal Forno reflects. “Peaceful surroundings, unsettled interior.”

Like all of dal Forno’s work, Confession resists clean conclusions. It doesn’t moralise desire or romanticise restraint. Instead, it lingers in the in-between — where love is stable but not total, where yearning teaches as much as it hurts, where solitude becomes a form of care. Plain-spoken but emotionally complex. Rooted and restless. Held together by bass, breath, routine, weather. An album about admitting what you feel —and living with what that admission changes.

The LOWRIDER ANTHEMS releases will come with a 4C printed cover. They will also be shrink-wrapped, which gives them a higher collector value.

Each edition is limited to 400 copies each worldwide.

REPRESS!

Exceptional music from Lance Desardi on his very own Legwork imprint.

Live Trax Vol. 1 is the first in a series of new releases that come from his live hardware sets. It’s rough & ready deep house that’s been road-tested on cultivated dance floors, including Heidigluhen, Block 9, Sunset Sound System and Love International.

Matias Aguayo drops debut single on Rekids‘El Internet’ is a prelude to the Coméme founder’ upcoming album on the label. Chile’s Matias Aguayo debuts on Rekids with ‘El Internet’, the first single of his upcoming album on Radio Slave’s acclaimed label. Coméme co-founder Aguayo’s ‘El Internet’ is a dancefloor-tested, pumping and uptempo track with personal, intimate vocals phoning in.

“El Internet” tells about walking through the city in hot summer nights looking for the perfect dancefloor and about moments in life where you feel (musical) freedom and change, revolutions in music and dreams in community, about YouTube, MySpace, Fotolog and about people who dance in their houses, yards and on the streets to primitive, raw, and direct music (like the rhythm of the track itself).” - Matias Aguayo

Chilean-born musician and DJ Matias Aguayo has been active for three decades, co-founding the Cómeme label in 2009 and releasing work on the likes of Kompakt, Pschent, Hard Fist, and Permanent Vacation. Beyond music, he has organised underground parties and led social projects, including a theatre production at Le Châtelet in Paris.

Radio Slave’s Rekids was founded in 2006 and has since spawned successful offshoots with the Techno-focused Rekids Special Projects in 2017 and its newest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been crucial in developing early artist careers and has become a haven for established acts operating in House and adjacent genres, having recently featured the likes of Hilit Kolet, William Kiss, Tal Fussman, Tiger Stripes, Harry Rimero, The Hacker, Sean Johnston, and many more.

Promised Land is the long-awaited debut album from contemporary showstopper Vintage Culture. Enlisting the help of peers NomBe, Maverick Sabre, The Temper Trap, and Elderbrook, the album marks the producer and DJ's seguing from progressive house to electro, evincing a globetrotting, jetsetting sound that hardly ever fails to hold back on emotion. Including prior single 'Come Come' alongside newer, angelic progressive cuts like 'Weak' with Sabre, this is a stark debut from the Brazilian creative force.

PPP: a whirlwind new link-up between contemporary club heartthrobs Piezo, DJ Plead and DJ Python. A trio of the best in the game come together for a new collaborative project on Facta and K-LONE’s Wisdom Teeth imprint.

The project was recorded gradually over a two year period at Piezo’s studio in Milan. Initial sketches were written when Python came to stay for a few days in late 2023. Later, when Plead travelled through the city, he stopped by to add his own contributions - and the record grew incrementally and organically from there across multiple visits.

The initial MO was to workshop a warped take on early 00s minimal and tech house - but at a certain point the record took on a life and soul of its own, spreading out in a number of disparate yet interconnected creative directions: from the peak-time euphoria/melancholia of ‘Wisco’ through to the shoegazed minimal of ‘Plz’, via proggy psychedelia (‘Bborn Again’), glitched Perlon reconstructions (‘Pez’) and downbeat downtempo (‘Coni’).

At points you can clearly hear their individual voices break through: be it Python’s whale-song melodies on ‘Coni’, Plead’s frenetic hand drums on ‘Wisco’, or Piezo’s sound-design freakouts on ‘Pez’. At other points the joins are harder to find as the record takes on a unique voice far beyond the sum of its parts.

Fresh wax from Lance Desardi, on his own Legwork imprint.

The Gods Must Be Angry comprises 3 tracks that have been doing the rounds with some of the heaviest-of-the-heavy house DJs, available for the first time on vinyl. We’ve combined these into one release and added a new track - What I Know - as a vinyl-only exclusive. Across all four tracks there’s a balanced mix of headiness and body-jerking funk.

Sally C steps up to inject CC:DISCO!’s sensual anthem ‘Chez Moi (feat. Confidence Man)’ with an inimitable streak of pumping house flavour. Originally released on Phantasy as CC’s debut single in the summer of 2024, the scene-setting Irish DJ and producer’s remix ticks like a Balearic bomb, riding waves of rushing chords and shuffling drums, built for the biggest sound systems.

After years of demand, Spray takes two wildly alternate approaches to ‘Chez Moi’, pressed to wax for the first time. His euphoric ‘Club Spriitzz’ mix fizzes toward the undistilled euphoria already beloved to festival crowds worldwide. In contrast, a swampier ‘Witching Hour’ cut recalls the experimental acid of early Hardfloor or Plastikman, for a heavyweight treat.