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Dal Platinum returns to the Toxic Funk series with another double-sided serving of funky breakbeat gold, once again proving why he remains one of the most creative beat craftsmen in the global Nu Funk scene. Following up on his previous Toxic Funk outing, the Danish groove specialist delivers two fresh cuts packed with soulful samples, neck-snapping drums and irresistible dancefloor flavor.

Leading the charge on the A-side, Shave the Lords blends tight funk breaks, slick edits and classic party-rocking energy into a heavyweight groove designed for DJs and crate diggers alike. Flip the vinyl over and Good Shines takes things deeper with infectious basslines, uplifting vibes and a raw funky swagger that perfectly captures the spirit of the Toxic Funk series. Both tracks carry Dal Platinum’s unmistakable signature style — playful, soulful and built to move crowds.

This 7” release marks yet another essential chapter in the Toxic Funk legacy, delivering timeless grooves for funk lovers, breakbeat heads and vinyl collectors around the world. Toxic Funk Vol. 22 is ready to bring the heat straight to your turntable — so don’t sleep on this limited 45 before it disappears into the crates of DJs worldwide!

The gold standard edit masters at Scruniversal have decided to refocus somewhere away from their usual Brazilian sound for this latest 7". It finds the crew heading to Africa and digging deep for new grooves, with Tony Lavrutz, Scruscru & Dwaal coming correct. 'Afrika Bambaataa' kicks the record off with a laid back Afro-tinged broken beats with a sunny disposition and plenty of bright melodies that wouldn't sound out of place in a Nightmares on Wax set. On the flip side joint, 'Zulu Jam" the drums cut more deep with organic percussion scattered up top next to expressive flutes. Perfect summer vibes.

Second Circle returns with a reissue of ‘Rainsong’ by Gus Till, presented here alongside a new remix from Japanese producer Kuniyuki Takahashi.

Originally emerging from Melbourne’s post-punk and new wave underground in the late 1970s and early 1980s, Gus Till has spent more than four decades navigating a remarkably diverse musical path. From early electronic experimentation with Third Eye alongside Ollie Olsen, through a pivotal role in the formative years of the global psy-trance movement and collaborations with artists including Michael Hutchence, System 7, Manu Dibango, Todd Terry and Bim Sherman, Till’s work has consistently resisted easy categorisation, moving fluidly between ambient music, downtempo, house, trance and psychedelic electronica.

First released on Japan’s Dakini Records in 2006, ‘Rainsong’ captures many of these threads in a single expansive composition. Built around a pulsating bassline, layered live percussion and soaring vocal elements, the track sits comfortably between the dancefloor and more immersive listening environments. Unfolding patiently across nearly thirteen minutes, it combines hypnotic rhythmic momentum with a rich sense of atmosphere and musicality.

For the B-side, Kuniyuki Takahashi offers a distinct reinterpretation of the original. His remix gradually unfolds from a patient introduction into a deep and richly textured exploration of the track’s core themes. Subtle spatial processing, nuanced arrangement shifts and his unmistakable sense of atmosphere transform the source material while preserving its emotional core.

'Rainsong' will be released digitally and on vinyl through Second Circle on July 29th. Sleeve art and design by Michael Willis.

Our previous remix-EP of Ness' classic album "Flesh Of The Gods" was, for various reasons, a long and slow process. When Ness himself suggested us to ask Vladw for a contribution we finally had a good reason to reach out to a long time favorite @ the Navigare HQ. Although located, literally, on the other side of the planet, his deep, driving and breezy productions ring true to our, slightly northern, musical vision. So we are not surprised that his excellent remix of "Transilient" is, already, one of the most celebrated tracks in our half decade long history. We asked for more, and finally we are able to present three brand new originals, seeded, watered and harvested with a Navigarean intent. Three highly functional pieces, aimed at focused dancefloors underneath open skies, balancing the beautiful and lush with the edgy and slightly twisted. Although being our first ever collaboration, any Navigare listener would understand that Luigi Tozzi has played a huge role for us on our path. Since his first releases with Hypnus we've listened carefully, on repeat, for a dozen years by now. A guiding light for our scene, always curious, always pioneering, yet always on point. His remix of "Drya" takes the harmonix of the original, adds a monstrous bassline and - trust us on this one - that massive clap will cause a mass frisson on the dancefloor. Trust Navigare Audio...

"Some of my earliest musical memories were listening to my local pirate stations in the early 90's. The signal was quite weak in my area, and the sound was doused in FM static, creating this interesting amalgam of rhythm and noise. I found a strange sort of comfort in this, often falling asleep while listening to the radio, in bed, with my headphones on. The stations were run by young people, no older than kids really, relayed from non-descript flats, scattered around Bradford, Leeds, and the surrounding towns of West Yorkshire. The setups were primitive, and the production quality (and often the mixing) were dubious at best. But there was an endless supply of passion, and listeners tuned in because they were thirsty for something the legal stations could never supply. These voices on the other side of the transmission were, for many of us, a bridge into the future. One, which sadly, never really came to be. Hardcore, Static: Pirate Transmissions From The North of England 1990-1994 is a celebration of this unique period in UK history. The North of England feels overlooked during this time, with history's focus firmly gazed on London. But the signal was everywhere. These pirate stations were crucial for many young people, who were trying to find their place and identity in the UK. Many of these transmissions, even the ones which were recorded onto tape, have since become lost media, effectively erased from history. Radio, at least in the analogue domain, isn't something most young people have any experience with. Pirate radio was this unique flashpoint in time, and for me at least, it was important enough for me to want pay my respects to it" Dennis/36

Repress! Back by popular demand–VSR 001 is designed to take you to the outer reaches of where you need to go. Wiersma has created a world where with your eyes closed and head down, the dance-floor can transport you to the outer reaches of space and back again for another beautiful night with all your favorite people.

Vermilion Sun Records was started as a passion project in 2025 with a belief in the magic of physical media juxtaposed against the incursion of AI. The original release featured just 100 copies and utilized US-only distribution; it was sold out in less than 5 months. After being brought across the pond from Boston to Brussels by local DJ & tastemaker Rasaaq, it was subsequently shared, quickly gaining popularity on Discogs. This repress is a testament to Vermilion Sun’s core belief; that is meant to be shared and enjoyed by everyone, and there is magic in that ritual.

Wiersma is a cherished member of the electronic music scene in Boston/Cambridge, MA. A DJ, partygoer, and prolific producer, he has played many of the city’s favorite nights sharing bills with other local talent and setting the stage for international acts like Bradley Zero, Garrett David, and Cinthie. Tapping all of these channels brings forth a creativity where memories from nights in Boston and other global travel transform his unique productions. His release VSR 001 showcases this style, exploring the darker and proggier sides of the house universe while making sure to stay tethered to a reality with firm roots on the dancefloor. A1 begins with Once Around Vega where a cinematic opening draws you into groovy and spacey loops demanding you to move. Syntactic Roles churns more deeply, incorporating layered dystopian vocals, rolling basslines and light acidity that is sure to help you close your eyes and put your head down for a dance. The B side keeps the space station grooving with Transmission from L3, and closes out with Rules of Teleportation incorporating more vocals over chugging electro infused grooves.

Machine Affairs is an expansive dance record informed by classic hardware and deep studio collaboration, with the soulful side of Detroit’s dance music legacy serving as a key inspiration. Crafted by long-time friends Willem Mulder and Grover Duvall over an intensive two-week studio session, the project represents a new generation of artists interpreting dance music heritage with a fresh perspective.
Willem Mulder works from the raw functionality of house and pulls warmth from electronics across eras. With releases on Apron Records and Salon Recordings, he’s steadily been building a name with his soul-infused productions. Grover Duvall is a new name, but not a new story, with years spent deep in the craft of sound. Together, the two bring their distinct worlds into a shared space, united by a love of analogue hardware, dancefloor energy, and the kind of music that lives somewhere between feel and function.

Cardinal & Nun is back on L.I.E.S. with a new 12 track double lp "SCARS"

Here we get the French artist in top form going full on heads down darkwave on this record with his song writing taking a new twist. These are catchy gothic almost synth-pop arranged tracks reminiscent of some of Sheffield's and Manchester's finest, and driving enough to move the floor peaktime at the Batcave as well. Head right to the b-side for "It Doesn't Change The World" featuring Andrew Clinco, of Drab Majesty, which is a perfect slice of down trodden bass driven shoegaze with Clinco's signature vocals stamped all over it. The title track "Scars" follows, going right into new wave pop territory as well, extremely catchy and moody vocals scattered throughout. A stunning album that works for the desolate days alone whether the moon is up or the sun is going down...beautiful and powerful.

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.

With a history of finding its place in DJ Harvey tracklists during Pikes' Mercury Rising, the Orchestra Veneta mystery continues in full throttle, with more slow chug wellness for the ear and floor. On the A-side a hypnotic gypsy/flamenco guitar and vocal sample gets re-vamped for early morning long haul endurance. Followed by a re-mix by long time visitor of the Island and historical piece of the cosmic/balearic connection -- Roberto Lodola -- giving it a more refined "Cafe Del Mar" touch. B-side explores the work of an Italian super star from a time before emails existed, slow bliss at just under 110 BPM, setting the stage for bigger things to happen on a tasteful dancefloor.

Jay Lumen is back on the label with his brand new pumpy and fat floor filler EP. His massive bassline section and 303 elements perfectly complement the pulsating rhythm of the "Bounce" track.
While "Metro" is a good proof of Jay's melodic bassy side. The roots of the track are the old school techno and hardgroove elements in his own recreation with some trippy melodies.
Last but not least, the "I have the beat" track is a power house masterpiece with the perfect balance of the groovy bassline and the dusty stab sections. Mind your Footwork! :)

Alton Miller’s Still Purpose EP sounds positioned squarely in the zone he’s refined for decades: deep, spiritual Detroit-rooted house with jazz warmth, restrained groove architecture, and soulful musicality.

Pariter return with a second archival reissue from three key figures of the original London tech house movement, David Coker, Timmy S and Justin Baileys.

This double header pairs a heavyweight house groover on the A side with a rolling acid tech house cut on the flip. The A side is driven by commanding vocal samples and Timmy's finely tuned engineering, channeling the raw, sound-system focused energy that defined the era's most enduring club records.

On the B side, a relentless acid-fuelled roller emerges from the vaults, a secret weapon that has remained deadly on underground dance floors for more than two decades, quietly championed by those in the know.

Now, 26 years on, original copies are nearly impossible to find in clean condition with rare copies regularly changing hands for hundreds of euros on the collector's market.

Carefully restored and remastered by Yossi Amoyal, this reissue revives a long lost and highly sought after underground classic.

"Al Festa's musical genius was revealed at the age of 14 when was released ''Starway to Escher'' with the Italian prog rock band Bauhaus (1974). His talent continued with "Miss Manhattan" by Metropole Al Festa, Francesco Puccioni (aka Mike Francis), Claudio Giorgi, Sharon Russell vocalist), his very first disco-music song in 1981. Over his career - a dozen movie soundtracks and hundreds music videos - his involvement in the Italo-Disco scene of the early 1980s is noteworthy. Undoubtedly, his contribution to Kristal (himself Al Festa, with Anne Dattner and Max Liofredi) remains most memorable. "Ete Super" was written with Helene Chauvin, a close friend of the now legendary Jeanne Mas. Helene attempted success as Abilene with "Tout Tout Tout Mais Pas Ca" arranged by another Italo-disco legend, Pierluigi Giombini (1987). Returning to Kristal, what convinced Claudio Casalini - one of Al Festa's best friends - to create this vinyl reissue was not only the memory of this talented artist, who passed away prematurely, but also the track "Fallin'" on the B-side, which embodies all the composer's post-Romanticism, a song rich of emotional and sensitivity, with intimate and often dramatic tones. When you are about to purchase Kristal, keep this excellent B-side in mind. You will not regret the choice."

After a very long silence, Wasser Bassin proudly presents Christine Fowler‘s third album, Anthology Of Oddities!

Almost ten years after her last effort, Christine returns with a handful of diverse and unique tracks. On the A-side, the skillfully crafted field recording, ‘Arctic Exortation”, which, literally, breaks the listener’s ice, is followed by the morse encoded distress of “Sinking Vessel Mayday. “Now There Has Been A Delay” and “Elegy For Dead Guitars” both work as somewhat melodic, somewhat tense acoustic guitar innuendos.

The B-side starts off with the long and epic ‘An Unfinished Portrait For Peter And Jean-Luc’, an actual soundtrack for things that never came to life; whilst, the brief and minimal, “Crevasse” ends the album in a sort of synth-like meditation.

So, there you go. It is all brand new and limited to 100 copies!

Lodig / Dibek re-emerge with a new 12”, expertly delivering that analogue machine funk.
On the A-side, Glass Echoes, features two cuts between techno and electro, navigating between darkness and light, rawness and polished brilliance.
Neon Drive comes in two variations on the flip – dark and extra funky electro driven by conversing baselines, followed by a dubbed-out version designed for those moody late-night moments.

BOY Records was founded by Michael Zosel back in 1987 but it was after a few releases that he started to work with producer Arno Müller. “Brian” by Absurd was the first techno release on the label and a great success in the German techno scene. The cooperation continued with singles by Hypnopedia and New Scene that worked very well and put the name of BOY Records in the charts and clubs all around Germany and abroad. In 1990 another massive success came with the single “Kennedy” by Deep Thought and since there the label did not stop to release hit after hit by lot of names like Time Modem, “O”, Cybex Factor, Sonic System, Moskwa TV, MCL and lot more.

“Timeless Technology 1988-1991” compiles some of the best singles released on label’s most fruitful years. A selection of 24 classic tekkno traxx. Four records with printed inner sleeves packed on a silk-screened transparent Pet-Gag box. Limited edition of 500 copies.

It’s not every day a collection of basslines stops you dead in your tracks, but that’s exactly what Berwick has done for his debut on Private Parts.

Kicking things off is the almighty journey that is Queen Of The Pineapples — a futuristic breaks workout packed with twists, turns, squelches, bass throbs, melodies, hooks… the job lot. It’s a proper piece of art.

Label boss Ste Roberts couldn’t resist getting his hands on the parts, taking things in a different direction while keeping all of the magic intact. Gated synths, switches from 4×4 to broken beats, and a heads-down roller of a remix that trips things out in all the right places.

Flip to the B-side and you’re met with the nine-minute story of Son Of Stan. A minimalist approach that just builds and builds — bass on top of bass, trip on top of trip. Another showstopper from Berwick.

Closing out the EP is Doggies — breaky electro with class and attitude. Dubbed out, tripped out, frequency-throbbing tackle of the highest order.

Berwick, take a bow.

Box Set w/ Hand-stamped LP, 36 page riso-printed book, Riso-printed fold-out poster, Stickers

"Phantom Seance Ballett is a boombox orchestra, Nō mimes, Vicky’s protection spells, Detlef’s psychic shuffles, a smoke machine, a strobe light chamber, painting, Margit Carstensen’s chiffre, Susie Greene’s insults, Schleim, Ebichu’s echoes and Anna Oppermann’s limbo."

Thus we welcome Lena Willikens & Sarah Szczesny's ethereal Phantom Kino Ballett project to Utter with 'Phantom Seance Ballett', an unusually tangible manifestation of what has become an on-going series of live performances and installations that incorporate sound, video, costume, still imagery and beyond. The themes explored weave in and out of grasp, touching on the otherworldly and mysterious, on hypnotic rites and ceremonies, on the fetishisation of cultural tropes and curios.

While carefully documented, these happenings had not been distilled or presented in a cohesive format until now. Of course, an attempt to harness and package such an experience required an imaginative leap beyond the traditional 'record-in-sleeve' approach and Lena and Sarah have overseen every aspect of this remarkable collection themselves.

Working with designer Till Sperrle, Lena and Sarah have conjured up a fold-out box containing an LP, a riso-printed credits poster detailing the samples and snippets collaged into the sound, a 36 page book with imagery from various shows and an essay by Thomas Vorreyer plus sticker pack. The limited 50 copy artist edition contains an additional 10 special riso-prints within an artist stamped hand-numbered box. For all, the LP contains twenty hidden locked grooves cut into the run-out on each side presenting snippets from the artists' archive.

The first of these pieces - 'Identikit Arkaden Seance' - took place on the 2nd of October 2019 at NAK Neuer Aachener Kunstverein and is a live recording. This performance was part of their exhibition "Chambers of Phantom Kino Ballett", where they showed new video works and displayed the now infamous costumes and slippers worn by Lena, Sarah and a rotating cast of guest phantoms.

At this performance, the seven performers carried boomboxes playing individual audio tracks inside and outside the Kunstverein, while Viktoria Wehrmeister and Detlef Weinrich improvised music alongside the phantoms' moving soundtracks of sonic snippets, poetry, field recordings and soundscapes.

The second piece - 'Studio Chamber Seance' - contains diverse audio tracks of performances that were held by Willikens and Szczesny in collaboration with Wehrmeister and Weinrich. It has been deconstructed and rearranged with additional sound material from the Lena Willikens & Sarah Szczesny archive, then edited and mixed by Lena and Sarah in Amsterdam and Cologne last year. Additional music by Detlef Weinrich and Viktoria Wehrmeister features throughout, recorded live in Aachen 2019 and Frankfurt 2020.

Mastered by Gordon Pohl. Transfer, additional mastering & lacquer cut by Helmut Erler at D&M.

How time flies when we’re talking truly classic House Music.

Incredibly it is 35 years since the epic BREAK OF DAWN was released. Track creator Geoff Hibbert had released the much loved A PLACE CALLED BLISS by CYCLONE on Network before coming up with the stunning BOD.
It was decided that a change of artist I/D away from Techno/Bleep influenced Cyclone was required and RHYTHM ON THE LOOSE was born.

Network came up with an initial limited edition 12” press on their One After D label to tie in with the Rave zeitgeist of 1991, to help kickstart a buzz on the track. Once this was ignited the “ suitcase at the door “ gem was properly released on the main Network label.

Acclaimed as an instant classic both in the UK and USA - where Network label mate Kevin Saunderson was an enthusiastic early advocate - BREAK OF DAWN is one of the tracks that truly shaped and defined the House Music explosion. Since then it has matured like fine wine.

To celebrate the 35th anniversary Network invited M.A.S.C (Mark Archer and Shadow Child) to come up with a remix that befits the as good as it gets status of the mighty BOD. They duly obliged..it’s a gem.

First copies of the remix are on a unique ADVANCE DJ COPY label with the track on both a and b sides.

An instant do you know the score collectors item …1991 to 2026 35th Anniversary Remix 12.

Always lurking amidst the underground Porto music scene is Spitbender, the most stable moniker of the ever-morphing Francisco Antão. Spin gathers a collection of tracks that demonstrate his experimentalism & coy sonic precision. Spitbender takes cues from Jungle & Hip Hop producers to create his own unique blend of Downtempo. What becomes clear throughout the album is the attention to detail: it is infused as much by Industrial's red-line spectra as it is by the dubplate logic of the Darkside Continuum, yet it does so at its own tripped out speed.

Spin begins with the laid-back but constantly shifting 'Global Overgroove'. Its breakbeat science moves in & out of DSP glitch-work & dub reflections. When its slinky bassline melody arrives, a certain dread sets in.

'Weyward Fold' drops into a driving, hard-edged chug, threaded with snippets of Malcolm X's disobedient pedagogy. The momentum carries into 'Headnod Doctor', where the bass distortion thickens & the cymbal circuit is overloaded, landing somewhere between Hip‑Hop grit & metal weight.

Side A ends with the downtempo roller 'Dogs and Moles (Skylurk Mix)'. The familiar break drifts into new territory, pulled along & wrapped in a slap-back echo. A quirky melody cuts through the haze, giving the track a fresh tilt. The mulch of the track forms a steady, unhurried pulse.

Spitbender's spacious atmospherics & groove-focused approach comes further into focus on 'Nothing Here But the Recordings'. Creating his own chapter in the book of Trip Hop, his minimalist touch is laid out in full.

'Force the Hand Ov Chance' pulls Boom Bap gently into dub mechanics, letting space do the heavy lifting. Its simplicity hides a deep pocket.

Returning to broken-up distortion, 'Mirrors of Flesh (Dub Mix)' finds Spitbender using the mixer as an instrument to push & pull the heavy drums of Benjamin Brejon of Méchanosphere alongside the voice of Rui intoning the title phrase.

Sitting between the album's two poles, 'Out Take Dub' fuses the clipped‑obsession timbres of Spin's heavier moments with its blissed out flow. Feedback & distortion are welcomed & drawn long.

In the end, Spin hits like a fully formed statement—lean, focused, & unmistakably Spitbender. Every track pushes its own angle, but together they land with a clarity that feels earned. It's a sharp marker in his trajectory, & it leaves a charge in the air.

On SMM0000105, Soreab locks into glitchy, percussive dub framework with Ilbiryani, combining tension with intricate rhythmic detail. The original thrives on steady, intentional dub experiments, balancing density and clarity with precision. In contrast, Banishsh completely deconstructs the track into polyrhythmic abstraction. The low end deepens into an almost DnB-weight sub, and the rhythm unravels into something unstable yet narcotic. Where Soreab’s mix defines control, Banishsh finds beauty in disarray. Together, they engage a dialogue between cohesion and entropy — two sides of the same sonic idea, equally substantial in their own language.

We are very happy to announce the 11th release by Fresh & Low on their own „TREASURES" series on RAWAX! This time we have the honor to present you "Take Your Time" which was originally released on West Side Records in 1996!

Func Records makes its debut with a release by Berlin-based live duo Catem & Arsonic. Arsonic opens Side A with funk-leaning, groove-driven techno. Rhythmic, warm, and direct. Catem takes Side B into deeper territory, exploring classic structures and dub-informed sound design. Minimal, spacious. Mastered and cut by Tim Xavier at Manmade Mastering.

This is a remixes album of DJ Funny and Bojvck's album, *Horse To Horse*. Two Korean artists remixed two tracks from the album respectively; the track "Different W/M" was handled by deung, an ambiguous and mysterious artist collective, and features excellent experimental electronic sounds. The B-side was handled by L-like, one of Korea's most talented producers and DJs, and is impressive for its witty percussion and effects. It is a remixes album where you can experience a fresh vibe, as the remixes were performed by artists who play music different from the original tracks.

A bad idea rarely arrives all at once, it drifts in slowly, playful at first and impossible to resist. With Bad Idea, Warsaw-based Ukrainian artist uiava delivers Groovebox’s first-ever vinyl release: a five-track journey through house and electro, balancing warmth, tension, groove, and emotion across a 12” and digital EP. Bad Idea Pt.1 opens the record with a playful and constantly evolving house cut full of unexpected turns, swinging grooves, and subtle details. Fellow Warsaw artist PayoYayo reshapes the original into a driving, tool-focused reinterpretation, hypnotic, functional, and built for the darker hours of the dancefloor. On A3, Bad Idea Pt.2 sharpens the rhythm with restless percussion, rolling movement, and stripped-back energy designed to lock bodies into motion without ever standing still. Berlin-based artist Nat Wendell opens the B-side with a timeless nine-minute reform remix of Bad Idea Pt.3. Slowly unfolding and rich in detail, his version expands on the original’s emotional message, transforming it into a patient and powerful club journey suspended somewhere between introspection and peak-time energy. Closing the release, Bad Idea Pt.3 dives into deeper emotional territory, an electro piece filled with fragile melodies, playful tension, and a strong emotional message that lingers long after the last notes have faded away.

Chronicles Diary returns with WAYF VOL.2, the second chapter in its ongoing When Are You From? series. Exploring the idea of duality, the compilation unfolds across four tracks that balance tension and release, density and space, movement and stillness. Tensal opens with the driving Suspense, followed by Stanislav Tolkachev’s shifting and elusive Invisible Shapes. On the B-side, MMSS & Time Traveler deliver the hypnotic Interval, while Conceptual & Mohamad Kafarsoussa close with Sezione Aurea, a deep study in proportion and restraint. Four distinct visions converge around transformation, continuity and contrast, further expanding the sonic narrative of Chronicles Diary’s contemporary underground techno aesthetic.

*repress*

Phonica unveil the first in a series of three 12" samplers featuring a selection of tracks from their new compilation 'Ten Years Of Phonica'.

Tigersushi and Crowdspacer boss Joakim kicks off the first 12" with melancholic masterpiece 'EAHR'. A prolific and sonically diverse producer, his balearic-flavoured remixes over the years for the likes of Antena and Max Berlin shines through on this one. Up next is the enigmatic Panoram, a shop favourite since his brilliant 'Accents' 12" arrived back in 2012. The lysergic 'Alpha Marmara' hits all the right spots once again.

On the b-side edit-masters and rare record connaisseurs Psychemagik contribute the string-laden 'Triumph Of The Gods', an ambitious Axelrod-esque modern funk gem. Finally, Alex Egan resurrects his work as The Draughtsman one last time with the previously unreleased track 'Fade To Green' - a deep, atmospheric house/techno cut recorded during the same 2010/11 sessions as his '1694 EP'.

Phonica Records was established in September 2003 and set up shop in Soho, London, adding to the high concentration of independent records stores that inhabited the area. Founders; Simon Rigg, Heidi Vanden Amstel and Tom Relleen joined The Vinyl Factory with the aim of creating an exciting outlet for innovative dance music, traversing all sub-genres and cultures. Over the past decade the emporium has developed into a well-respected destination for DJs and enthusiasts, and has subsequently become a bustling hive of conversation and inspiration as part of a wider community of music lovers.

While trends and movements in music have grown and faded over these years, Phonica has always remained in a state of evolution. It is this openness to change alongside a commitment to it's original ethos and an enduring ardour for quality, cutting-edge sounds that has fuelled the shop's staying power.

To celebrate reaching this milestone, Phonica Records have invited some of their favourite artists to produce a track for an eclectic yet cohesive compilation, which will hopefully go some way towards sonically unfolding the 'Ten Years of Phonica.'

Here another Mokum Release on vinyl.

Melody Of the Soul are back with their 9th vinyl release, featuring Felix Raphael & Ghenwa Nemnom on Side A with “Roads” and “Miracle (M.O.S. Remix)”, plus Jiminy Hop & M.O.S. with “Alakea” and Jiminy Hop’s “Keuje” on Side B. A refined selection of melodic and deep grooves, made for both listening and the dancefloor.

Back in stock and highly coveted, The Smiths - Best… II is a compilation of some of The Smiths’ biggest tracks featuring Heaven Knows I’m Miserable Know, Ask, There Is A Light That Never Goes Out and more.

2026 Repress

SHDW & Obscure Shape are back with their second EP for 2023, following their debut release on their mothership label From Another Mind. The German duo's latest release, 'Basic Instinct', is a collection of five dancefloor anthems that provide the perfect soundtrack for any moment in a set. The EP features their signature die-cut cover and includes a digital bonus track.

'Basic Instinct' is the 12th installment of their Mutual Rytm label and showcases the pair's exceptional production skills and innovative approach to electronic music, with a mix of old and new school flavors, vivid drum programming, organic percussion and captivating melodic elements. The A-side kicks off with their signature track 'Eraser', which blends crisp drums with warm sub-bass and piercing synth stabs.

"Dancer in the Dark" takes a deeper dive into late-night territory, combining lush dub-influenced synths with a rolling acid bassline. "Disturbing Behaviour" closes the A-side and shows why the 303 has become an iconic tool for producers. Despite the sirens dominating around the breakdowns, the simple two-tone acid stab is the defining element of the track, complemented by amen-break leaning drums that hint at a UK rave direction.

The B-side goes in a different direction, with 'Memories of Nobody' taking a filtered and less aggressive approach, as echoing dub pads gather around a growling bassline and kick drum combination, topped off by brushed hats. The EP concludes with 'The Last Seduction', a track that reveals the full organic breadth of the previously hinted at Amen break. The fusion of said amen break with the warmth and familiarity of waxing and waning pads is reminiscent of the golden days of electronic music. With its expertly crafted soundscapes and diverse range of styles, 'Basic Instinct' is yet another stunning release from SHDW & Obscure Shape.

2026 Repress

Chontane returns to Mutual Rytm with a more raw and aggressive sound than before across six powerful new tracks on his latest EP, 'Permanent'.

Berlin-based Ukrainian DJ/producer Chontane has had a busy twelve months. Capped off by recently launching his own new TANE label, the exciting talent has been working hard to reinvent and refresh his sound in the studio. Mastering new techniques to push things to the next level, this EP and return to SHDW & Obscure Shape's Mutual Rytm proves he has succeeded and then some. Where previous works on the likes of ARTS and Rekids were full and more melodic, here he has restricted himself and gone for a more visceral sound. Developed and built in all new ways with an innovative approach to sound design and arrangement, the tracks on the package showcase a more serious and harder-hitting side to his sound as he unveils his impactful 'Permanent' EP.

Opener 'Graze' has a monstrous feel to it, with ghoulish synth loops and industrial textures all coming on strong and heavy. As it bangs along, incendiary hi-hats and lithe pads all bring extra weight and detail. 'Cumaru' is a highpaced techno workout with a frenzy of synths and percussion, all making for dense layers of heavily textured sound. 'Schima' brings some big techno bounce in the drums and more hurried, rusty synth loops that lock you into the darkness. Showing yet another side, 'Lauan' is a little more paired back with pounding tribal grooves and bright synths, bringing relentless yet funk-fuelled intensity. 'Vevis' is the most melodic of the lot - a heavy track but with subtle optimism in the rising background synths that will surely get hands in the air.

Last of all is digital bonus 'Makore', a cauldron of intensity with scraping hits and relentless drums, vastly oversized hi-hats and slamming bass. This high-impact, beautifully brutal yet groove-heavy techno takes Chontane's sound into new realms, and delivers an impressive return on a label continuing to push the genre forward.

Following the release of Haunted House Party, Bradley Thomas Turner was contacted by the Cryptozoological Society of New York City to create music for their museum’s holiday exhibitions. As enigmatic as they are controversial, the secretive society gave the composer free rein to create music that celebrated their profane (and, according to their critics, pseudoscientific) explorations of the darker side of yuletide folklore. The endeavour was denounced by religious groups, the scientific community and even parts of the cryptozoological community as “blasphemous,” “irresponsible”, and “a dangerous topic to make light of” respectively. Not much is known about the pandemonium that broke out on the night of the opening reception, but one journalist (who has been granted anonymity by request) infiltrated the event and captured the recordings that follow. Death cult ritual? Mishandling of cursed artifacts? Elaborate practical joke? Publicity stunt? No one can (or will) say for sure as no person in attendance has been willing to speak on record. Therefore, we present these recordings so the general public can decide for themselves.

Sticky Plastik returns with its fourth album. Side A features two peak-time tech-house cuts by Romanian artist Mar.c., while Side B resonates with warm-up and after-hours deep house from South African producer Saunter.

A1 “Errand" is hypnotic and driving tech-house groove built around stripped-back percussion, rolling low-end pressure, and subtle tension. “Errand” delivers a raw late-night energy designed for peak-time dancefloors. A2 “Advised” refines a rhythmic journey with crisp drums, infectious grooves, and atmospheric textures. It balances deep minimal elements with dancefloor momentum, making it equally effective in intimate clubs and larger spaces. Side B opens with “Memories of Venice”, a dark and emotional composition enriched by an unfiltered acid bassline and deep tech-house aesthetics, the kind of track made for dimly lit and intimate environments. The closing track, “Plastik Dreams”, is a deep and airy composition, perfect for warm-up sessions or open-air settings surrounded by nature.

Peach Discs celebrates peak western-hemisphere summer with the perfectly-timed-and-titled "Soft Serve Summer" EP from I. JORDAN. We were delighted when they sent us these tunes, which represent a brighter, housier and more personal side to their sound than many have seen before. Inspired by their recent tour of Australia, the EP (named after the title track that got the ball rolling on the other side of the planet) bottles a loose, sun-kissed feeling across all five tracks that's keen to be unleashed at festivals, beaches and dancefloors worldwide.

Opener "Your Love" boots things off in style, sitting somewhere between Power House and French Touch as layers of oscillating synths, percolating drums and vocal chops take turns in the spotlight – but when all's said and done it's the bassline that gets the flowers, duh.

Things turn a little more introspective on "Little Tinker", as the titular bells sprinkled throughout summon up something…else? Whatever you think that is, the muscular bassline once again keeps us grounded, as washes of dreamy synths lap at the shore and everything is in its right place, before the urgent organ stabs and diva moans of "Soft Serve Summer" pull us straight back to the middle of the floor.

Nickodemus is a traveler at heart—a connecter of worlds, scenes, and people since the mid-90s. Over his extensive career as a touring DJ and producer, including five albums, hundreds of remixes in his “Remix Machine” and two dozen compilations of cutting edge up incoming producers from around the World, remains one of the most important leaders of global fusion and the heavy beats we yearn for in the club. His music has long thrived on the close relationships and mutual respect of friends he’s built across the continents, felt through the worldly potions he cooks up in the studio, and spanning electronic sounds rooted in Latin, African, and Eastern instrumentation. His latest album, Soul & Science is a collaborative effort between old and new friends, recorded in several countries while touring as well as his home studio / record room / memorabilia museum.

This limited 7” pairs two standout remixes from Nickodemus’ 2023 album Soul & Science, bridging deep-rooted collaboration with modern dancefloor energy. On the A-side, Ben Gomori reimagines “Rumba Tobacco y Ron”—a trans-Caribbean production born between Puerto Rico and Cuba, featuring contributions from Tempo & The Candela All-Stars and Haydee Soul—into a chopped, electronic club cut that retains its original horns, piano, and vocal spirit. On the B-side, Tigerbalm delivers a driving, four-on-the-floor remix of “Mama Tchipp (Follow Me),” flipping the Afro-disco anthem with steady basslines, punchy drums, and Pat Kalla’s infectious vocals primed for peak-time play.

With a career spanning over 25 years, Nickodemus remains a globally recognized force in eclectic, genre-blurring dance music, boasting 60k+ Spotify followers, 811k+ monthly listeners, and over 350 million streams across his catalog, alongside more than 20,000 physical records sold worldwide. His breakout collaboration with Quantic and Candela All-Stars, “Mi Swing Es Tropical,” became a bona fide international hit with over 75 million cumulative streams and a key placement in the Chef soundtrack directed by Jon Favreau. On remix duties, Ben Gomori—founder of the UK-based Monologues Records—brings his signature touch, having previously reworked artists including Oby Onyioha, Segun Adewale, Dawda Jobarteh, and Amadou Balaké. The release is already receiving strong international radio support, with airplay and tastemaker backing from Gilles Peterson, BBC Radio 6 Music, FIP, RFI, Radio 3 (Generación Ya), 2SER, KCRW (Top Tune of the Day), and KEXP, signaling strong demand and cross-market appeal for DJs, collectors, and global music audiences alike.

a A1: Rumba Tobacco y Ron (ft. Haydèe Soul) Ben Gomori Remix
b B1: Mama Tchipp (Follow Me) [Tigerbalm Remix] [feat. Pat Kalla]

[a] A1: Rumba Tobacco y Ron (ft. Haydèe Soul) [Ben Gomori Remix]
[b] B1: Mama Tchipp (Follow Me) [Tigerbalm Remix] [feat. Pat Kalla]

[a] A1 | Rumba Tobacco y Ron (ft Haydèe Soul) [Ben Gomori Remix]
[b] B1 | Mama Tchipp (Follow Me) [Tigerbalm Remix] [feat Pat Kalla]

[a] A1 | Rumba Tobacco y Ron (ft Haydèe Soul) [Ben Gomori Remix]
[b] B1 | Mama Tchipp (Follow Me) [Tigerbalm Remix] [feat Pat Kalla]

The A side kicks off with an infectious bass-heavy hypnotizer from DEMARKUS LEWIS. FRANK AMODO's remix adds a funky twist with a rubbery bass line and filtered keys. JOSH STONE crafts an absolute masterpiece of chunky disco that will be played for years to come on the B side.

Skinned' ( released digitally in 2020) - the debut album from Danish composer, producer and singer ML Buch.
Comes with lyrics printed the inner sleeve.

After releasing her debut EP Fleshy in 2017 - Skinned that takes her expansive guitar work and catchy melodies to another territory.

With her unique experimental pop and vocals that seem to slide into your ears as fluorescent liquid, ML Buch portrays the reality of intimacy in a digital era. Working primarily with synthetic midi sounds, the general love of songwriting and guitar music is ever present.

As if in search for something real, ML Buch takes the listener on the other side of the skin. Led by tender love songs like I’m A Girl You Can Hold IRL and Can’t Get Over You With You we journey through her throat and into her intestines, discovering a fascinating realm of shiny mucus and bile in flesh and yellowish colors. Panoramic images were captured by a small pill camera travelling through the body of ML Buch and act as extensions of the architecture of the music. This literal way of internalizing modern technology is symbolic of Skinned where eclectic instrumental compositions share the space with strong hooks and ML Buch’s spherical voice.

credits

All songs composed, arranged and produced by ML Buch
All lyrics by ML Buch
‘Touching Screens’, ‘O’ and ‘I Feel Like Giving You Things’ co-written by Oliver Nehammer
Bass on Can You Hear My Heart Leave, Touching Screens and Mw by Johan Polder
Drums on Touching Screens and Mw by Kristof Gasior

Viola on Stone Bridge by Astrid Sonne

Midi drums and keys on Touching Screens by Oliver Nehammer
Mix by ML Buch, Oliver Nehammer & Jacob Brøndlund
Mastered by ET Mastering
Cover photo by David Stjernholm
Artwork by Aske Zidore and ML Buch

Any15 - Anyines 2020

STAR CREATURE is proud to welcome aboard a new collaboration between some of the globe’s heaviest funkers. French disco collective Spaced Out Krew (S.O.K.) and Geneva’s Ghostape have teamed up for two sides of cosmonautical freaky mutant funk selected from vaults by label-head TIM ZAWADA. Drawing inspiration from the backroom and basement boogie bombs of yesteryear, the krew has assembled 2 giant cuts of bass heavy, booty shakers with a dangerous feeling twist, perfect alternative cuts to keep a set on the edge.