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Repress

Thomas Schumacher's iconic 'Schall' with 3 new remixes and a new 'revisited' version

Polished and forward-looking even 40-odd years on from its initial release, Bourbon Suite captures Japanese female keyboard trio Cosmos at a time when fusion leaned into pop accessibility without losing technical finesse. Built around layered keys and crisp studio musicianship, the album moves with a sleek, late-night feel. 'Midnight Shuffle' stands out for reworking earlier material into a smoother, instrumental-led groove, while 'Cosmic Cosmos' drifts into more spacey territory and is driven by elastic bass and shimmering synth lines. There's a clarity to the arrangements that keeps things light on their feet and means this remains a refined example of early 80s crossover fusion.

Simoncino returns to Skylax Records with Traxxx EP, a raw and hypnotic five-track collection built for the dancefloor. Known for his unmistakable analog approach and deep connection to the legacy of Chicago house and underground European club culture, the Italian producer delivers a set of stripped-down, highly functional DJ tools. Tight drum machine programming, rolling basslines and subtle synth movements drive each track forward with precision and efficiency. No gimmicks, no excess — just pure club energy designed for long mixes and late-night sessions. True to the Skylax philosophy, Traxxx EP focuses on timeless groove architecture rather than trends, offering DJs and collectors a record that will remain effective in the bag for years. Raw, hypnotic and direct, this is underground house music in its most essential form.

MUSIQUE POUR LA DANSE presents The Unreleased Themes From Hellraiser expanded ritual by Coil

Back in 1987, Clive Barker's supernatural body-horror classic Hellraiser hitted cinemas worldwide and introduced audiences to the demonic Cenobites. Barker was a devoted COIL fan (Peter Christopherson and John Balance), and he famously said they were the only band he'd ever heard on record whose music he'd had to take off because, in his words, "theymade his bowels churn.". He initially invited them to compose the film's music, and the group began recording cues. But the producers at New World Pictures ultimately rejected the material in favor of a more traditional approach, bringing in Christopher Young, whose final score remains excellent, if less experimental. What remains from Coil is an unfinished soundtrack with surviving fragments and rough ideas, abruptly left behind mid-process, a glimpse into an alternate Hellraiser movie, one we can only fantasize into existence.

Nearly 40 years later, key long-term collaborators and Coil's "secret third member" Danny Hyde located the original Hellraiser studio session tapes, and the bonus material recovered from them is presented here as an "expanded ritual" edition, reassembled into a standalone, possibly defnitive and strangely beautiful nightmare suite. Play it in the dark and experience the consequences of raising hell...

Notes by Danny Hyde
Original artwork by Trevor Brown
For fans of pain & pleasure, Throbbing Gristle, lost horror soundtracks & haunted electronics.

DDE Signature Tracks is a record label based in Bogotá, Colombia, curated by the team behind Discos del Espacio Record Shop.

For our fourth release, we proudly present The Boss EP by Gallegos — a four-track record that blends punchy rhythms, rolling basslines, and subtle melodic touches. Gallegos delivers a versatile selection of tracks designed for different moments of the night, from warm-up to peak-time transitions.

From the nostalgic tones of Fueled By Nostalgia to the driving energy of Turn Up Or Turn Back, the EP moves between moods while maintaining a cohesive sonic identity. The title track, The Boss, stands at the center with a confident, stripped-back groove built for the floor.

Closing the release, Colombian duo Rush City deliver an old-school leaning house remix of The Boss.

Out soon on 12” vinyl.

Some records are collections of tracks. Others are fragments of a life. I AM A CULT HERO is not a debut. It is a return to origin. Before Skylax Records. Before Los Angeles. Before the architecture of house music became clear. There was Sarcelles. Concrete towers. Invisible youth. Yet a coded multicultural energy where funk, soul, early hip-hop and primitive electronics coexisted before categories existed. Sarcelles was not Compton, but spiritually it was the same frontier.

95200 is not just a postcode. It is the birthplace of Hardrock Striker. 368 was the bus to the train station — the crossing line between isolation and possibility. Each journey toward Paris felt like entering another system. Those nights required discipline. Instinct. Strategy. Music was not distraction. It was structure.

Years later, Los Angeles revealed the hidden architecture behind those early intuitions. House music was not a genre but a living mechanism — built on vinyl culture, extended mixes, dubplates and repetition as language. That system had already been shaped and transmitted by pioneers such as Ron Hardy, Larry Levan, Frankie Knuckles, Electrifying Mojo, Hot Mix 5, Mark Kamins and Ron Murphy. Hardrock Striker did not imitate that language. He internalized it. The tracks on I AM A CULT HERO operate as transmissions.

Gospel For Dancers (95200 Mix / Dub) is vertical — ritual energy, lift and controlled expansion. Dance here is elevation. Erotic Loop (368 Mix / Dub) is horizontal — hypnotic repetition, circular bass motion and gradual immersion. Repetition becomes destination.

95200 and 368 are coordinates. Origin and transit. Memory and motion. Anchor and crossing.

From Sarcelles to Paris to Los Angeles to Skylax & now, back to the source.

This record closes the circle. Hardrock Striker has transformed origin into signal. Signal into structure. Structure into permanence.

A cult hero is not declared. A cult hero is revealed. Vinyl is the only truth.

A long-awaited vinyl press: the now-legendary Makebo remix of Planet Funk’s timeless anthem “Chase The Sun”.

Flipping to the B-side reveals another gem - massive remix of G-Pal by Simon Vuarambon.

Editia de Camera returns with its first limited vinyl release. A conceptual space designed by Alin Crihan, the label focuses on the interdependence of creative mediums, from spoken word to canvas. The first release centers on works by Sebastian Hosu, a Romanian-born, Leipzig-based artist with exhibitions around the world, from Hong Kong to Bucharest, as well as his first publication, entitled Ballad for Space Lovers. Across the four selected pieces, Crihan explores the synergy of Sebastian’s brushstrokes, combining a rhythmic sense of forward motion with ethereal soundscapes that build and collapse, push and pull, toward an inherent sense of inertia that complements each other’s color palette—both on canvas and in sound.

Curió Curió came to flight by chance. Two artists, Rio-born, Austria-based singer and actress Luiza Monteiro and German producer Dustin Braun, had separately reached a fork in their journeys. An opportune encounter soon blossomed into an uplifting, heartfelt Brazilian MPB-groove project shaped by psychedelic disco and studio experimentation. In their own words Curió Curió’s sonic vision “is not straight disco, not straight samba, not strictly old-school but inspired by all of them, creating something contemporary but still nostalgic”.

A modern fusion influenced as much by Gal Costa and Jorge Ben Jor as Say She She and Bala Desejo, their sound deftly plots a course all of its own. A celebration of freedom, movement, love and life, intertwined with introspective moments of reflection. Treating tradition as something alive, migratory and unresolved, the album is not simply bound by a shared love of Brazilian music, but by a deeper question that runs through every track; where does one belong when home becomes plural? As a Brazilian living in Europe, Luiza's lyrics explore themes of identity, culture, and existence. The tracks move between cities and emotional registers without settling, tracing a sense of identity that shifts rather than resolves. Songs like ‘Amor Doente’ and ‘Mar sem Dar Pé’ circle around relationships that resist clarity, while ‘Menina Passarinho’ captures the fear and necessity of committing to music as a path. For Luiza, deepening her commitment to music alongside years in theatre was both inevitable and difficult. Braun’s production follows a similar logic. Initial ideas were often built without obvious reference points, only later incorporating rhythmic and vocal elements that hint at Brazil without reproducing it. Analogue techniques, tape, ribbon microphones and live ensemble recording bring a tactile quality that reflects the duo’s interest in process as much as outcome. Highlights include ‘Bem Querer’, built on an authentic samba street vibe with a super-catchy sing-along chorus, and ‘Vem pra Casa’ with its cosmic-tinged Brazilian boogie flavour. The album closes with ‘A Cor do Meu Sonho’, a quiet act of insistence. A refusal to shrink in unfamiliar environments, and a belief in the strength of difference. It is less a conclusion than a continuation, leaving the central question open. “I started to understand that I can belong to many places at once”, Luiza reflects. “And that can be something to embrace”. Lyrics from the song ‘Raiz’ translate in English to “I value a burning sun and the cold in the air. Constant change is my companion”. With Curió Curió, that idea is lived through sound, story and collaboration. A debut that feels both searching and assured, grounded in heritage yet shaped by distance.

2026 Repress

As days prolong darker, walls come seeping in for the solitary resident. A collection of early Legowelt tracks, found on old dusty tapes assumed a long time gone. All tracks recorded between 1992-1997. First time ever on vinyl and fully remastered.

Prozak has been kicking out the garage-house jams for a while now, and always on the best labels, from Time Is Now to Instinct, which is run by Burnski, who also heads up this one. And it's another case of pure fire from the off as 'Freak Ya Right' layers up silky, melodic bass with charged up synth stabs and a bubbly groove. 'No Use For Love' has a darker 90s undercurrent with organ basslines and more coarse percussive textures. 'Classics' cuts loose with an off-balance bassline that's cartoonish and oversized, while 'Ravers Inside' shuts down with plenty of pent-up funk and playful samples that will destroy the floor and nothing less.

There was nothing in contemporary music like Chris Isaak’s Heart Shaped World when it hit shelves in June 1989. More than three decades later, the singer-songwriter’s third album still sounds unique — and claims a backstory nearly as fascinating as the retro-leaning material and standout performances that propelled it to sales of more than 2.5 million copies. Home to the Top 10 smash “Wicked Game,” the set remains a masterful mood piece that invites you to pour a late-night drink, sit in a dimmed room, and relish Isaak’s elegant albeit raw ruminations on love, relationships, and questionable decisions.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, strictly limited to 3,000 numbered copies, and featuring the bonus track “Diddley Daddy,” Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set of Heart Shaped World unearths the staggering inner details, saturated tones, and brilliant atmospherics of the crisp production. It brings you up close and personal with Isaak’s spectacular singing — impeccably controlled, tense, brooding, steamy, smoldering, haunted — situated amidst stripped-down backdrops that allow every note to fully bloom and decay.

While Isaak’s ever-steady baritone remains the anchor, the contributions of his trusty backing band, the aptly named Silvertone, come across with just as much cool, command, and realism. The indispensable playing of guitarist James Calvin Wilsey particularly emerges with superb clarity and dimensionality. The character of his 1965 Fender Stratocaster, shivering twang of his spring-coiled fills, and his signature use of reverb, delay, and vibrato seamlessly match Isaak's patient deliveries and the band’s unhurried rhythms. Experienced on UD1S with ultra-black backgrounds and a nearly invisible noise floor, Heart Shaped World is in every regard a demonstration disc.

The premium packaging of this UD1S pressing befits its elevated status. Housed in a deluxe slipcase, it features foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, this reissue is for discerning listeners who desire to immerse themselves in everything involved with the album, not the least of which is the cover art depicting a lost-in-thought Isaak staring ahead and sitting in what appears to be an efficiency apartment. The image epitomizes the record’s lonesome temperaments and pensive themes.

Of course, if not for director David Lynch hand-picking two cuts from Heart Shaped World for his 1990 film Wild at Heart, the record would’ve probably suffered the same fate as Isaak’s prior efforts and gone unnoticed by the mainstream. Despite receiving raves from outlets such as NME, Chicago Tribune, and Rolling Stone upon its original release, the album stalled in the lower quadrants of the Billboard charts and, after a few weeks, dropped off.

Cue the ear of Lee Chesnut. Then the music director for a large Atlanta radio station, Chesnut heard the instrumental version of “Wicked Game” on Lynch’s soundtrack and started airing the album rendition at all hours of the day. Aided by a sensual video featuring Isaak and supermodel Helena Christensen, the song found its way into the public consciousness by early ‘91 and helped make Isaak a most unlikely mainstream star in an era where his techniques had little to nothing in common with popular tastes.

Despite its vintage vibes and shared DNA with legends such as Roy Orbison, Chet Baker, and Glen Campbell, Heart Shaped World transcends nostalgia, rockabilly, and throwback tropes. For all the melodrama and sadness at hand, Isaak’s gorgeously transparent singing dives deep underneath emotional surfaces. He mines subtleties that indicate his feelings go beyond heartbreak and anguish, and occasionally suggest frustration, menace, and anger. You can hear it in his quivering falsetto, and the slow and methodical ways he allows delicate whispers to break into shadowy phrasing that crosses over to the darker sides of romance and desire.

That approach bolsters the title track, which suggests calm yet moves on ominous currents — its simmering pace and snare-drum snappiness foreshadowing Isaak raising the volume and urgency during the coda. The southwestern-tinged “Wrong to Love You” plays with similar concepts of hesitation, unease, and discord, Isaak careful never to fully erupt and give anything away. His poised deliveries offer a master class in the art of insinuation and hurt on “Nothing’s Changed,” sent up with a wordless backing chorus and crackling guitar lines straight out of a Memphis blues joint.

Heart Shaped World further boosts its merit via its abundant stylistic variations, from the upbeat country-and-western trot of “I’m Not Waiting” and Spanish acoustic shimmer of the jazz-based ballad “Blue Spanish Sky” to the swinging horn-accompanied grooves of “Don’t Make Me Love You” and desert smokiness of the understated “Kings of the Highway.” On the latter, Isaak comes across as resigned and absolute. His singing and pain worm their way into your soul, and echo akin to the way the music prepares to strike when you least expect.

“Trouble going 'round,” Isaak croons right as the album begins. “Trouble going down.” Damn straight.

Genie In A Bottle is back with strong EP from my Italian Hermano - Shkedul.

“Secret Society” is the last track of the record, but definitely far from least. One of the best examples of Shkedul’s dark and confident production. This time also with perfect marching kicks, acidic arpeggios, and kinda familiar story that is being narrated through the track. The name here goes straight from the story, by the way.

“Meditative State” at the B1 also tells us the story, this time with a bit calmer voice. The track is calmer too, the kicks are still marching, don’t assume. “Confidence” lays very hard on the acid part, easily the most acidic track here. Finally, the opener, “Change Is Coming”. With the story again (damn, I like those conversations over the track so much) and the most interesting bassline of all.

Powerfull Support from : Quest , Anthea , Gabbs , Jane Fitz…

Grab your copy !

US outfit Garth only left behind a small trail of records, but this obscure 1980 7" still carries the peculiar charm of disco's stranger back rooms. Recorded between New York and Los Angeles across the late 70s, 'Special Part Of My Life' opens in warm, soulful territory through Henrietta Pam Garth's soft vocal glide, before J. Albert Garth gradually enters the frame and pushes the track somewhere more feverish and floor-facing. There's a lovely looseness to it all: the groove is slightly frayed at the edges in that very particular pre-digital way. On the flip, 'The Groove' heads somewhere far murkier, featuring wiggling synth effects and huge hovering atmospherics drifting over the top of the beat that gives the whole thing this faintly eerie quality which, honestly, makes it all the better.

Fantastic Planet marks its 10th release with Singularity, a solo transmission from Bassiani resident Newa. Built on firm, rolling techno frameworks, the record layers restrained vocal fragments that gesture toward broader philosophical themes. Rather than chasing immediacy, Singularity unfolds patiently, shifting perception from the present tense toward something more suspended and timeless.

2026 Repress

One of techno's all-time greats, Outlander, is back after a lengthy hiatus. With over a dozen records released under the prestigious R&S label, he now finds a new home at Sonic Groove Records with 'I Am, I Was'-a timeless four-song EP of thought-provoking modern techno that is sure to resonate with a wide range of music enthusiasts across the various subsects of the techno scene.

2026 Repress

The Universe evolution led to the emergence of life and we can only guess what forms of it can exist in the depths of Space. Maybe in the future a Moonrover will be launched to other planets and satellites. And this is only a small part of the huge research capacity of humankind. Using this capacity to the full we hope to find answers to the questions on the origin and existence of life.

A collaboration of Rob Gee, Buzz Fuzz, & DJ Gizmo together on this one! 30 years later it still sounds great! Just as you would expect from these 3 hardcore legends. This release is the most sought after 12” from Rob Gee with 3 tracks that still stand out on this classic vinyl from 3 decades ago! Drop The Bomb is one of my favourite solo tracks from Rob Gee. Great to have this record out again at a reasonable price for supporters. Comes on a limited edition blue vinyl as well as the standard black 12”

Super Spicy Records, a colourful nu-disco and re-edit imprint founded by Mexican producer Monsieur Von Pratt, continues to offer up action-packed, compilation style EPs via the must-check Super Spicy Recipe series. Volume ten, the second of 2026, is another expansive affair featuring six scintillating jams. Expect horns-and-strings sporting nu-disco joy (Scorpio 69 and DJ Sobrino's infectious 'Fuego', Afro-Latin-fired disco-house fun (Tamati's joyous 'Yaounde Love Affair'), sample-rich jazz-house/deep house fusion (Monsieur Von Pratt's own 'What Is Jazz' and Milton V's energy-packed 'Sounds of Jazz'), housed-up disco re-edit action (Nico Raibak's 'It's So Good') and hands-aloft, tooled-up boogie revivalism (Raga's 'The Middle', a fine re-edit of a lesser-known electrofunk gem).

With its second vinyl release, Phonoda Records continues the journey where the first chapter left off. Guided by the label's trusted artists, the needle descends into the deep and dub house underground, where echoing textures and hypnotic grooves blur the line between sound and thought. Lost in the endless universe of their own mind, the listener eventually finds their way back through the warmth of deep frequencies and pulsating basslines.


Released in collaboration with MixCult.

The man, the myth, the legend TRAXMAN delivers 6 more tracks in his series of classic deep-cut disco, funk, soul (and more) reworks. No fluff, no filler. Purpose built to induce sweaty dance floors.

Repress from the Marseille legendary label : B.E.A.S.T. !

Enjoy !

Repress from the Marseille legendary label : B.E.A.S.T. !

Enjoy !

WeRdaHouse’ opens the project, laying down snaking subs, skippy drums, bubbling arpeggio lines and gritty stab sequences all dynamically evolving throughout. ‘Don’t U Kno’ follows next and reduces things down to swaying dub chords, jazzy keys, low slung drums and choppy bass stabs.

‘Gluten Morgen’ opens the flip side, a loop-led groove fuelled by organic percussion, squelchy 303 licks, frenzied, delayed keys and mind-bending spoken word chants. Title track ‘Def Murky’ then concludes the EP,
diving deep into oscillating synth tones, modulating percussion, crisp drums and a warped, afterhours
aesthetic.

This might be Illegal Disco, but that doesn't mean it's bad - quite the opposite. The edits of the inimitable Monsieur Von Pratt are worth being arrested for. He knows how to tweak and toy with a well-chosen original just enough to turn up the heat without distilling any of the original, authentic vibes. 'You Can Dance' is a slinky, soulful anthem with a mid-tempo groove that will lock in anyone. 'Get Happy' has shimmering vocals that burst with joy and will get big smiles as well as big reactions. Last but not least is the gloriously upbeat and excitable disco of 'Gotta Have Lovin.' Pure fire from the Pratt, as always.

Tokyo's Realrockdesign collective marks a full 30 years of cross-disciplinary creativity with the first of a planned trilogy. The A-side hands over a crown jewel from West Coast legend DJ Garth's Grayhound catalogue in 'Twenty Minutes Of Disco Glory', which gets remixed by DJ Harvey with a slow, deep, dark and come-to-me groove with a fizzy motif lingering like a trapped bee. The flip turns to German veteran Nectar, who is enjoying some deserved time back in the spotlight and shows why here: 'Fairy Trails' is a deliciously psychedelic descent into the underworld that perfectly befits its title. 'What Tha?' is paranoid and unsure with a writhing bassline, detuned synths bringing a freaky edge and a dubby, shuffling groove that is as inviting as the rest of the track is wonderfully weird.

Details marks SCHiLLiNG's return after years of research, above all on himself. It brings together the practices that have become essential to him: composition, sampling, sonic patchworks, and a palette that mirrors the full spectrum of his musical identity, from Rock'n'Roll to Trip-Hop and Ambient. Details is rich in small edits, hidden layers, fragile textures, and fragments that reveal themselves slowly. Yet the word carries a deeper meaning: what truly matters is often the smallest element, what doesn't appear clearly at first glance or on first listen, yet quietly holds the core of everything. The detail as the very pulse of one's inner world. Across 14 tracks, the album unfolds as a diverse journey, carefully shaped yet open enough to allow unexpected elements and subtle imperfections to remain part of its flow. The structure is not binding, you can begin from any track and embark on your own path through it. Each piece contributes to a wider arc without overpowering the others. The album includes collaborations with several artists who lent their talent to the project; their names appear in the credits of the physical release. In many ways, they embody the very idea behind the title: individual presences, each bringing their own nuance, forming a whole together. After all, fragments, in their union, shape the larger totality. Details doesn't ask to be consumed in a specific way, fast or slow, close or distant. It simply is what it is

Acitone, Andy Kneale ‘The Reflections’ EP
Reflecting the shared musical vision of both artists, *Reflections EP* is rooted in melodic and progressive
influences while paying subtle homage to Detroit's enduring legacy and deep, spatial electronic music.
The release is accompanied by a strictly limited run of 160 coloured vinyl copies, each including a unique
collector's insert featuring a tongue-in-cheek pre-club grooming guide, alongside a custom Fourier Transform
branded bamboo comb, making this a standout package for collectors and DJs alike.

8bit continues it’s vinyl series with Nick Curly the label honcho besides Gorge with a 4 tracker that captures his trademark blend of driving house grooves and refined club energy.

2026 Repress

The mighty Trelik label has long led the way when it comes to the best minimal in the underground and nothing about that changes with this new one from German pair Anro and Kuyateh. They collide their creative minds on four cuts starting with 'All We Have', which, like many of the sounds on this label, fizzes with a light synth touch while rolling on frictionless drums. 'Crocket' is another luminous sound with dubby drum loops that are supple and seductive, as spaced out motifs up top bring a curiousness. 'Gametime' layers in some warped and molten acid sounds to dubby tech rhythms and 'Hi' is a final sophisticated closer for those who like it deft and deep.

As Deep Dive Corp., Peter Musebrink and Björn Gerhard spent the 2000s making slow, warm downtempo. Box of Frox was the same two men doing the exact opposite: fast, progressive, techy, trancy, hypnotic and relentless.

Box of Frox left behind just two records, a single and this album, before disappearing for good. Floordiving went out of print, and there it stayed. It's become one of those records people keep looking for and rarely find. Originals barely turn up, and when one does, it's gone quickly and for serious money.

Tremendo brings it back in two parts, four tracks at a time, the way they deserve to be heard. This is Part 1, remastered and back on vinyl for the first time in over twenty years.

A portage is the stretch you carry across – the overland pass between two waters, where you shoulder the boat and the paddles and keep moving even after the current runs out. It isn't a break in the journey; it's part of it. TAMIZDAT's fifth release takes that as its shape: four artists carrying a single, measured groove from one shore to the next. Rooted in deep house, techno and minimal, Portage isn't built for the peak – it's an unhurried, warm, buoyant passage that stays light on its feet.

Genning is no stranger to this water — a MixCult regular since his 2018 debut, and his Sunlight EP was TAMIZDAT's second release. He returns from the heart of the family that shaped the label's dub-leaning sound.

Dot (Dotan Bibi) crosses over from Tel Aviv — an Israeli producer with roots in Detroit house. His Intergalactic Ride EP already landed on MixCult in 2024, and he returns here working out of his analogue home studio.

Overt has been a prominent MixCult voice since 2021, known for an ethereal, galactic juno sound that drifts easily into dub chords — records like his Simple Astral 12" mark him as one of the label's steadiest hands.

zekeN, the Romanian producer and one half of zekeniaN, brings more than fifteen years in electronic music: deep, energetic grooves, dreamy pads and percussive basslines that lean minimal rather than strictly rominimal. His zekeniaN project has surfaced on MixCult before; here he steps out on his own.

TAMIZDAT is a division of MixCult Records

With great joy, we are happy to present to you our next release, celebrating the milestone of reaching 40 vinyl releases.

"From Vision To Reality" will not be a simple release, but a collection of 13 tracks produced by 13 different artists, divided across 3 discs. The selection of tracks will be a mix of up-and-coming artists, established ones, and dear friends, many of whom are making their first appearance on the label.

Opening and closing the compilation are the first two hip-hop instrumental tracks ever released on the label, by Chester Watson and Dean Denali.

In between is a selection of different styles, ranging from melodic Broken Beat and Ambient to Electro, passing through Acid Techno and Goa Trance, featuring artists such as Josh Abrahams (from FSOM), Wedding Acid Group, Sohrab, ADSR, Enrica Falqui, and Parand, to name a few.

A special triple gatefold sleeve has been carefully designed, including printed pictures on the inside that show memories from our journey. Starting from the very early days in London in 2012, they bring back special moments shared with people and friends, or simply, for those who were not there, offer a chance to learn more about our history.

A 30 × 60 cm poster will be included, printed on both sides. The full artwork of the release will appear on one side, while the other will feature pictures of the 13 artists along with their biographies.

Limited to only 350 copies worldwide.

For the first Vinyl VA on UnExposed we wanted to showcase a few of our very favorite producers to kick things off with a dark & spacey bang.

A1 comes by way of “Dream Architect” (Alias for Colombia’s Buraye). “Maze of The Null Sun” is a dark & twisted journey through space. One of the best pieces of production to ever grace wax for this Colombian live-set master.

We fly across the pond for A2 to meetup with Italy’s rising star, Shkedul w/ “Mad Things”. Like most of Shkedul’s releases on wax, Mad Things is a trance, acid, techno-infused masterpiece. Nothing over the top. Not a banger by any means but still perfect for peak time or the afters. Absolute production mastery on A2. Elegant production work.

On the B-Side we travel back across the map to retrieve an original track by label boss, Jovi, and Honduras’ Adrian Alessandro. “Horror Film” is an eery techno-electro suspenseful nightmare of a track. This is the first of many VA appearances on UnExposed by this emerging powerhouse duo. Their first appearance on wax is a special one but there is much more to come. For now, enjoy their first serving.

To accompany Jovi & Alessandro’s original mix of “Horror Film”, UnExposed’s Mastering Engineer, Dani Labb steps in for remix duties! The Argentina Legend takes over control of the spaceship and drives us at the speed of life towards an alternate universe harboring a revered revision of Horror Film. A lot of attention to detail on Dani’s Remix. Intricate and very tasteful darkness.

If you have seen any of Dani Labb or Stefano Andiezzi’s tour stops the past few months then you have likely seen them utilizing B2 as a very effective tool for the late hours.

Some records point at the dancefloor; this one points at the sky. Decryption Of Reality is dubtommy's first solo record for NOREPRESS – the sublabel where he first surfaced on 2022's Pasanauri Way — and it lands as dub tech house wired to the stars: deep, driving, and lit from somewhere far off.

Across four tracks, wide synths stretch over a steady, danceable pulse and drag the groove off-world – less a night in a club than a signal caught from deep space. Three cuts keep the floor moving, bright and propulsive; the closer, "CDEFGAB" – named for the bare notes of the scale – sets down softly into something quieter and near-weightless, back to first principles.

A record for the deep end of the floor and the long drift home.

NOREPRESS is a division of MixCult Records

Distorted Sensory Perception is back after 3 years of lurking in the shadows...

Welcoming Zeta Reticula to the fold with 3 timeless, emotionally star struck tracks that not only bang, but also alure to a deeper, more contemplative works from their creator. ‘Return To Zeta Prime’ embodies a sound, that feels both ancient and futuristic. The record open with the sonic ambiance of ‘Signals Beyond Orion’ a deep space roller, brimming with a palpable, mysterious energy. Dynamic basslines frame sophisticated arpeggios as primal voices echo under emotive synth parts.

Followed by ‘Return To Zeta Prime’ Rolling breaks, alien LFO’s, rumbling bass parts & sorrowful leads that grows on you after each listen, which makes for a deeper journey in transit. In whole, a colder and more turbulent turn of direction.

The B-side of the record begins with ‘Reticuli Control Protocol’. Lush chords, rippling percussion, deep sub parts & enchanting vocals make for a poignant sonic statement. Beautifully balanced and bearing profound insight.

Concluding the release, ‘Reticuli Control Protocol (Zobol remix)’. An acidic re-work by DSP label co-owner. A stuttering re-imagining with a braindancey edge.

This isn’t Halloween however the spooky meters are showing abnormal levels of spookiness thanks to the French duo of producers Gogo Gadgeto and Lazer Man. These monsieurs of electronic groove have gathered together to craft “Vampire World” the disc which is categorically against the light, garlic or the silver bullets and in huge favor with the sir count Dracula himself. Audio trips which are telling the ritual story of nighttime and the creatures who are lurking deep in the shadows when the sun is tucked away and cozy sleeping. The 4 tracker is guaranteed to transport you to Transylvania, the original birthplace of vampires and to establish contact with them. At the end of the day, we are living in the vampire world where evil spirits must be respected as the undead are always watching.

What Soul Media, led by Jiro Inagaki, ultimately arrived at was a tight, cool, and ultimate groove.

As Inagaki himself has stated that he “played black funk” on this album, the explosive jazz-rock foundation he had cultivated up to that point is fused with the stickiness, elasticity, and physicality of black music—elevating his musical vision to an entirely new dimension. Combined with the masterful arrangements of Hiromasa Suzuki, the groove is polished to a high sheen, growing richer, more fluid, and subtly seductive.

Every track stands out: the vibrant, driving energy of “Painted Paradise”; the coexistence of funkiness and mellowness on “Breeze”; and the low-slung, razor-sharp cover of Kool & The Gang’s “Funky Stuff”.
Now regarded as a definitive classic, this album remains in constant demand from listeners around the world.