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New Furthur Electronic label offshoot Entropic Drift in collaboration with its designer Majkel Kokocinski lands with an inaugural release. Six very classy known and unknown, new and old cuts. From JS Zeiter to Rolando Simmonds and a previously CD-only Coco Steel & Lovebomb ambient cut!

Franc Fala & Benja land Crosstown Rebels debut with hypnotic collaboration, ‘Dirty Dancing’.
Out on 31st July 2026, the Dutch pair unite for a dark, groove-led first appearance on Damian Lazarus's label, backed by two distinct reinterpretations from Brazilian artist Malive.

Anchored in a heavy groove that never loosens its grip, Crosstown Rebels’ latest release, ‘Dirty Dancing’, brings together two Dutch artists whose ideas have been shaped by a shared creative language built over time. Amsterdam’s Franc Fala continues to build on what has been a rapid rise onto the global house circuit, with a run of notable releases coupled with a growing touring schedule, ensuring his records and name have been the talk of the town for many. Alongside him, regular collaborator, fellow countryman and close friend Benja has also ensured his approach to music has also landed with impact, leaning on energy and atmosphere to shape records designed to resonate beyond the dancefl oor. Here, the pair reunite for their biggest collaboration to date as they make their debut outing on Damian Lazarus’s revered imprint with a record crafted for the peak hours.

Everything revolves around a vocal hook that doesn’t sit in the background; it emerges to take over the track, keeping listeners locked into the groove beneath. Rather than pushing in obvious directions, it circles and tunnels deeper, drawing listeners in until it becomes the only thing that matters. On remix duties, Brazilian DJ/producer Malive delivers two contrasting interpretations that take command of the B-side. His ‘Noturno Mix’ pushes into shadowy, late-night territory, extending the track’s hypnotic pull through melodic textures and tension, whereas his ‘Goes To Rio’ mix takes a more fluid direction, loosening the groove and introducing bright keys alongside a slick rhythmic swing.

Archaic Vaults is proud to present »Ley Lines«, the debut album by St Circul.

Concise collection of folkloric grime instrumentals to rise from a new moniker taken on by the elusive First Circle. A breadcrumb trail of effortlessly crafted early 2000s-era grime, trap and drill instrumentals can be found on a fairly sparse Soundcloud account and numerous NTS shows spanning the last ten years, on which he is known to play almost entirely his own material. Now a different energy takes hold on »Ley Lines«: ten tracks by the enigmatic producer to be released both on a label and in physical format for the first time.

»Ley Lines« was born from a meandering quest through South London’s more leafy dwellings. These cherished regions became a place of refuge in which to ruminate on the hopes that love and community can outlast the dwindling state of Britain’s social and political climate. Photo documentation was made which would later form the genesis for each track, and a return to the studio resulted in something which could not be fitted into the existing First Circle discography.

Harpsichord and brass samples (»A Plan Is Formed«, »Hilly Fields«) are underpinned by murky bass loops and tight militaristic percussion – motifs recognisable amongst white label grime’s most influential producers (Wiley, Skepta, Lewi White etc.) that push the formula into far more rapturous territories than any of FC’s previous productions. The more introspective moments of the album (»Wares at the Ivy House«, »Blythe Vision«) put local field recordings and devotional reverberant ambience to the forefront, alluding to St Circul’s proto-dungeon synth influences and giving the whole album a unique world all its own.

Archaic Vaults is proud to host an album which shares intrinsic roots with the label’s own South London birthplace. »Ley Lines«’ ten tracks of psychogeographic drifting are available in digital and limited cassette format via Archaic Vaults.

Mastered by Owen Pratt Design by Severin Black Artwork image by St Circul

A deep and sophisticated addition to the catalogue of one of Germany’s oldest House labels. With Rhythm Puzzle, Bass Cab returns to Cabinet Records, one of Germany’s longest-standing and most respected House labels, continuing a legacy that has shaped underground dance music with quiet confidence and unmistakable identity for decades. Few labels have managed to preserve such a clear artistic vision over such a long period of time. Cabinet Records has always stood for depth over trends, substance over spectacle, and a deeply rooted connection to the essence of House music.

With the second release on Vakuum, the label founder Confusion himself connects seamlessly to the previous release with his “Illumina EP”. VAKUUM002 features four driving yet immersive dancefloor-journeys. On the A-side, “X-Ray” opens with a drum heavy foundation that in tense moments is accented by playful and bright textures. The title track “Illumina” is built around a stand-out emotional storytelling which runs through the entire piece contrasting with an overall melancholic mood. The flip side navigates to more rhythmic territories. “Luz” is built around stripped-back rolling drums, a repetitive hook and an uplifting and dense pad, while “Asix” carries metallic textural slices and strange atmospheres.

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.

Latebloomers introduce The First Bloom, their debut EP, ready to heat up summer dancefloors.

From playful ghetto-infused house grooves to deeper, hypnotic cuts, The First Bloom brings together five artists connected by friendship and a shared love for underground dance music.

The A-side features Miami Beat$ representatives BeetWorldWide, Uncle Franky, and Teejay joining forces on two nostalgic, hip-hop-inspired cuts. On the B-side, label founders Roy Koch and DJ Z each deliver a solo track, exploring deeper grooves and planting the seed for the Latebloomers sound.

Rooted in the belief that growth unfolds at its own pace, The First Bloom marks the beginning of Latebloomers.

2026 Repress

Introducing Fuse Imprint - The New Record Label from Fuse Club, Brussels

Fuse Club, the beating heart of Brussels' techno scene, is thrilled to announce the launch of its new record label, Fuse Imprint. Known for its cutting-edge music and unforgettable nights, Fuse is extending its influence beyond the dancefloor and into the realm of music production. The label aims to be a platform for both emerging and established artists, showcasing the best in techno and electronic music.

The inaugural release is a dancefloor-focused EP by Altinbas, aptly titled "Reshape". As a resident DJ at Fuse Club, Altinbas has been instrumental in shaping the club's sonic landscape. His new EP encapsulates the essence of a Fuse night - intense, immersive, and irresistibly danceable.

We're proud to present our second release: Contemplation EP.

This release sees label owner Cavilla deliver a sound that reflects the label's vision. Blending Goa and psytrance with tribal influences, Contemplation EP represents the style and direction that Mind Racer Records is all about.

Cavilla is a DJ and producer from Gibraltar whose music combines progressive trance with psychedelic, goa and psytrance influences. A passionate vinyl collector and co-founder of Creatures of the Night EU, he has developed a distinctive sound built around hypnotic melodies, raw basslines, and driving energy.

Contemplation EP is Cavilla's debut release and his first EP on vinyl, introducing the sound that defines his artistic vision.

A1 Don't Sweat It focuses on ever-building energy, combining a rolling bassline with Goa-inspired leads and acid synths. Driving from start to finish, it pulls you deeper into the trance. A2 Danger Zone blends psychedelic textures with tribal influences, creating a dark and moody atmosphere.

B1 The Truth combines acid synths with psy influences, bringing a trippy and immersive feel to the release. Psychedelic details and evolving elements shape its distinctive character. B2 Catch Me If You Can" rides on ethereal textures, raw growling basslines, warping elements, and a hypnotic melody, laced with a seductive vocal layer perfect for late-night settings.

From euphoric rave and disco-infused house grooves to deep, emotional deep house. With the third installment of the „Any Second Now“ series, the label once again delivers a versatile and cohesive various-artists record that unites different facets of electronic club music. Offering everything discerning DJs and dancers look for, from euphoric rave and disco-infused house grooves to deep, emotional deep house. It is a versatile record rich in atmosphere and highly re-listenable.

Boston’s Vermillion Sun Records has returned with its second offering, featuring Gummies Records boss and Steep co-founder Cutty (aka Cutwoes). As a child, Cutty was allergic to most common pets, prompting him to explore the world of amphibians, mainly…frogs. Each night as he dozed, his room was filled with the chirping of his slinking brothers and sisters. He has been immersed in sound ever since. Since traversing the deepest ravines of local music as a clubber, DJ, producer, label head and promoter, his productions, like his DJ sets, consistently bring unexpected twists and turns. Bouncy and psychedelic techy house goodness, beautiful ambient moments, downtempo groovers in the perfect time and place, breaks to make you dance and shake. VSR 002 encapsulates Cutty’s whole approach, delivering propulsive and tasteful tech house with ambient, dubby, tribal, and progressive influences.

Lillies in October sets the stage, book ended by gorgeous ambient waves before breaking into rolling tribal infused grooves. The Machine God delivers psychedelic wonk and circumstance providing the tech to soundtrack your deviousness. The B-side, Cutty provides a hypnotic and heady groove to sway away in Wooden Rollercoasters, while Wiersma delivers a remix full of funk and swing, showcasing how years on the dance floor can meld mind, movements and music. Whether as tools to assist the discerning DJ, or a journey for eyes closed and head down dancing, this is your gateway to hear what’s happening in the Boston underground.

We’re proud to present Further Reflexions, the new EP from our young striker Roto, featuring a closing B2 collaboration with Nulek.

Across three forward-thinking solo cuts, Roto explores a trance-driven language infused with techno energy and hypnotic textures. The EP moves through tension, transformation, and emotional intensity, balancing dancefloor functionality with introspective atmospheres.

“Evolution and change are part of life. Evolution comes naturally; change is an unavoidable force. You either allow it to reshape you, or resist until you succumb to it. This is the philosophy behind this EP.” — Roto

The release closes with a collaboration that has already become a signature within the label’s identity. Nulek and Roto unite once again to deliver a dark, stomping B2 cut where the electron analog power meets the raw pulse of bass guitar. Together they shape a dense and immersive sonic landscape and a warning whispered from within: avoid the devil.

Keyboardist/composer Doug Carn was the
biggest star on the legendary Black Jazz Records
label, with four releases to his credit (all reissued
by us at Real Gone Music), and remains a
touchstone for spiritual jazz fans and musicians
alike. But very, very few folks have heard his
debut record, cut for the venerable Savoy label
back in 1969. In fact, it’s so rare that we couldn’t
even find a copy to use for artwork, so, with
Doug’s help, we enlisted his daughter Eroniffa
Ibrahim to create illustrations for our reissue
based on the original cover photos. But you know
what we did find? That’s right…the original master
tapes! So, not only is this the first LP reissue for
The Doug Carn Trio, but it’s an all-analog edition to
boot, pressed at Gotta Groove Records with their
proprietary GrooveCoated stampers to minimize
high-frequency loss with each successive pressing.
And, we’ve added an insert with liner notes by Aaron
Cohen based on an exclusive interview with the man
himself. As for the music, it’s a tight organ trio set
that starts cooking right from the get-go with a groovin’ cover of Gus Cannon’s “Walk
Right In,” which became a folk hit for The Rooftop Singers. Carn’s fluid, forward-thinking
playing anticipates Larry Young’s future keyboard forays, and originals like “Butter from
the Duck” and “Yna Yna’s Delight” presage the compositional prowess he flashed on the
Black Jazz releases (note: that’s Don Hales on guitar, not Gary Starling as credited on the
original record). The opening salvo from a scintillating career, finally available again!

djfix joins Craigie Knowes for his label debut. The moodiest of club records packed with 4 deep, dark and bouncing jams. Every track has its own identity and stands out on the dancefloor. Title track ‘The Dial’ featuring long-time collaborator Gbar rolls along on top of a thick and voluminous bassline, haunting leads echoing through the night. Signal & Shadow progresses into a broken beat somewhere between electro and garage, wobbling bassline echo-locating the silhouettes on the dancefloor – the perfect track for DJs looking for that special something to let their crowd breathe during the madness. Twin is a euphoric, hedonistic trip that builds and builds – endless percussion pulling the rhythm effortlessly into your mind. Animals as Teachers rounds the record off with a rocking 4×4 club-ready stomper, peak time business indeed

Special gatefold LP + 12-page booklet attached to the sleeve, featuring in-depth essays, archival photography and historical material. Fully licensed from the Soliano family.

Habibi Funk’s new sister label Audible Beauty Records debut release: A landmark collection retelling the untold story of Malaysian jazz featuring 11 songs from the legendary composer, arranger and pianist Alfonso Soliano, originally recorded for Radio Television Malaysia (RTM) and only released in a run of a few dozen copies for radio broadcast. Widely regarded as one of the foundational figures of Malaysian music, Soliano blended jazz, Latin influences and traditional Malay musical forms into a uniquely local sound of all original compositions. The recordings also feature contributions from some of Malaysia’s most important musicians and composers of the era, including Johari Salleh and Ahmad Nawab. For fans of Salah Ragab, Ahmed Malek, Mulatu Astatke, Dollar Brand and co. The release includes extensive liner notes and previously unpublished archival photographs documenting Soliano’s life and legacy.

Special gatefold LP + 12-page booklet attached to the sleeve with extensive liner notes and previously unpublished archival photographs documenting Salleh’s career. Fully licensed from the Johari Salleh.

Habibi Funk’s new sister label Audible Beauty Records second release: A landmark collection retelling the untold story of Malaysian jazz featuring 9 songs from the legendary composer, arranger and trumpet player Johari Salleh. Salleh played a crucial role in shaping the sound of modern Malaysian music across radio, television, film and live performance and has composed dozens of popular songs in his decades long career. His personal musical passion always was jazz, reflected in this deep selection of jazz works that were previously unavailable unless you had one of the few dozen copies pressed locally in the 1970s. The album doesn’t only highlight his musical statue as a composer but also as a outstanding trumpet soloists bringing together jazz, spiritual undertones and Malaysian folkloric themes balancing slower pacing deep, modal grooves with more upbeat jazz funk leanings. For fans of Salah Ragab, Ahmed Malek, Mulatu Astatke, Dollar Brand and co.

Excited to share this bomb new release from Scottish techno/house legend Stephen Brown, whose discography reads like a Who's Who of classic techno labels: Transmat Detroit, Djax-UpBeats, Cocoon, Subject Detroit, Theory...

With its instantly recognisable vocal hook, Test 1 is a bona fide, party-starting hand grenade of a tune and destined for track ID requests wherever it drops. Backed by the raw, Chi-town groover Move It (which wouldn't have sounded out-of-place on one of Brown's Djax-up-Beats releases: all off kilter pads, detuned hats and a slamming kick) plus the deeper Tell Him, itself a masterclass in subtlety and groove, this 3-tracker really is quite a package.

All killer: no filler, The Safari EP is essential for fans of proper underground house & techno. Stephen Brown's releases have been falling into the "buy-on-sight" bracket for DJs in the know for many moons now. This release is no different! High quality from Edinburghs finest.

Scum rock low-lives Louse return with their Sophomore LP, Buyer’s Remorse - an unrefined but levelled-up dip back into the murk, keeping it in the family one more time on Riot Season records (a label which now, fittingly, features genre luminaries Brainbombs).
More cohesive, more negative but no less disgusting than debut record Creep Call, the band have further enhanced their pummelling, single-riff ritual M.O. with even more strop-razor guitars, crank-fuelled slide-bass, strangled sax and sinister missives from the void.
Buyer’s Remorse includes unspeakable meditations on an unmatched litany of losers, including: inept hitmen/serial killers, snuff-flick refund naivety, disturbing fellatio lessons, burying yourself alive to escape the law (“you’ll never get me in the slammer”) and having a damn good time being chopped into luncheon (take a ride on the meat slide!)
Snubbed from all but the best festivals, Louse continue to eke out a steady stream of shows, with highlights such as glorious sweat-boxes in our beloved Torino, Monza and beyond in the EU with BRAK, being the first band to play Mickey Zogg’s Basement in Bristol with Beau Wanzer and multiple distinguished appearances at Café Oto with legend and fellow RS label-mate Shit & Shine.
Right-thinking taste-makers have decreed that Louse “exist in an alternate reality where The Fall and The Birthday Party are one and the same band”, and that their songs are “all at once unsettling, loose, filthy, untamed, distorted and fucked up, but most of all rocking, creative and unique”.
Buyer’s Remorse is no exception, having been wrangled into perfection by long-time collaborator James Atkinson (The Stationhouse Studio) and none other than Rectal Hygienics’ Matt Ibarra (STR Mastering) this is truly scum rock at its finest - all at once punishing, ugly and brutal; but listen to that groove (oh my!)
Louse are
The Captain - Vocals, Septic Pete - Guitar, The King of Sting - Guitar , Uncle Brutus - Guitar Mister P. - Drums, Dieta Di Patate - Slide Bass

Crossing borders between traditions, sonic territories, and instruments, musicians Tomáš Niesner and Aldana Duoraan created their first collaborative album Plot. The sound of khomus meets guitar melodies simplified into pentatonic scales, intertwining in a dialogue that remains playful while moving between meditative passages and bewitching, hypnotic moments. Solid yet ever-changing, these melodies explore a delicate relationship between the present interactions, their past, and possible futures. “I feel that the essence of our collaboration is not to close the songs off, but to leave them open so that they can develop and be interpreted a little differently each time, depending on the circumstances,” Niesner explains when describing the duo’s artistic approach. The recording therefore captures only the most essential moments and ideas, which continue to unfold in new directions during live performances.

Each segment of Plot, word meaning “fence” in Czech, while also referring in English to a narrative structure or hidden plan, represents a different constellation shaped by the pairing of specific khomuses and guitar tuning. The track titles, such as The Key of Radiance or The Key of Humbling, are inspired by the ancient Chinese text I Ching (usually translated as Book of Changes). Like the classical cosmological text itself, the compositions meditate on similar fundamental principles. The ideas explored in the chapters of the I Ching are thus loosely translated into musical language. Themes of Radiance, Attending, or Nearing thus loom over the reflective realm of Aldana and Tomáš.

The two musicians first met in 2021 through a collaboration organized by Konektiv, an event series that aims to create new connections between genres and musicians with diverse backgrounds. Aldana Duoraan is a Prague-based artist born in the Sakha Republic, whose experiments with the khomus (also known as the jaw harp) draw on the traditional music of her homeland. Tomáš Niesner, a sound artist and guitarist based in Brno, navigates the realms of American primitive guitar while incorporating influences ranging from folk to drone. Because the duo rarely finds themselves in the same city, an important moment in the development of Plot was a showcase at Cafe OTO, organized by mappa. The album, capturing the fleeting energy of this encounter and several others, has now been released on the Slovak experimental label, which helped bring the collaboration to life.

Purple Vinyl, limited to 200 copies. A Life Less Plagued, originally released in 2001, is a seminal release in modern hardcore by the California straight-edge band Carry On. Recorded at Godcity Studios by Converge's Kurt Ballou and clocking in at just under 20 minutes across 12 tracks, the album delivers unrelenting intensity, frantic tempos, and cathartic vocals. The album not only became a blueprint for the 2000s "West Coast Hardcore" movement, but was also the first proper full-length album put out by Bridge Nine Records. Carry On didn't live on much longer after their full-length album debut, but it became a definitive release for the label (and California hardcore) as each member went on to form the next wave of West Coast hardcore bands (such as Terror, Piece By Piece, Betrayed, Internal Affairs, and many more). Long out of print by the album's 10th anniversary, its legacy was further set in stone with a 2011 re-issue. Now Carry On is back playing a handful of shows over the 2026 summer and we've got another re-issue on deck. This is a record frequently cited by hardcore veterans and modern musicians as the absolute mold for 2000s American hardcore, so be sure to grab it if you don't have one in your collection yet.

Me First and the Gimme Gimmes show that they have truly matured as song-thieves on this album! Running at 45 RPM, the 25th anniversary pressing comes with silver foil and silver 25th anniversary labels. But if you like you can buy the original CD still too. Punk pranksters, Me First and the Gimme Gimmes, came forth with their third full length album, Blow In The Wind. That time around the band pays tribute to the tunes of the late 50s and 60s. Once again Me First and the Gimme Gimmes have woven their punk rock magic into the threads of the classics from the likes of The Beach Boys, The Beatles, Del Shannon, and Cat Stevens, just to name a few. On Blow In The Wind, Me First and the Gimme Gimmes don't simply cover 13 songs whose future was dependent upon the AM dial, they breathe the breath of new life into songs that were on the verge of being forgotten! Me First and the Gimme Gimmes is comprised of the following punk rockers: Spike Slawson (Swingin' Utters), Joey Cape (Lagwagon), Fat Mike (NOFX), Chris Shiflett (ex No Use For A Name, present Foo Fighters), and Dave Raun (Lagwagon)

After Diogo’s hit record, we are following it up with another set of swinging dance floor detonators! Arriving directly from Brasil, Sérgio presents itself as another moniker from one of the greatest creative minds in all South America, Gabriel Guerra. With dozens of releases scattered over Future Times, Superconscious Records, LAMA, Got Tun, Balaclava Records, or his own 40% Foda/Maneiríssimo, he lands on our lap with a couple of highly effective, UK infused, and slightly nostalgic dance tracks. We’ve allways neutered a profound sense admiration for everything that Guerrinha was releasing under his 40% Foda/Maneiríssimo label, and had the feeling that his vibe was definitely one that we could relate to. Happy, a little wacky, and truly unpretentious dance floor madness! From acknowledging that, to reaching out was just a step. He was super available to work with us, and after the first talks he promptly provided us with a google drive folder with more of 100 unreleased tracks… Yes! You heard it! More than 100 gems of pure creativity ranging from all kinds of genres and across a fucking multiverse of alias and alter egos! So yes, that’s the kind of creative genius we are talking about… Moving from this “garagy” universe, Guerrinha presents us with a set of super fun tracks, which both leans over this infamous side of dance music, as well as it keeps an eye open for the most blatant forms of pop culture. Pure and simple dance floor tracks, to be enjoyed with a smile on your face.

"Is this the sound Sérgio?" or "Is this Sergio's sound?". The question of the questions seems silly, but it was postulated in 2019 to answer Guerrinha a new sound idea: A super appealing garage sound, so that any kind of doubt about the fact that Guerrinha's sets being fun, and that he himself would be able to mix swinging rhythms, would be eliminated. Sérgio is Guerrinha’s pseudonym for this, and since its first release in 2019 with the album “Utensílios” it has strangely become his most played alias, with a few small hits in the small Brazilian scene. After the pandemic drama, he returned in 2022 with the album "Mais Utensílios" and the single "Fantabobi / Riquititas", two releases that again grew the good problem of other djs constantly asking Guerrinha for these tracks. Now he releases the 12'' "Pelo da Churreia" via Discos Extendes, made in 2020 and containing small garage hits from that time. All this information raises the initial questions, since Sérgio is not just a pseudonym, but the curse that grew inside Guerrinha himself, sometimes it's in the appeal that “the bug catches on”.

Ken Christensen (ECB) brings his long running Love Athletic project to the label on side A, joining forces with Sean McNulty to deliver an enticing blend of rolling, locked-in beats, soulful vocals, restless cowbells and psychedelic TB-303 acid lines. Jobu (Freaky Behavior) remixes, wrapping warming synth motifs and echoing vocal snippets around a deep tech-house groove. Over on side B, Dan Laino takes over with 'Under the Lights', a chunky and bumpy slab of lightly garage-influenced deepness. This in turn is reworked by Cory Wells, who opts for a more hypnotic and locked-in vibe.

Mit dem Album “Giblet Gravy” feierte George Benson 1968 seinen glanzvollen Einstand bei Verve Records.
Der damals 24-jährige Gitarrist war zu dem Label geholt worden, um die Lücke zu füllen, die Wes Montgomery durch seinen Wechsel zu A&M Records hinterlassen hatte. Und Benson bewies gleich, dass er weit
mehr als nur ein “Lückenfüller” sein würde. Mal präsentierte er sich in einem agilen Quintett-Format (mit u.
a. Herbie Hancock, Ron Carter und Billy Cobham), dann mit einer Bigband und Background-Sängerinnen.
Im Mittelpunkt der Musik stehen jedoch stets Bensons flüssige Artikulation, seine bluesgeprägte Phrasierung
und seine rhythmische Gewandtheit. Das Repertoire vereint zeitgenössische Popstücke, Standards sowie
eigene Kompositionen und verdeutlicht die stilistische Bandbreite, die Bensons späteren Crossover-Erfolg
kennzeichnen sollte.

You'd be hard pressed to name a song with the driving, emotional intensity and raw energy of the Hamilton Movement's anthemic ode to heartbreak, "She's Gone." Issued as the B-Side of the band's 1976 single "We're Gonna Party," and distributed in and around Indianapolis, there is no evidence the song garnered significant attention upon release—yet over the past fifty years it has amased a cult of devotees across the globe. But while interest in the group's music remains strong, little information has surfaced about the Hamilton Movement's history, and until now, there have been no official reissues of their work. This collection presents the band's discography, alongside previously unreleased music discovered on tape; it is the Indianapolis soul album that should-have-been.

The keys to the Hamilton Movement's mystery can be found in central Indiana, where promoter Dick Melvin has lived the past few decades, in a rural suburb of Indianapolis, amidst forests and cornfields. Melvin served as the group's manager throughout their entire existence, but his involvement extended far beyond typical managerial duties. He co-wrote and co-arranged the band's music; he produced and released their recordings on his Look Out label. Dick is also the band's archivist. His home is filled with boxes of demo sessions, live tapes, contracts, posters, and promotional photos documenting his work with the Hamilton Movement. He entrusted his archive to Now-Again's care and they've assembled this album under his watch. Dick's story, and the story of his band, are presented in an extensive, oversized booklet with Dick's rarely-seen photos and ephemera and words by Now-Again's Egon and Naptown historian Kylie Long.

Originally released in 1989 as an early milestone for the label, this landmark session teams the legendary alto saxophonist - then at the absolute peak of his powers at age 57 - with the incomparable Tommy Flanagan Trio . A titan of the genre for over 60 years, Woods masterfully combined a lush, beautiful tone with a complete command of the bebop vocabulary. Backed by veteran pianist Tommy Flanagan, former Oscar Peterson Trio bassist George Mraz, and a young, up-and-coming Kenny Washington on drums, the quartet delivers a timeless set of acoustic jazz that sounds as vital and vibrant today as it did nearly four decades ago.

Recorded in England and finished off in Lanarkshire with all three Bluebells joining Billy on vocal duties. PostWar sees Billy prove his Stevie Nicks Gypsy status by channelling Mirage era Fleetwood Mac. PostWar is Billy's fourth album with independent label Last Night From Glasgow, following 2024's double release of Steve (a Weekend in Egham, 1996) and When The Lord God Almighty Reads The News. The new album is released on CD and vinyl.

There are two version of the LP - limited to 100 numbered copies with transparent wax and classic black wax edition. Both 180g with special OBI strip.

Maciej Envee Goliński is an artist who probably needs no introduction. He has been working with U Know Me practically since the label's inception. His last album ("Time & Light") made a huge impact worldwide, but we had to wait eight years for the next vinyl release. In the meantime, Maciej has certainly been busy – he has released numerous club singles under several aliases, and has helped record and mix numerous albums from the world of jazz, soul, and electronica. "Wyszymory" is a carefully crafted concept album, inspired by our roots. "Wyszymory" is an album on which every open-minded listener will find something that has been playing in their soul for a long time...


"Of all things visible and invisible, my life is most filled with music and a fascination with sound. It matters not whether they are natural or artificial, isolated or resonating through space. Sounds that evoke
memories, as well as those entirely new. Some of them have resonated unchanged for thousands of years. Certain resonances and rhythms have remained unaltered for generations so distant that they have left no other trace in human civilization.

This bond with our ancestors truly fascinates me. Ever since I realized it, I have become more attuned to inspiration. Listening to traditional and classical music, I kept finding new anchor points. I was constantly surprised by new invitations to ponder what connects – or divides – the pulse of our region’s traditional music with the rhythms of Africa, the tribes of the vast East, or the frozen North. My great authority, Tomasz Stańko, in interviews conducted by Tomek Michałowski, used beautiful parables of love and creativity to bring me closer to the ­Cro-Magnon cave artists. The Icelandic literary magician Andri Snær ­Magnason, in his book On Time and Water, captivated me with the fascinating observation that through emotional contact, words, ideas, or memory, we reach back and forward two or even three generations – spanning a period of about 270 years. Then there is Sam Kowalski, who with his wonderful obereks played on the gitalele, took me on a hypnotic journey, from which one returns with a deep admiration for the art of musical storytelling, passed down from generation to generation. Finally, my own children surprise me with talents, behaviors, and increasingly distinct features of those generations that now dwell only in my hazy memory and on old photographs.

I wanted the protagonists of this album to be the very phenomena that modern humans share with their ancestors, ­regardless of the level of civilization. Most vital among them is the relationship between humans, nature, and their own emotions. Wyszymory has nothing to do with an academic study, though I did delve into Slavic mythology, archaeology, and history in search of inspiration. Nor is it an album of traditional music, even if such music is present thanks to wonderful instrumentalists. I managed to invite artists who cross boundaries daily, working not only with Polish music but also with Hindu and African traditions, and even jazz, with its long history of blending influences. Naturally, the album became a kind of sonic comic book, where individual scenes and stories – the sounds, pulsations, and ideas on how to use them – came to me over time, often under unique circumstances and in inspiring contexts."
Envee

The amount of quality music Burnski has produced, A&Red and released in recent years is off the charts. His labels are some of the most played in the underground right now, but that hasn't stopped him from starting another one here with Silhouette. Mundy is a new name to us, but has some serious chops on display here with six stylish cuts that explore the intersection of garage, tech and minimal. The synths are silky and the vocal samples are expertly placed to give each groove real character. 'Real Love' is deep and r&b tinged, 'Find You' has a dark low end and 'The Middle' is all about the filthy bass. Pure heaters.

Born at the turning point between apartheid and democratic South Africa, the Xitsonga bubblegum-disco duo Chibuku embodies the energy of a time of change,as Nelson Mandela was released from prison and kwaito began to emerge. Althoughthey did not achieve the fame of figures such as Paul Ndlovu or Penny Penny, their only album Maxambe (1992) is now considered a precious time capsule, a raw disco treasure rediscovered by lovers of forgotten music. Behind the project is Dr Joe Shirimani, a guitarist, singer, composer and producer of genius from Tzaneen and Soshanguve, recognised as one of the major architects of South African disco and bubblegum. Long overlooked, Maxambe nevertheless bears witnessto an era and a social perspective: migration ("Lekomfere"), debt and economics ("Xikweleti"), and family relationships ("Mhamazala"). The music is festive in appearance, but deeply rooted in the reality of its time. Released on Tusk/Diamond Music, an iconic label of the 1980s and 1990s bought out by Gallo Record Company, Chibuku is now emerging as a diamond rediscovered from the archives of South African disco. Its name, borrowed from a millet beer popular in several southern African countries, sums up the spirit of the group: popular, sincere and deeply rooted in local culture.

Through a collaboration with Cincy label Chiefdom Records comes a fresh 45 on Colemine from Doctor Bionic. Both cuts from this 45 feel Colemine-core: funky, dirty drums, jazz keys and guitar, and a groove that just won't quit. Put "Expert Witness" on during your next DJ set and watch the floor fill up. Ohio's take on much of the funky west coast jazzy funk over the last couple of decades. Doctor Bionic is nothing short of prolific, having released over 10 albums in the last five years. Keep your eyes on this up and comer on the scene. And don't forget to flip it over for the nightcap. "Mistake" is a mellow guitar driven tune to close out the night in a melancholy way. Sparkling Rhodes, sparse guitar, and driving drums are the order of the day.

Bad Brains is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of it's yellow packaging. Though Bad Brains had recorded the 16 song Black Dots album in 1979 and the 5-song Omega Sessions EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. The release includes the original liner notes by Ira Kaplan of Yo La Tengo. This reissue marks the second release in the remaster campaign on the band's own Bad Brains Records imprint with Org Music. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering.

3FD hits the emotional double-digit landmark with 3FD10 and welcomes t3x3 to the label, who delivers four cuts of pure, unadulterated swing and high-pressure energy. Oldboy on remix duties!

Klaus Kotai, a Viennese who had made Berlin his home, found a receptive audience in Cologne as early as the mid-90s with his records on Elektro Music Department. This club and label conglomerate, run with co-producer and DJ Mo Loschelder and the artist Daniel Pflumm, was working towards a radical streamlining of techno. A certain kinship with the pre-Kompakt sound of Cologne could not be denied. They exchanged greetings from afar.

Then came the 2000s, an exciting era for club music, rich in innovation and characterised above all by the burgeoning genres of minimal and electro clash. In 2002, Kotai’s ‘Sucker DJ’ was released, featuring the brilliant remix by Marcin “Highfish” Kozlowski, on WMF Records – the label belonging to the eponymous cult Berlin club. A true hit that struck a perfect balance between both worlds and was played across genres by virtually every DJ.

Exactly 20 years after the last re-release on Elektro Music Department (also distributed by Kompakt at the time), it’s now time for ‘Sucker DJ’ to make a comeback. Judging by Marco Cariolaa’s ‘Cringe Vibes’, it’s needed more urgently than ever.

Remastered, with new artwork by Daniel Pflumm, and still “fucking up your place”.
Der Wiener Wahlberliner Klaus Kotai stiess in Köln schon Mitte der 90er Jahre mit seinen Platten auf Elektro Music Department auf offene Ohren. Dieses mit Co-Produzentin & DJ Mo Loschelder sowie dem Künstler Daniel Pflumm betriebene Club-/Label-Konglomerat arbeitete sich an einer radikalen Entschlackung des Techno ab. Eine gewisse Seelenverwandtschaft zum Kölner Prä-Kompakt-Sound war nicht von der Hand zu weisen. Man grüßte sich aus der Ferne.

Dann kamen die 2000er, eine aufregende, an Innovationen nicht arme Ära für Clubmusik, die vor allem von den aufblühenden Genres Minimal und Electro Clash geprägt war. Im Jahr 20 02 kam dann Kotais ‘Sucker DJ’ mit dem kongenialen Marcin “Highfish” Kozlowski Remix auf dem zum gleichnamigen Berliner Kult-Club gehörenden Label WMF Rec ords heraus. Ein echter Konsenshit, der äußerst komfortabel zwischen beiden Welten saß und genreübergreifend von nahezu allen DJs gespielt wurde.

Genau 20 Jahre nach der letzten Wiederveröffentlichung auf Elektro Music Department (damals ebenfalls im Kompakt Vertrieb) ist es nun an der Zeit, dass der ‘Sucker DJ’ zurückkommt. Wenn man sich Marco Cariolaa’s Cringe Vibes so anschaut, wird er dringender gebraucht denn je.

Neu gemastert, mit neuem Artwork von Daniel Pflumm und immer noch “fucking up your place”.

Heisenberg continues its vinyl series with HSBRGV015, a four-track VA bringing together some of the labels all-time favorite artists. Romania s Nu Zau and Direkt set the tone with their signature hypnotic grooves and unmistakable swing. From Latvia, D I N adds a deeper, driving touch, while label head Saktu closes the record with a stripped, groovy, and trippy cut true to the Heisenberg sound.
HSBRGV015 is a pure reflection of the label’s identity, carefully selected, deeply underground, and made for those who truly understand. Vinyl only.

,Spaghetti Circus" ist die legendäre Dancefloor-Hymne aus dem Jahr 2009 des Produzentenduos Still Going (Olivier ,Liv" Spencer und Eric ,Dunks" Duncan), die auf dem legendären Label DFA Records erschienen ist. Die 12"-Vinyl-Veröffentlichung enthält außerdem den Balearic-Favoriten ,Untitled Love" mit Reggie Watts. Der ursprüngliche 8-minütige Track ist bekannt für seine elastische, gitarrengetriebene Disco-Energie und seine treibenden 127 BPM. ,,Spaghetti Circus` versetzt dich mit seiner Peak-Time-Dancefloor-Dynamik mitten ins Geschehen. Ein hypnotisch kraftvoller Groove, der dich mit seiner repetitiven Bassline in seinen Bann zieht - der Song ist ein treibender Sprung in einen dunklen Disco-Schacht, dessen tranceartige Wiederholungen absolut und dramatisch magnetisch wirken."

Ākāśa Studio is the sonic extension of a long-form exploration, a project dedicated to creating a sanctuary in nature for the expansion of consciousness in the hills of Sardinia. The label is the byproduct of a decade spent digging through records and making music, driven by a persistent refusal to settle for the expected.
For our debut, we’ve reached into the archives of George Saunders (SolarQuest). On the A side, we have selected three recordings from the mid-90s that embody the driving, emotional core of techno- trance with a touch of Goa. These pieces are remarkably lean, stripping away the excess of the era to focus on pure melodic momentum. They are high-energy club tracks that prioritise atmosphere over complexity. Functional, yet deeply resonant.
The B-side explores the after-hour sound that has become a staple of our gatherings. These tracks, produced between the late 90s and early 2000s, lean into spacious dub-inflections and warm, marinating, ambient textures. While the tempo recedes, SolarQuest’s distinct character remains, unfolding slowly to suit the transition from the dance-floor back to the self.

Ohm Series continious with the 20th release. It features tracks by Octal Industries , Aeikus & Pedro Capelossi, STAR_DUB and Oswld.
Another strong curated release by the labelowner Bjarnar Jónsson!

Figure marks its latest chapter with X54, a gripping new EP from French production talent KUSS.

Known for his meticulous work with hypnotic rhythms and tactile textures, his debut release for the label thrives in the darker, more introspective corners of the club. X54 is a perfect example of tension-building-balancing forward-thinking sound design with the kind of dancefloor efficiency that Figure is known for.
While the EP is defined by the heavy, metallic undertones that K.U.S.S. has made his own, the record also features two collaborations with Clotur. These tracks bridge K.U.S.S.'s clinical percussion with Clotur's knack for expansive, cinematic atmosphere. Together, they create a sound that feels both surgically clean and sonically massive.
Built for the late-night hours and the depths of the club, X54 is an uncompromising addition to the Figure catalog.

12" single w/ full picture sleeve. A-side is extended mix, B-side w/ version.

A best of both worlds reissue of the two most sought after tracks on Keith Cole's Lovebird imprint. Keith cut some sides for producers in Jamaica in the early '70s before coming to New York and starting his own Lovebird label, mostly self producing thru the first half of the '80s. The A-side here "Honey Bee Fantasy" is a killer slow burner of mid '80s boogie/funk, featuring a couple of well known American jazz/funk session players on the rhythm track. The picture sleeve is a near replica of the one that came with the original press. For the B-side we have Keith's production of Canadian singer Ann Marie, who also does backing vocals on "Honey Bee Fantasy." On "Together Again" she's singing on a well known and loved moody early '80s rhythm, laid by the first incarnation of the Roots Radics which featured Blacka & Bingy Bunny of the Morwells.