Legofunk Records presents “Bongo Dancing”, a VA bringing together the vibrant sounds of Kings of Groove, Matalo, Frank Virgilio, and P.C.J. A dynamic journey through infectious grooves, funky rhythms, and irresistible percussion, where four different musical perspectives come together with one common goal: to make you move. “Bongo Dancing” is all about energy, groove, and dancefloor vibes — turn it up and let the rhythm take over.
With the stunning Planes In Reverse, Sascha Funke, the Berlin-born producer and DJ, and long-time member of the Kompakt family, releases his first album in almost a decade, since 2017’s Lotos Land. It’s a welcome return for one of the most eloquent and elegant producers in electronic and dance music, someone who’s always been able to say more with less, and the ten tracks here, moving effortlessly between techno, house, minimalism, disco house, and home listening tunes, are all gorgeously sculpted miniatures. With guest appearances from partner Julienne Dessagne (Fantastic Twins), with whom Funke has also worked in Saschienne, there’s something homely and family about it, too; a family of sounds, a home of tone. There’s also something consummate about Planes In Reverse, as though Sascha Funke has perfected the album format. There’s no flab here, no excess – it plays out like a perfectly designed experience, ten tracks, coming in under fifty minutes, an album where every moment matters.
It’s full of variety, but everything has the unmistakable Funke thumbprint, one that was developed during the late ‘90s / early ‘00s minimal techno and microhouse moment, but which was always open to other ideas and other sounds, too. Planes In Reverse came together quickly for Funke: “Last winter, I had two or three new tracks, which gave me a core feeling: ‘Ah, this could be the direction of something like an album.’ Sometimes it can be very easy that you wrap it up and then it becomes something coherent and solid. This happened within two or three months; it was very fast and direct.” Everything fell into place – the ten tracks revealed themselves, the album sat together as a whole, and the final piece of the puzzle was returning home again to Kompakt, who have supported Sascha Funke from the very start, releasing his first single, “Campus”, back in 1999.
Planes In Reverse opens stealthily with “What You See”, where rhythms percolate and bass prowls while gaseous textures fill the sonic spectrum. It’s also the first appearance of Fantastic Twins on the album; here, she speaks a hypnotic mantra, a prelude to the title track, where Dessagne has a pure pop moment, her voice ecstatic and vibrant. Indeed, Planes In Reverse plays out like thesis and antithesis ending in synthesis, the tracks nestling next to each other even as they shuttle between sounds, genres, perspectives. There are some beautiful moments dropped throughout Planes In Reverse – the heavenly textures that make the title track feel so cloud-bound; the glassy and orbital tones that drop from the skies through the disco house inspired “Karat”; the clamour and clatter of hyper-edited voices shuffling through “Splitter”; or the field recordings of Sascha’s son football training session that drop “Zockers” into a different place and space, slowly giving way to a beautifully paced electro-pop mantra. “In Germany,when the kids play a computer game, or when they play football, we describe it as zocken. They’re the players, they’re the Zockers.“ Funke explains.
Planes In Reverse winds down with the beautiful “Kruso”, where ticklish, loving arpeggios careen around the room, and drift-work chords shimmer and shuttle between your ears. It’s a perfect comedown to an album that feels breathes in and out at an organic pace, nothing above 130 BPM, everything sitting together just so. Indeed, that’s the feeling you take away from Planes In Reverse; it sums up the spirit of Sascha Funke productions perfectly, while also existing beautifully as its own world dreamt unto itself. It’s Sascha Funke down to the very essence. Nothing unnecessary, nothing extraneous: Pure Funke.
From deep in the hard funk pocket, the Winston Brothers return to Colemine after four years with a second helping of sounds rooted in horn-heavy, 70s-style soul cinema, taking cues from the soundtrack work of Issac Hayes, Willie Hutch, Roy Ayers, and JJ Johnson. Helmed by multi-instrumentalist/producer Sebastian Nagel and longtime collaborator Lucas Kochbeck on drums, Sweets serves as a timely reminder of how Hamburg, Germany’s music scene helps shape and influence today’s soul sound.
Ultimately, bringing musicians like Kimo Eiserbeck (sax and flute) and Hans Stephan (trumpet), alongside some additional drum contributions by Max Whitefield (née Weissenfeldt), demonstrates the close-knit nature of these musicians. From influential bands like Bacao Rhythm & Steel Band to Angels of Libra and the Mighty Mocambos, Hamburg’s deep groove scene has sired its share of worthy soul and funk acolytes.
These musicians have shared stages and studios over the years, with various
configurations finding their way in the aforementioned bands. “We started as a school project… we were just kids,” Sebastian recalls. “It’s a family thing, and we really know each other well.” Sweets is more than just another addition to this scene’s collective musical canon; it is a vibrant dispatch from funk’s leading edge.
From deep in the hard funk pocket, the Winston Brothers return to Colemine after four years with a second helping of sounds rooted in horn-heavy, 70s-style soul cinema, taking cues from the soundtrack work of Issac Hayes, Willie Hutch, Roy Ayers, and JJ Johnson. Helmed by multi-instrumentalist/producer Sebastian Nagel and longtime collaborator Lucas Kochbeck on drums, Sweets serves as a timely reminder of how Hamburg, Germany’s music scene helps shape and influence today’s soul sound.
Ultimately, bringing musicians like Kimo Eiserbeck (sax and flute) and Hans Stephan (trumpet), alongside some additional drum contributions by Max Whitefield (née Weissenfeldt), demonstrates the close-knit nature of these musicians. From influential bands like Bacao Rhythm & Steel Band to Angels of Libra and the Mighty Mocambos, Hamburg’s deep groove scene has sired its share of worthy soul and funk acolytes.
These musicians have shared stages and studios over the years, with various
configurations finding their way in the aforementioned bands. “We started as a school project… we were just kids,” Sebastian recalls. “It’s a family thing, and we really know each other well.” Sweets is more than just another addition to this scene’s collective musical canon; it is a vibrant dispatch from funk’s leading edge.
Herbie Hancock is one of the most prolific jazz pianists of the 20th century. A child prodigy, he played with the greats such as Donald Byrd and Miles Davis. He was one of the first to embrace and master the electric piano, but he always stayed true to the acoustic sound. In fact, he always bounced back and forth between his electronic and acoustic sound, touching upon almost every development in R&B, funk and jazz while retaining an original and distinctive voice.
Sextant from 1973 was recorded just before Headhunters, and can be seen in the same vein, but it’s more than just an introduction to a masterpiece. It features a kind of post-modal, free impressionism while gracing the edges of funk. Three long instrumental tracks explore how far minimalism in jazz can go.
Sextant is available as a limited edition of 2000 individually numbered copies on blue marble vinyl.
The modern day torch carriers of electric Brazilian jazz-funk. Fans of Azymuth, Marcos Resende, Antonio Adolfo and Cesar Mariano look no further !
Ultracooked infuses the Sao Paulo trio’s deep understanding of Brazilian music history with their consummate musicianship and infectious joy of playing. Their distinctly electric jazz-funk flavour rises to the top, as they pay homage to some of their musical heroes and teachers.
Where previous albums nodded to the lineage of Azymuth, Antonio Adolfo, Cesar Camargo Mariano and Marcos Resende, Ultracooked walks ! ! straight up to the greats and shakes their hands. Gilberto Gil and Caetano Veloso are here, with fresh versions of Espresso 2222 and Odara respectively. Garoto - the great choro guitarist and composer whose harmonic imagination quietly laid the ground for bossa nova - is here too, and honoured with a deconstructed reading of "Jorge do Fusa".
Recorded in the wake of the passing of both João Donato and Hermeto Pascoal, each has a song on the album named after them. Listen to Caixa Cubo and you can see why, their playfulness echoes Donato’s mischievous cheek, while their creative openness is clearly Hermeto inspired. But with both “Hermeto” and “Dontao” each featuring the sampled voice of the late masters themselves, the songs read more as conversations than eulogy. Caixa Cubo carry forward these legacies with care.
In good company, Zé Leônidas, who lit up 2023's Agora, returns to sing on "Expresso 2222", "Essa é Pra Tocar no Rádio" and "Cortejo", while guitarist Edson Woiski brings his sinewy sound to those Gil interpretations and to "Cabaré", before adding his voice to the closing chorus.
Ultracooked was produced by Caixa Cubo alongside Frederico Pacheco, who recorded and mixed the album at O&O Studios in São Paulo, with mastering by Casper Sutton at Gearbox Studios in London.
Tiger Stripes continues the ‘A Tiger Never Loses Its Stripes’ EP series on Rekids, with part two arriving 30th October 2026. The EP follows part one, released earlier this month, and previews his upcoming sophomore album, his first in two decades, due out later this year.
First up, Tiger Stripes’ 'Strike' is a raw, heavy, swinging warehouse cut with stark lasers and a moody vocal refrain that will lock the floor into a steady march. 'ID' flips the script with funkier bass riffs and dub effects hanging above a lighter, funkier groove, but still locked into irresistible loops. There is a playful touch to 'Nothing To Do', too, where dusty drums, darker synths and prying bass motifs all shuffle and swing with confidence. The soulful 'Free As A Bird' closes with a delightfully dubby skip, lush chords, and expert sound design that brings immeasurable character alongside a well-worked vocal.
Founder of the Strange Idols label, Tiger Stripes has spent over two decades forging his own path with standout releases on Hot Creations, Kaoz Theory, Kwench Records, and more. After stepping back to focus on his indie-rock project Little Lies, he made a full return in 2024 and quickly recaptured the form that’s made him an international favourite.
Radio Slave’s Rekids was founded in 2006 and has since spawned successful offshoots with the Techno-focused Rekids Special Projects in 2017 and its newest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been crucial in developing early artist careers and has become a haven for established acts in House and adjacent genres, recently featuring Harry Romero, Tal Fussman, DJ Minx, The Hacker, and many more.
The second CBS/Sony album by internationally acclaimed Japanese keyboardist Himiko Kikuchi, "SEVILLA BREEZE," originally released in 1988, is finally available on vinyl for the first time.
Inspired by Georges Bizet's opera "Carmen" and traditional Spanish music, this masterful Latin jazz/fusion album showcases Kikuchi's dazzling keyboard work soaring freely over a powerful rhythm section and a razor-sharp horn section. Highlights include the breathtaking high-speed Cuban-Latin jazz workout "Toreador"; interpretations of "Gypsy Song (from Carmen)" and "Seguidilla (from Carmen)" from Bizet's "Carmen"; the Latin-funk fusion gems "Sevilla Breeze" and "Primavela," featuring Naoki Watanabe (bass), Tsuguo Okamoto (drums), and Yoshinori Nami (percussion); and the mellow, laid-back tracks "Blue Gibraltar" and "Siesta."
LowMoneyMusicLove coming through with some new friends. Volume 3 brings together TC80, Saharty, Ivo Reiderman and JJ Fortune for four distinct cuts.
TC80 opens with sleek, restless machine funk before Saharty takes things somewhere rougher and more twisted. Ivo Reiderman brings a brighter, sun-dazed energy to the B-side, with JJ Fortune rounding things off in his unmistakable style - low-slung, shadowy and quietly menacing.
New friends, proper grooves, "LowMoney feeling". Vinyl only.
A landmark of 1970s Turkish psychedelic funk, Zafer Dilek’s Oyun Havaları returns to vinyl 50 years after its original 1976 release on the legendary Yonca Müzik label.
One of the defining figures of the 1970s Turkish studio scene, Zafer Dilek transformed Anatolian melodies through his distinctive microtonal electric guitar and groove-driven arrangements. Across twelve instrumental reinterpretations of regional Turkish melodies, psychedelic guitar, bağlama, heavy bass and tightly locked percussion meet in a sound deeply connected to the golden age of Yeşilçam cinema and embedded in Turkish collective memory.
The album’s influence reaches directly into today’s global Anatolian psychedelic movement: Altın Gün later reinterpreted two tracks from the record, while Khruangbin championed the cult dance-floor cut “Yekte.”
Long sought after by collectors in its scarce original pressing, Oyun Havaları is finally available again as an official archival reissue, restored from the original master tapes, mastered and lacquer cut by Frank Merritt at The Carvery, London, and pressed on 180g black vinyl at Record Industry, the Netherlands.
Alek Lee and vocalist Margeeah come together for a boutique 7″ pressing limited to 200 copies, featuring two tracks blending soul, reggae, disco and dub. Lee, whose catalogue includes releases on Antinote and Isle of Jura, brings his background in slower, dub oriented productions to a collaboration built around Margeeah’s vocals and live instrumentation. The sound sits somewhere between Massive Attack’s Blue Lines and Grace Jones.
Margeeah comes from the Israelite community, whose musical history includes The Soul Messengers. Her debut album, Looking for Love, was recorded in 1983 with Kingdom Sounds, originally issued as a private press LP and reissued by Frederiksberg Records in 2025. Its musicians included Abshalom Ben Shlomo, associated with Sun Ra. Her vocal style spans soul, jazz, funk and reggae, with reference points including Roberta Flack and Doug & Jean Carn.
For this release, Lee records his own live drums and percussion for the first time, alongside his signature smoky melodica lines. The production develops the reggae elements of Margeeah’s singing, combining bass driven arrangements with live rhythms, spacious guitar lines and dubby approach.
On the A side, “The Music Inside”, Margeeah effortlessly projects Lee’s lyrics about optimism and the desire for inner and outer freedom. Built around a recurring vocal refrain, the track places her voice over a rooted reggae arrangement.
The B side, “Can You Feel It?”, moves seductively towards a slower disc-dub sound. Bass and drums provide the foundation, with the percussion developing from a restrained groove into a fuller live kit arrangement. Melodica and guitar weave around Margeeah’s lead vocal and the hypnotizing title phrase.
„Whut? Thee Album“ ist das Debüt-Studioalbum des legendären Rappers Redman. Das am 22. September
1992 veröffentlichte Album erreichte Platz 49 der Billboard 200 und Platz 5 der Top-R&B-Album-Charts
und wurde später in den Vereinigten Staaten mit Gold ausgezeichnet.
Das Album präsentierte Redmans unverwechselbaren Vortragsstil, seinen bissigen Humor und den rauen
East-Coast-Sound durch herausragende Titel wie „Time 4 Sum Aksion“, „Tonight’s da Night“ und „Blow
Your Mind“.
The guys are back in the "kitchen", launching a new Special Edition series that—in this first volume—pays tribute to none other than the "King of Pop”.
Four songs get the R&C treatment, reimagined through a fusion of Funk, Electro and Balearic elements.
The result is a fresh, modern sound that fits perfectly into any DJ's record bag.
Very Limited !!
Over 10 years ago, Leon Michels released his first full length record, Sounding Out The City. It was Michels' first full length record under the moniker El Michels Affair. At the time, the budding retro soul scene consisted of mostly organ quartets a la The Meters and of course, Sharon Jones & The Dap Kings were in the early days of their ascent to world domination. Leon Michels, who was 18 when recording Sounding Out The City began, had just released Thunder Chicken, the first record by his high school band The Mighty Imperials. At the time of SOTC, Michels was just discovering early rocksteady, afrobeat, and 60's garage rock, which inevitably crept its way into the songwriting. He purchased a Tascam 388, an 80's 1/4" reel to reel 8 track intended for home recordings, and began recording music in a 10x10 box with no windows that also doubled as his childhood bedroom. Along with fellow Mighty Imperials Nick Movshon, Homer Steinweiss, and Sean Solomon, and Michael Leonhart, Thomas Brenneck, and some of the musicians from The Dap Kings, Michels recorded the LP over a two year period. Upon it's release, it received some rave reviews and the small deep funk community ate it up, but due to the lack luster promotion and distribution the rest of the world was slow to catch on to the instrumental gems featured on SOTC, which Michels appropriately labelled as "cinematic soul". However, in 2005 it found it's way into the hands of the people who were organizing a series of concerts for Scion that paired bands with MC's. El Michels Affair was contacted about playing one show with Raekwon The Chef of Wu Tang Clan fame. The show was such a success it led to a tour, and then to another set of concerts that featured multiple members of the Wu-Tang Clan. This eventually led to the release of El Michels Affair's second record, "Enter the 37th Chamber" which introduced them to a much larger audience and has been their most successful release to date. Michels has since gone on to produce and co-produce numerous records for powerhouse soul artists like Lee Fields. He shares songwriting credits with Adele, Jay-Z, Ghostface Killah, Aloe Blacc, and has played on records by Ray LaMontagne, Lana Del Rey, The Black Keys and Dr. John.
This collection compiles all of Crow's studio albums with their original '69-'71 lineup. Crow Music, Crow By Crow and Mosaic are each individually packaged with a liner note insert - all contained in a pizza box style package!
Crow Music gives listeners organ-laden funk wonderment! Combining gritty blues with nasty, hard-charging garage rock, this album includes their Billboard Hot 100 hit "Evil Woman (Don't Play Your Games With Me)."
Crow By Crow sees the band really turning up the heat! Their sophomore release spawned two minor hits, the Larry Williams cover “Slow Down” and an original, “Cottage Cheese.”
Mosaic carried early ‘70s rock to new heights, blending a new mixture of country and blues. With heavy steel pedal on “Watching Can Waste Up The Time,” Mosaic was Crow’s last effort to make it big before vocalist David Wagner departed the group.
Thirty tracks to celebrate three decades in the game, the LP is home to music from artists that have helped shaped the sound of the label over the years. Featuring a mixture of both original tracks and iconic catalogue remixes, expect to hear top-shelf cuts from the likes of Netsky, Grafix, S.P.Y, Etherwood, Nu:Logic, Lens, Hoax, Gabriella Bongo and more.
Pressed across five 12" white vinyl records and housed in a premium two-piece lift-off box, this special 30th anniversary edition is the ultimate collectors item.
A hot slice of Latin dance music — produced by the legendary Masters at Work, the house icons and masters of that Nuyorican sound, “Little” Louie Vega and Kenny “Dope” González — from Los Amigos Invisibles, the Venezuelan band who have spent decades perfecting the art of getting away with everything.
Packed with raunchy songs (of course) that fuse every American genre under the sun — from salsa to acid jazz to disco to funk — this record tore up dance floors twenty years ago.
Following her previous appearances on Blueprint, Manchester-based techno artist Kerrie returns to the label with her latest release, "Pressure Signal". The four-track EP sees Kerrie deliver another focused collection of raw, uncompromising techno, continuing her distinct approach to dark, gritty, metallic and industrial sounds.
Kerrie is a multidisciplinary artist whose work spans live performance, production, DJing and running her own label, Dark Machine Funk. Having honed her craft for almost 20 years, Kerrie has developed a sound deeply rooted in UK, Detroit and European techno, with her sets and productions characterised by tough moods, high energy and a strong sense of groove.
Kerrie first made her debut on Blueprint in 2022 with her"Raw Regimen" EP, before returning to the label with further releases in 2024 and 2025 and joining the Blueprint crew at showcases around the globe.
We are finally ready to unveil one of the most exciting projects we have worked on in our label's history: a new release by legendary disco project Hudson People, best remembered for their essential classic "Trip to Your Mind" - which just received its anniversary issue on our label!
Now it's time for "Hold On" - a brand-new single featuring several mixes based on an original recording from the late 1980s, with the completely unheard yet incredibly soulful voice of singer Rickey Owens, whom composer and producer Reginald Hudson worked with at the time.
When we first got in touch with Reg Hudson several years ago, we were originally interested in releasing his "Shake It - Make It Loose" album, which he recorded with John Davis (later known as one of the real voices behind Milli Vanilli). While talking about John Davis (RIP) and other great GI singers such as Karl Keaton, Reginald Hudson immediately mentioned Rickey Owens as one of the best singers he had ever worked with.
Of course, we had never heard of him, as none of his music had ever been released. But when Hudson showed us some old demos and sent us the original DAT recordings, we were immediately hooked.
"Hold On" was recorded in or around 1988 with a simple drum machine and keyboard accompaniment - essentially a demo intended to be recorded properly in a better studio. But the vocal performance was simply stunning, complete with beautifully recorded ad-libs. Owens had a truly remarkable, clear voice with an incredible amount of soul. Luckily, Hudson had his old DAT tapes digitized several years ago, so the acapella recordings survived in excellent shape.
We immediately reached out to several producers to create reworks of the track. The 12" EP compiles some of the most club-friendly of these new mixes - but there is more to come…
First up is Thomas Redfern, a senior producer, professional studio musician and keyboardist from London, UK. His version is a catchy, funky yet deep House track that could easily become a favourite on dancefloors around the globe. Redfern also blessed us with a dub mix that takes things even deeper.
But it gets even catchier on side B of the vinyl. Tom Quick sped up the tempo, added filters and delivered a rework that could make fans of Chromeo, Daft Punk, Stardust and any late-'90s French House afficionado go completely nuts. Yes, we mean it! With a fresh twist on the original, the track has a massive club appeal that we hope both DJs and dancers will dig.
The vinyl single is completed by a mix from German legend DJ Friction, whose version is based on synth layers from the Tom Quick mix. Friction added new drums and bass, giving the track the distinctive modern electro boogie funk vibe he is known for. His mix brings to mind classics such as Shannon's "Let the Music Play" and works of Freestyle's Tony Butler.
The vinyl 12" with 4 mixes is released on The Outer Edge's brand-new sublabel, 1st Floor Records, which focuses on more dancefloor-oriented material. More mixes are available digitally and should not be missed.
PR Feedback:
„Killer“ – Gilles Peterson
„Disco, deep house and boogie all in there! Superb!“ – Groove City Radio
„Dope!!“ – DJ Craze
„The boogie mixes are so good!“ – Selvagem
„Awesome and Huge Package“ - Leon El Ray
„Wow, Trip to Your Mind is so good and this is a real grower“ - Ibiza Sonica
„Really liking the Balearic & Redfern Mix, thanks!“ – Mystic Bill
„Both Thomas Redfern mixes are ace!“ – Deeper Shades of House
12 Inch Lovers - Celebrating 15 Years of Vinyl Culture!
Belgian vinyl-only event concept 12 Inch Lovers celebrates its 15th anniversary with two new additions to its established sampler series. Now entering its seventh year, the series reflects the music and atmosphere of the events, combining dancefloor favourites with carefully selected discoveries.
Samplers 13 & 14 bring together sought-after classics, hard-to-find gems and selected tracks and versions making their vinyl debut. Each volume features nine full-length tracks across two 12-inch records, making both releases essential additions for DJs and collectors alike.
Sampler 13 includes Sorry I Am Late by Kollektiv Turmstrasse, Marea (We've Lost Dancing) by Fred again.. & The Blessed Madonna, and Lifetimes by Slam feat. Tyrone Palmer. Further highlights include Tocadisco's Morumbi and the Martijn ten Velden Remix of Guitarra G.
Sampler 14 features Dreams by Deep Dish feat. Stevie Nicks, All That Matters by Kölsch feat. Troels Abrahamsen, and the NiCe7 Remix of It's Yours by Jon Cutler feat. E-Man. Belgian favourites Decoy & Roy with Inner Life and The Mackenzie with Higher In The Sky add to the selection.
Rooted in 15 years of vinyl-only events, these two compilations capture the distinctive sound of 12 Inch Lovers, offering lasting appeal for long-time fans, record collectors and DJs looking tobring proven classics back to the dancefloor.
Nothing But (Future) Classix, Straight From Vinyl!
Sampler 14 opens with Jon Cutler feat. E-Man - It's Yours (NiCe7 Remix). This remix pairs the recognisable vocal with a punchy house groove. A fresh take on a familiar classic that sets the tone straight away. Next comes Sterac Electronics - Destination Reached, with Steve Rachmad
showcasing his feel for electronic funk. Tight rhythms and an infectious groove make this a record with lasting appeal.
Side B features Swen Weber - Maya (Rerub), a powerful club track whose build and driving rhythm keep the dancefloor moving. Deep Dish feat. Stevie Nicks - Dreams then delivers a familiar moment. Stevie Nicks' distinctive voice and Deep Dish's warm, immersive house sound
give this well-known song a character all of its own.
Side C brings Kölsch feat. Troels Abrahamsen - All That Matters, a melodic track in which the vocaland gradual build complement each other beautifully. The kind of record that feels equally at home deep into a club night or under the first rays of sunshine at a festival. Next is Chew Fu feat. Steve Clisby - Purple Rain (Mousse T.'s Home A Lone Mix). Mousse T. gives this interpretation of the Prince classic a warm, soulful house groove, leaving plenty of room for Steve Clisby's voice to shine.
On side D, Jürgen Paape - We Love takes over. Playful, melodic and full of character, it adds a different flavour to the selection. Decoy & Roy - Inner Life follows with a generous dose of nostalgia and a sound that perfectly reflects a love for Belgian club classics. Closing the sampler is The Mackenzie - Higher In The Sky, whose dreamy melodies and uplifting energy provide a fitting finale.
Nine tracks across two 12-inch records, each in its full-length version. Much-loved classics, inspired remixes and lesser-known gems, brought together withthe same love for music that has driven 12 Inch Lovers' events for 15 years.
With the “Extrasensory” EP, Slices Of Life welcomes one of the most versatile producers in the UK minimal house scene. Since 2003, Tom Ellis has been creating funk- and jazz-inspired house and techno, distinguished by his keen sense of organic rhythm. His extensive discography spans labels such as Logistic/Telegraph, Minibar, Wisdomteeth, KANN, Banoffee Pies, Onysia, among many others. Beyond his solo work, he is also the mastermind behind the electronic jazz ensemble Soulstatejazz.
The four tracks on “Extrasensory" distill this wealth of musical experience into diversely textured minimal house productions. Precisely placed drums and percussion, and rolling grooves form the foundation - clearly shaped by Ellis’s background as a drummer, percussionist, and bass player.
All the tracks share a warm, organic atmosphere, oscillating between lightness and relentless drive. The title track, "Extrasensory", blends almost pop-like melodies with shimmering vocals. "Bring Forth" takes us into deeper, dubby, and driving territories, while "Be The Moment" reveals a playful and melancholic side. Finally, "Vividly" immerses us in a dense, dreamy, yet pulsating sonic world.
For 3+ years Razor-N-Tape has held their quarterly A Joyful Noise event in the Sound Room at Public Records. Conceived as a hearkening back to an early 2000s era of NYC nightlife, it is a club night that includes both DJs and live music. Led by JKriv as musical director and bassist, the live band is a collective of luminary NYC talent including singer Brandon Markell Holmes, guitarist Peter Matson, flutist/singer Domenica and percussionist Olatunji Ojore (Underground System), trumpeter Carter Yasutake (Midnight Magic), keyboardist Jason Lindner (Donny McCaslin/David Bowie's Blackstar), drummer Jim Orso (Hot Chip/Holy Ghost!) and saxophonist Stuart Bogie (Antibalas/Arcade Fire). Merging club sensibilities with jazz, funk and afrobeat pedigree, the A Joyful Noise repertoire includes live-interpreted renditions of J’s music and remixes, features by Razor-N-Tape artists, and original works. This album is a document of this special event, capturing all the live energy, moments of dazzling ensemble interplay, and features by artists Adi Oasis, Toribio and Cor.Ece.
Kampana brings you two reworks from Aroop Roy's essential DJ Weapons series, on 7" for the first time. 'Cross the Tracks' brings a bumping house groove to the funk classic.
'Spooky' reimagines the soul hit with brand new bass, guitar and rolling drums, creating a magical dancefloor moment.
Kampana brings to you two more reworks from Aroop Roy's legendary DJ Weapons series, on 7" for the first time. 'Visions' gives a disco lift to an obscure, but anthemic soul cut , with stunning vocals and classic sound.
'High Riding' is a funky rework that chops and splices the original sample into an infectious jazzy disco groove, building into an epic climax.
In a world that buckles and cracks under our calamitous weight, something at once old and beautiful, bitter and malign, stirs just a shade below what can be seen. It had dreamt of the end of things, and tasted there sweet emptiness, but now a new hominid stench has disturbed its slumber.
So keenly it ponders, un-lidding an eye, and within each potent coil desires fester, many and urgent. And so it untangles, and organises, and lurches upwards like a whale; bloated, rotten and desperate to breathe.
Emily and Joe have caught glimpses of that which lurks beneath. As each has struggled to make sense of what they have seen, they have been dragged inexorably into a frightening new reality; a shadow world of lurid horrors, where nothing is as it ought to be. Yet they have witnessed great beauty too, a joy stark and profound, and an addiction is growing.
iO Pan is about a love for that special era in the UK dance music scene that from the late 1980s onwards mixed funk, soul, hip-hop, electro, reggae, dub and Jamaican sound system culture together with the freshest dance music coming out of Chicago, Detroit, Belgium and Italy. A unique melting pot that would lead to some of the most original and groundbreaking musical movements the world has ever seen in Bleep, Breakbeat, Hardcore, Jungle and Dub Step.
iO Pan is an artist, musician and DJ who has presented live art at the Barbican Centre, the Open Data Institute, the Royal College of Art and Goldsmiths University.
As a musician, iO Pan has supported the Arctic Monkeys and worked with the Human League, and with the track ‘Forever’, reached number 5 in the Mixmag Ibiza chart.
As a DJ iO Pan was a resident for legendary Sheffield clubs Gatecrasher, The Leadmill and Plug throughout the 90s.
iO Pan now presents the full-length album When The Lid Opens on Sound Records whose roster includes KiF Productions, Benyayer, Yarni and Lara Jones.
Hakim Murphy, Venn Diagram, four cuts on one twelve. Old Detroit machine funk meets old Chicago swing, no reinvention needed. Straightforward drum programming, straightforward intentions, nothing chasing trends here. Does what it says. Solid.
Die größten Hits des Freestyle-Stars Stevie B jetzt auf hochwertiger farbiger Vinyl-LP! Diese exklusive Edition vereint die bekanntesten Songs des Künstlers und bringt den unverwechselbaren Sound der 80er- und 90er-Jahre zurück auf den Plattenteller.
Mit dabei sind unter anderem die Klassiker:
Funky Melody
Dreaming of Love
Spring Love
sowie weitere unvergessliche Hits.
Ein Muss für Fans von Freestyle, Dance-Pop und Sammler außergewöhnlicher Vinyl-Ausgaben.
Hinweis: Vol. 2 mit weiteren Stevie-B-Klassikern erscheint demnächst!
another gem from the endless treasure island called Power Music and the Mastermid behind who is DJ Duke! This time in the rebound the 1997 classic "Electro Force"!
Yes, yes funky people, another super sexy, soul groove makes it onto the DYNAMITE CUTS 7” series. Took a long time get this one across the line. Two versions of the timeless classic “Take me with you”. A – Side is the one we all know, Lyn Christopher - Amazing deep bass groove and vibe. This has been released as a 7” before but on Styrene. Also bootlegged many times over the years, but here at Dynamite cuts we do it right. This official release includes the iconic sleeve, which is a beauty. To top that, our B-side we have the UK version which was released the same year. Tyrone & Carr, first released on Jam records, part of the UK label DJM, now sell for big bucks £350 +
Kraak & Smaak formed in Leiden in pursuit of a particular blend of funk, disco and electronic soul, and over two decades and seven albums, Oscar de Jong, Wim Plug and Mark Kneppers have sharpened a sound that's unmistakably their own: warm, analogue, and always twisting old soul into something new. That sound has carried them from small European clubs to Coachella and American late night TV.
Their 2025 album Velvet Seas was written between Leiden and Los Angeles, and it shows: Californian light and a touch of psychedelia sit easily alongside deep funk and a cinematic reach. The record leaned on a wide circle of guests, among them IVAR, Berenice van Leer, Izo FitzRoy, Butter Bath, The Undercover Dream Lovers, iogi, Kosta G and Kainalu.
Velvet Seas Remixed hands the album's best moments to a curated set of international producers. British disco heritage, classic French touch, Brazilian disco funk, Melbourne club music and homegrown Dutch groove all take a turn, with each producer bending a familiar song toward their own instincts while keeping the album's character intact. Longer, extended versions and alternate mixes round out the full release, letting several of these tracks land in more than one form.
Intriguing Siberian B-Boy roots informed Anton LTF's first solo album last year and its mix of funk, hip-hop and early turntablism influences really worked. He's back now with a tidy two-tracker on Soul Service Sabrosura that leans into Latin funk. It's raw, direct and charged up tackle for once again getting under the skin of b-boys and girls thanks to the killer breaks. 'Garra' is lit up with shuffling percussive keys and rhythms and big brass horns, while 'Aroma Sunset' is more pared back and loose. There's a celebratory vibe that's smoother and more languorous, with sunny flutes leading the way and irresistible Latin charm in the ways the keys dance.
Psyché is an eclectic project rooted in the Neapolitan music scene. Conceived in 2018, the project includes Marcello Giannini (Nu Genea Live Band, Guru, Bassolino, La Famiglia), Andrea De Fazio (Nu Genea Live Band, Parbleu, The Funkin Machine), and Paolo Petrella (Nu Genea Live Band, Fratelli Malibu). They were recently joined by Roberto Porzio (Parbleu, Fitness Forever, 24 Grana, The Funkin Machine).
"Hurriya (We Must Resist)" is a sonic bridge crossing the Mare Nostrum, connecting the shores of Naples and Tunisia.
At the heart of this fusion is the voice and soul of Tunisian musician Ziad Trabelsi, whose Arab roots intertwine with the psychedelic, Mediterranean sound of Psyché.
In this track, Afrobeat and Arabic sonorities meet to create a hypnotic journey, one where Ziad's oud weaves an evocative groove that gallops like horses in the desert.
The song carries the echo of the ancient dominations and cultural exchanges that have shaped Naples—a millennia-old crossroads of civilization—where traces of Arab and North African influences continue to resonate in its streets and, most notably, in its music.
"Hurriya"—the Arabic word for freedom—is an anthem of resistance and resilience, a dialogue between East and West that dissolves the rigid boundaries of geography and politics. It is a collective song for the freedom of all peoples, against oppression, abuse, and injustice everywhere in the world. As Psyché emphasize: "Even if life tests us severely, and we often feel like giving up in the face of injustice, we must resist. We must refuse to disappear."
The single is available digitally and physically, on January 23rd, as a 7" vinyl. The B-side of the physical release includes an exclusive, extended version of "Hurriya (We Must Resist)", available only in this format.
Tokyo Riddim Band continue their journey striding across times and cultures, this time with their colourful keyboardist and frontwoman Mimi Kobayashi breathing new life into a song she originally penned in 1981. ‘Lazy Love’ first featured on Mimi’s highly sought after Coconuts High LP, which she recorded in LA recruiting top session players to play alongside her. It was also included in Time Capsule’s 2024 compilation of Japanese reggae - Tokyo Riddim 1976-1985.
This soulful pop tune turned deep dub cut retains the romantic charm of the original, whilst the tasteful performances of the Tokyo Riddim Band and Ras Tavaris combined with Prince Fatty’s studio magic give the song a newly found depth.
London based Tokyo Riddim Band is a unique fusion of cultures, bringing together the vibrant energy of three generations of Japanese female musicians with the eclectic sounds of London. Their dynamic performances blend reggae drums, funky bass lines, and the smooth City Pop guitar, all magically dubbed-out live on stage. This is not just music; it's a cultural phenomenon, offering a fresh and exciting take on the reggae scene.
As Tommy Guerrero puts it, "Road to Knowhere is inspired by its and pieces of EthioJazz, Afrobeat, Highlife, Spiritual Jazz and dusty funk 45's. The album took off after its release, and listeners gravitated to the first two tracks. With millions of streams and continued praise, "El Camino Negro" and "White Sands" remain fan favourite tracks from Guerrero
It's been almost a year exactly since the debut CJP Band 12' was released, Landing just in time for a few nausent plays at We Out Here 2025.
12 months and two more well received 12's later, Most notably of course by festival founder Gilles Peterson, the band find themselves making the short trip from their New Forest homes to the Tomorrow's Warriors stage on Saturday night for their We Out Here debut.
What better way to mark the occasion and round of the (calendar) year of releases with a tasty 7' that perfectly encapsulates festival vibes wherever they might be.
Taking the foot of the gas, For one release at least, Freedom delivers two sides of blissed out summer soul. Heavy drum breaks and the funkiest basslines of course still come as standard with a sweet vocal from guitarist Geoff Lai.
On the flip those trademark CJP strings glide over a stripped back instrumental version for the aptly named String Dub.
Active Systems' debut EP, The Red EP (Split Lip Records), finds beauty in chaos and strangeness in the familiar: drawing from 90s/00s experimental grooves and stark electro (Underground Resistance, Boards of Canada, μ-ziq, Aphex Twin's Rephlex label) to create something rooted in the "dust, dirt and nostalgia" of underground electronica, Detroit techno and weirdcore. A genuine debut rather than an established alias, the four-track release moves from familiar patterns into unexpected new emotions, from the glacial hip-hop beat and starlit melancholia of "Gabbol" to the skippy rhythms of "Itsover" and the clock-shop funk of "Avoid”. This year, Active Systems has been invited to perform at Superbooth Berlin by Sequentix, played a debut show in Lost's much-hyped Club Room and closed Houghton Festival's The Warehouse stage on theopening night.
XL Middleton brings you the anthem for "Indeed Indeed," the bi-monthly funk night hosted by Moniquea, Zackey Force Funk, Kaistar, & XL himself. Moniquea & ZFF join XL for a coastal trip right back to the backyard boogie where it all started. Backed on the flip with "Take Control Remix," sure to be the next big thing among funk DJ's, poppers, & every purveyor of all things on the one. It's a remix of a boogie track originally released circa 1982, reworked from a drumapella version and given new life with XL's signature synth brass chords & squiggly leads.
RAWAX welcomes Funksonik to the artist Faymily!
We are very happy to present you this high rising producer from Italy on HOUSEWAX. 4 super deep late night cuts for every record bag!
Highly recommended!
This new series is an atemporal series: Spicy Electro. Sexy vibes. Ecstatic sounds.
PORNOTRONIX brings together Dark Vektor, X-Truder, DJ Overdose and Calagad 13, turning this concept into music through machine funk, raw grooves and contemporary Electro. Four distinctive artists, four different approaches and one shared language where attitude, rhythm and underground spirit converge into a timeless Electro experience.
Esoteric, atmospheric, dancefloor-feric! GFD012 is here! The Son Of Knuf EP is pure love for the groove and the roots of funkiness. Four wild tracks from Guy From Downstairs that hit with a fresh touch built on a faster pace, deeper basslines, and a flow smoother than ever.
Year 3673. The frequencies have taken hold. What began as scattered transmissions from the underground has become an infection. Across the dead zones, abandoned receivers flicker back to life. Forbidden rhythms bleed through the static. Citizens once numb to the Global Order's neural grip are beginning to move again. But something else has awakened with them. Deep beneath the ruins, an unknown signal has begun answering SHIFT's transmissions. Its origin is untraceable. Its frequency predates the network. Those exposed report visions, lost time and an uncontrollable urge to follow the sound. The Global Order calls it contamination. SHIFT calls it evolution. A new generation has been born into the resistance; raised on distorted circuitry, machine funk and frequencies never meant for human ears. The signal is spreading. Do not adjust your receiver.
In recent years, Teaspoon Ndelu’s work has found a new audience through reissues from labels such as Mr Bongo and Sofrito Super Singles. Mr Bongo’s 2021 reissue of Teaspoon & The Waves brought his 1977 jazz-funk classic back into circulation, while Sofrito’s Soweto Disco featured two tracks from the album, Oh Yeh Soweto and a re-edit of Friday Night, introducing Ndelu’s music to a new generation of listeners and selectors.
Originally released in 1981, Ke Kopa Madulo is a beautiful slice of South African funk from the late Teaspoon Ndelu, sitting somewhere between township soul, funk and gospel. At its heart is Ndelu’s unmistakable voice and this hypnotic electric piano, carried by a deeply infectious groove.
Long sought-after by collectors, the original has become increasingly difficult to find. We’re very happy to bring Ke Kopa Madulo back to vinyl for the first time in nearly five decades with this officially licensed reissue, giving this remarkable piece of South African musical history a new life.
For the dancers, the selectors and the listeners — Ke Kopa Madulo is back.
Mastered by Simbad
Executive producer : Fred “Spider” Jacquier
Graphic Design by Graeme Arendse
Notes : Marc Linge
Following the success of the rework releases of Trip To Your Mind by Delfonic, LTJ Xperience, and DJ Friction, the time has finally come to reissue the original mixes of this essential and still highly sought-after Disco Funk classic.
Both the original Hithouse Mix and the re-mix by Chris Hill & Robbie Vincent were released in 1979. However, newly uncovered evidence has revealed that the track was actually recorded much earlier. After extensive research, including the rediscovery of Reginald Hudson's original flight ticket dated September 7, 1976, from Los Angeles to London, proof has emerged that the recording sessions took place in late 1976.
Due to unfortunate circumstances, the track remained shelved for several years and did not see release until 1979. By that time, the original backing band, Body Heat-a group of U.S. Army musicians stationed in Germany-had already disbanded. As a result, the record was released under the project name Hudson People.
Reg Hudson has since shared additional photographs and previously unknown information, which will be revealed in the coming months. To further celebrate the record's legacy, an official music video is currently in production and is scheduled for release this summer, marking the track's 50th anniversary.
As the original master tapes have unfortunately been lost, the audio has been transferred and restored using highest end equipment from the best available sources. In particular, the original Hithouse Mix now sounds better than ever before.
The 12-inch release will be presented in a faithful reproduction of its rare original "Disco 45" sleeve, believed to have been included only with the earliest pressings.
The Story Behind the Record
For decades, Trip To Your Mind was celebrated as a Brit Funk classic, although its true origins remained largely unknown. While the track was recorded at London's Advision Studios, Hudson People were neither a British group nor a London-based project-a fact first brought to light through the official 2022 reissue on Backatcha Records.
In interviews with label owner DJ Scientist, songwriter and producer Reg Hudson revealed that the musicians behind the recording were actually members of Body Heat, a GI band based in Germany. Like Hudson himself, most of the musicians originally came from the Chicago area.
"The band included Tony Palmer on guitar, Herva Middleton on drums and lead vocals, Charles Walker on saxophone, Harvey Perry on trumpet and trombone, and Rickey on bass-a five-man lineup," Hudson recalls.
Recorded in late 1976, the track remained unreleased for several years. By the time it finally appeared in 1979, Body Heat was already on the verge of breaking up, prompting the decision to release it under the Hudson People name.
Since the late 1990s, Trip To Your Mind has been heavily bootlegged, widely compiled, and continuously championed by DJs and collectors worldwide, cementing its reputation as one of the most enduring and in-demand Disco Funk records of its era.
50 year anniversary edition! Recorded in 1976, first released in 1979.
- 2026 repress - Molekul is taking its claim in the underground techno scene, teaming up with the next-gen artists on this 6 tracks compilation built for the dancefloors. Each artist delivering their own signature sound and personal energy, making this release unique.
DJ Linus came up with the basic idea for You Are House Music while DJing. He provided the vocals himself and refined them through numerous tests during his DJ residency at Munich's Pacha club. The track is a tribute to the party people and became the secret anthem of Pacha during its six-month production period. The vocals seem to work...
A.O.D.S. - DJ Linus' self-created genre: Adults Oriented Disco Soul. He organizes parties and plays vinyl records from 1975-1985, covering everything from AOR to soul and disco.
Senium refers to DJ Linus's newfound love for the chillwave/retrowave genre, for which he has acquired a small new record collection.
DJ Linus spent a whole year working on the EP, including relentless testing and sound adjustments. DJ Linus: “I am very happy with the result—thank you!”
By the way: DJ Linus released his first records on Compose, Compost's 90s house label.
About DJ Linus
DJ Linus is one of the very first House DJs in Munich and in Germany. He started way back end of the 80s, early 90s.
Linus is said to be a great influence to many a famous Tech House DJ today.
His solo album “Fantasmagorique“ was the first german House Music long player of its kind.
Linus was owner of two record shops and the famous “exun records“ label.
Nowadays he is resident at the incredible Pacha Munich – since 18 years now – and is running his current label “Sujet Musique” with great success since 2013.
Linus is also resident at the legendary “Palais Club” and the asian, high class restaurant “Izakaya“.
He works as a mastering engineer and as a lecturer for DJing and Producing @ Musicversity. DJ Linus won twice the Munich Night Life Award for best DJ “House/ Techno“ in 2013 and 2019.
DJ Quotes:
“Loving the sound of You Are...! Just the kind of percussive, bassline-led house I love to play out!” – Jimpster
“Very nice!” - Fred Everything
“Tune(s)! Big up Linus.” - Bill Brewster
“Nice funky stuff.” – youANDme
“YOU are house music ! :-):-)” - Acid Pauli
“Enjoying the original You Are House Music track. ” - Josh Wink
“Beautiful!” – Reznik
“Mega EP” – Sandrino
“Really like all the tracks on this EP, Linus has been always special about his production work. Will play the tracks out for sure” - Kiko Navarro
“What a beauty!“ - Phuncadelica
Links:
Celestial Echo Records heads to the Cayman Islands for CER014, produced in association with Whale Rider Records and longtime friend of the label Medlar.
This release shines a light on two incredible sides from the legendary Memory Of Justice Band, one of the Caribbean's best-kept musical secrets. Formed in Grand Cayman during the 1970s, the group blended soul, reggae, funk and island influences into a sound entirely their own, becoming one of the region's most beloved bands in the process.
On the A-side is a gorgeous piece of sweet modern soul — warm, uplifting and packed with the kind of effortless musicianship that makes you wonder how it stayed under the radar for so long. It's exactly the sort of record Celestial Echo was built for: soulful, timeless and impossible not to fall for.
Flip it over and things move firmly onto the dancefloor with a reggae-boogie burner produced by the legendary duo Sly and Robbie. Built around a heavyweight groove, tight rhythm section and infectious hooks, it's the perfect counterpart to the sweetness of the A-side and a reminder of just how interconnected Caribbean music was during this period.
As always, Celestial Echo is here to put proper soul records back into circulation — respectfully cut, properly pressed, and ready to play.
Raw and unfinished. Never released, for various reasons. DAT and compact cassette tapes forgotten in home studio drawers, then boxed away in the basement for decades. After modern mastering, sounding solid and fresh — so why not release them after all?
Kilotoni drops its sixth vinyl-only round of radioactive techno findings. Be prepared for the meltdown and fallout.
A1 Banging acid techno in the Public Energy vein, mixed with the minimal Landstrumm-style funkiness of the 1990s. Raw and minimal, but dialed in just right.
A2 Simple acid house with shuffling beats and romantic chords. Perfect for setting the mood at a club night or an outdoor sunrise.
B1 Tech house from the 90s — or perhaps from outer space. A bouncing bassline and funky drum machine programming are joined by unidentified bleeps.
B2 Wild but unconventional acid techno with shuffling beats and throbbing basslines. Midwest acid and ghetto techno shake hands on a nuclear wasteland.
DJ Support by Massimiliano Pagliara, Fabrizio Mammarella, Ally Tropical, Sofa Elsewhere, Alexander Back, G-ha, Secret Soul Society, Olle Abstract, Logan Fisher, Timmy Stewart, Erki
The Vendetta Suite continues to show his broad range on Hell Yeah with the Scrabo Electric EP. Youthful memories, mushroom trips, 80s electro, dub and sleazy disco all colour a nostalgic tribute to early beat street culture in his home town of Newtownards.
Gary Irwin is a label mainstay with a thirst for weird and unconventional fusions that reframe 70s and 80s references through a contemporary lens.
Drawing on memories of breakdancing, dub reggae, and teenage mischief, he channels the spirit of demolished record shops, discos, and local haunts that shaped his musical identity. From tape-swapping electro compilations and local characters to dub influences and teenage discos, each track reflects a personal chapter rooted in 1980s Northern Irish life.
The wiggy rhythms of the title cut to the echo-laden 'A Dub For Dave', the punchy 80s drums of 'Uprock At Digby's Disco' and raw, textured funk breaks of 'Lead Mines Bonus Beats' all mean this EP blends cultural memories and musical history with undeniable style.
For the 63rd release on Memoria Recordings, Thessaloniki-based producer and DJ G.rush delivers a deep and hypnotic four-track EP shaped by experience, restraint, and underground club sensibility. With roots tracing back to the early days of his DJ career and a production path that has steadily developed through stripped grooves, subtle atmospheres, and low-end movement, G.rush brings a mature and focused sound to the Memoria catalogue. Across the EP, he moves with patience and control. “Spectra” opens the record with a reduced but magnetic drive, built around rolling pressure and detailed rhythmic tension. “Just Friendz” leans into shuffled swing and understated funk, while “Seduction” takes the B-side into deeper, late-night territory. Closing track “Tus Manos feat. Lucie” adds a warmer vocal touch, balancing intimacy with dancefloor flow. MEM063 is a refined club record for selectors who understand the power of subtle movement. Just deep, functional, emotionally charged grooves built for intimate rooms, warm systems, and long after-hours moments.
Tony Price returns with NAME?, a new LP on his Maximum Exposure label delivering 10 tracks of red-hot house music realness.
Following two releases in 2025, the brutalist cybernetic jazz reveries of Requiem for the Ontario Science Centre and the ferocious machine funk of Street Theatre, NAME? keeps its crosshairs aimed straight at the dancefloor.
NAME? showcases Tony’s undying affinity for the sound of New York City and New Jersey house: Tony Humphries’ cybernetic gospel dubs, the crude, Todd Terry-style 12-bit hip-hop explosives, the cracking garage swing of early Strictly Rhythm, Mood II Swing and Masters At Work, the psychotic bleep-funk bombast of the Bomb Squad, and the deep, ecstatic machine soul pioneered by the likes of Blaze and the Burrell Brothers.
Produced in his Greektown studio in Toronto using an array of drum machines and samplers, these recordings are pure Tony: rude, crude and elemental. House music stripped down to its core principles and defining primordial textures. No nonsense, no junk, no varnish, no nothing. Just the funk.
California’s beloved Brainstory returns with a new EP celebrating the end of an era. Shoebox Days is an homage to the time spent and the recordings made at their now defunct Long Beach studio, aptly named Shoebox. As the name suggests, the space was tiny and stuffed with gear. While charming, it was riddled with constraints. But, as has been proven time and time again, great art often comes from difficult circumstances, and this new 7 song EP is further proof. The first track, “The Watchers,” opens with an earworm horn melody that immediately pulls you in. The crunchy drums and G Funk bass tones put a bop on it, lush orchestration weaves in and out and sets a mellow vibe. “Blend,” one of only two vocal tracks on the EP, is a California sunshine soaked love song walking the lines of psych rock ballad and B side soul. ”Twin Kitchen” leans you right back into your seat, with Eric Hagstrom’s in-the-pocket drumming carrying the tune.
“Home Alone” is singer Kevin Martin’s ever so relatable tribute to time by himself, time by today’s standards as “disconnected,” but in reality, much more connected… The fellas let some of the jazz background take front stage on “Lone Traveler,” starting out with an air tight groove, and letting loose over it as the track progresses. “Gravity Hill” named after the famed California oddity begins the ending of the EP as Brainstory takes it deep and brings us with them. “Necessary Loss” serves as the closer to this gorgeous journey.
California’s beloved Brainstory returns with a new EP celebrating the end of an era. Shoebox Days is an homage to the time spent and the recordings made at their now defunct Long Beach studio, aptly named Shoebox. As the name suggests, the space was tiny and stuffed with gear. While charming, it was riddled with constraints. But, as has been proven time and time again, great art often comes from difficult circumstances, and this new 7 song EP is further proof. The first track, “The Watchers,” opens with an earworm horn melody that immediately pulls you in.
The crunchy drums and G Funk bass tones put a bop on it, lush orchestration weaves in and out and sets a mellow vibe. “Blend,” one of only two vocal tracks on the EP, is a California sunshine soaked love song walking the lines of psych rock ballad and B side soul. ”Twin Kitchen” leans you right back into your seat, with Eric Hagstrom’s in-the-pocket drumming carrying the tune. “Home Alone” is singer Kevin Martin’s ever so relatable tribute to time by himself, time by today’s standards as “disconnected,” but in reality, much more connected… The fellas let some of the jazz background take front stage on “Lone Traveler,” starting out with an air tight groove, and letting loose over it as the track progresses. “Gravity Hill” named after the famed California oddity begins the ending of the EP as Brainstory takes it deep and brings us with them. “Necessary Loss” serves as the closer to this gorgeous journey.
After a stellar debut on the No Guestlist label Blay steps back into the light with an ambitious new record Wave Formations. This record finds Blay pushing further into the space where afro-centric jazz and deep house collide, weaving together synth heavy production with organic rhythms and live instrumentation.
From its opening moments its title track ‘Wave Formations’ holds you captive. From field recordings blurring into a dreamy atmosphere, taking you on a 9-minute spiritual journey across the cosmos.
Its counterpart ‘Rhythm Of Love’ is equally dreamy; A reverb-soaked vocal track with live-band-like energy shape-shifts around its steady and forward pushing rhythm before unwinding into a meandering, melancholic piano outro.
On the flipside, ‘New Teacher’ is an invitation to dance — call-and-response synth phrases on top of driving percussive polyrhythms. What starts off simple and stripped down transforms into a full-on celebration; a boisterous rush of sonic afrofuturism that tries to reach the sun.
Keeping the joyful spirit high, the record closes off with the festive and playful ‘Faith In Us’. This highlife and afro funk inspired record reimagines band members feeding off of one another, switching from recognisable motifs to energetic solos pushing each other further into the light.
The debut Peacefrog album from Kenny Dixon Jr. aka Moodymann originally released in 1998 is an album of truly epic proportions, a must have for any and all collectors and lovers of house music. Utilising soul, funk, gospel, and even hip hop production techniques and alternating from mellowed-out disco dubs like "Mahogany Brown" and "Stoneodenjoe” to more raw and dirty tech-house tracks like "Me and My People's Eyes.”. Mahogany Brown delivers a slice of Black American music that affirms Kenny's reputation as a major influence on house music today.
College of Knowledge Records verkündet stolz das selbstbetitelte zweite Album von Let Your Hair Down. Let Your Hair Down ist eine siebenköpfige Boogaloo-Soul-Band aus Melbourne / Naarm , bestehend aus Hudson Whitlock (Karate Boogaloo, The Pro-Teens), Lachlan Stuckey (Surprise Chef), Tom Pettit (Temporary Blessings), Nic Ryan-Glenie (Owelu Dreamhouse), Will Morrissey (Saskwatch), Olaf Scott (The Teskey Brothers) und Luigi Portararo. Kurz nach der Veröffentlichung von Let Your Hair Downs mittlerweile sehr beliebtem Kult Klassiker-Debüt ,Waiting Room" kehrte die Band in das inzwischen stillgelegte Dachstudio zurück, in dem ihr erstes Album aufgenommen wurde, um ein zweites Album auf Band aufzunehmen. Mit dem gefeierten Toningenieur und Produzenten Henry Jenkins (alias Jnbo) erneut am Ruder entstanden bei einer fruchtbaren und fröhlichen Wochenendsession 11 brandneue Originalaufnahmen - und der einfache Teil war geschafft. Mit einem von Let Your Hair Down-Schlagzeuger Hudson Whitlock entworfenen Albumcover war das selbstbetitelte zweite Album von Let Your Hair Down fertig; 11 hammermäßige Instrumentalstücke, die den schrägen Funk in Moll, die perkussive Psychedelia und den bläserlastigen Boogaloo der undergroundigsten Gruppe aus der Soul-Underground-Szene von Melbourne dokumentieren. ,Let Your Hair Down" fängt die Band in Höchstform ein: spontane, energiegeladene Arrangements, dargeboten von einer erstklassigen Gruppe von Musikern, die es einfach lieben, gemeinsam Musik zu machen. Der ,Good Clean Fun"-Faktor verbindet sich mit messerscharfer Musikalität und fundiertem Gespür und kristallisiert sich zu einem wahrhaft erstklassigen Originalalbum heraus.
Well where do you go from the killer release of sde 78 Kinky Foxx "Is It Still Good To You" which sold out quicker than we could have imagined. I guess you should expect that with a group that has a cult status like Kinky Foxx.
Trawling through the guys demo sessions of the late 1970's and early1980's we always had a soft spot for "Lovely Night" but felt the audio and vocals were not quite on point for an official release. But not letting any obstacles get in our soulful way we took the demo and made it ten times better. New vocals were added by Vincent Lilly jr and with the watchful production skills of legendary Curtis Styles we are so pleased with the outcome. Its a modern day dancer but keeping in line with the 1980's boogie funk from the Kinky Foxx crew!!. Flip the 45 over and you get "Call You Up" again which has been touched up like a classic car with a respray. Keeping all the elements of 1980's synth boogie soul and taking it into 2026.
Seit mehr als drei Jahrzehnten zahlt Jimi Tenor zu den eigenstandigsten Kunstlern der europaischen Musiklandschaft. Der finnische Komponist und Multiinstrumentalist bewegt sich seit jeher muhelos zwischen Jazz, Funk, elektronischer Musik, Afrobeat und experimentellem Pop, ohne sich stilistisch festlegen zu lassen. Mit Wormhole Mystic kehrt er nach einer Phase intensiver Arbeit mit der neu formierten Jimi Tenor Band zu einem Soloalbum zuruck. Ausgangspunkt der zwolf neuen Stucke waren Rhythmus-Loops, die auf Vintage-Drummachines der 1960er- und 1970er-Jahre entstanden und anschließend als Fundament fur die weiteren Kompositionen dienten. Gemeinsam mit Synthesizern, Flote, Saxofon und seiner charakteristischen Stimme entwickelt Tenor daraus ein Album, das vertraute Elemente seines Schaffens aufgreift und gleichzeitig neue Wege beschreitet. Wormhole Mystic unterstreicht eindrucksvoll die anhaltende kreative Neugier eines Kunstlers, dessen Werk bis heute in Bewegung geblieben ist.
Seit mehr als drei Jahrzehnten zahlt Jimi Tenor zu den eigenstandigsten Kunstlern der europaischen Musiklandschaft. Der finnische Komponist und Multiinstrumentalist bewegt sich seit jeher muhelos zwischen Jazz, Funk, elektronischer Musik, Afrobeat und experimentellem Pop, ohne sich stilistisch festlegen zu lassen. Mit Wormhole Mystic kehrt er nach einer Phase intensiver Arbeit mit der neu formierten Jimi Tenor Band zu einem Soloalbum zuruck. Ausgangspunkt der zwolf neuen Stucke waren Rhythmus-Loops, die auf Vintage-Drummachines der 1960er- und 1970er-Jahre entstanden und anschließend als Fundament fur die weiteren Kompositionen dienten. Gemeinsam mit Synthesizern, Flote, Saxofon und seiner charakteristischen Stimme entwickelt Tenor daraus ein Album, das vertraute Elemente seines Schaffens aufgreift und gleichzeitig neue Wege beschreitet. Wormhole Mystic unterstreicht eindrucksvoll die anhaltende kreative Neugier eines Kunstlers, dessen Werk bis heute in Bewegung geblieben ist.
Die in Kalifornien beliebte Band Brainstory kehrt mit einer neuen EP zurück, die das Ende einer Ära feiert. ,Shoebox Days" ist eine Hommage an die Zeit und die Aufnahmen, die in ihrem inzwischen geschlossenen Studio in Long Beach entstanden sind, das treffend den Namen ,Shoebox" trug. Wie der Name schon andeutet, war der Raum winzig und mit Equipment vollgestopft. Das hatte zwar seinen Reiz, war jedoch mit zahlreichen Einschränkungen verbunden. Doch wie sich immer wieder gezeigt hat, entsteht großartige Kunst oft aus schwierigen Umständen, und diese neue EP mit sieben Titeln ist ein weiterer Beweis dafür. Der . Titel, ,The Watchers", beginnt mit einer eingängigen Bläsermelodie , die einen sofort in ihren Bann zieht. Die knackigen Drums und die G-Funk-Basstöne sorgen für Schwung, während sich üppige Orchestrierungen hin und her schlängeln und eine sanfte Atmosphäre schaffen. ,Blend", einer von nur zwei Gesangstiteln auf der EP, ist ein von kalifornischer Sonne durchtränktes Liebeslied , das die Grenze zwischen Psych-Rock-Ballade und B-Seite-Soul beschreitet. ,Twin Kitchen" drückt einen regelrecht in den Sitz zurück, wobei Eric Hagstroms präzises Schlagzeugspiel den Song trägt. ,Home Alone" ist Sänger Kevin Martins überaus nachvollziehbare Hommage an die Zeit, die er allein verbringt - Zeit, die nach heutigen Maßstäben als ,abgekoppelt" gilt, in Wirklichkeit aber viel verbundener ist _ Die Jungs lassen bei ,Lone Traveler" einen Teil ihres Jazz-Hintergrunds in den Vordergrund treten, beginnen mit einem wasserdichten Groove und lassen sich im Verlauf des Stücks darüber hinweg gehen. ,Gravity Hill", benannt nach der berühmten kalifornischen Kuriosität, leitet den Ausklang der EP ein, während Brainstory tief in die Materie eintaucht und uns mitnimmt. ,Necessary Loss" bildet den Abschluss dieser herrlichen Reise.
**BenArt Ensemble ft. Baptiste Herbin** unveil a distinctive debut album at the crossroads of jazz, world music and groove. Led by bassist and producer Ben Artuphel, this eight-piece ensemble brings together musicians from diverse backgrounds and with a wide range of influences: Baptiste Herbin (saxophones), Amina Mezaache (flute), Céline Bonacina (baritone saxophone), Ben Artuphel (bass), Antoine Banville (drums), Alexis Bajot-Nercessian (keyboards), Laurent Avenard-Kohler (guitar) and Nils Wekstein (percussion).
Born from a musical encounter in 2023, the band has developed a unique sound in which intricate bop-inspired writing meets 1970s funk, Afro and Creole rhythms, and the vibrant energy of samba. The album features 13 original compositions, the result of a deeply collaborative process and an exceptional musical chemistry between the eight musicians.
At the heart of the project, saxophonist **Baptiste Herbin** brings his virtuosic playing and extensive international experience. Nominated for the Victoires du Jazz in 2013 for his debut album *Brother Stoon*, he went on to receive the Django Reinhardt Prize and was named Musician of the Year by the Académie du Jazz in 2019. He has released four albums under his own name and has appeared on around fifty recordings alongside some of the leading figures in jazz.
With its finely crafted arrangements, rich melodies and irresistibly groove-driven rhythm section, **BenArt Ensemble ft. Baptiste Herbin** delivers a vibrant and generous take on jazz, where each musician's individual voice shines through while serving the collective. Balancing heritage and modernity, this album is an invitation to dance, dream and travel.
The Tango N'Vectif: Sessions 2LP contains tracks from the original CD version, the 2001 2CD reissue, remixes and alternate versions of album tracks, music from the Phi*1700 u/v EP on R&S and other exclusives, selected by Mike, completely remastered from DATs by Beau Thomas. µ-Ziq's Tango N'Vectif was released in 1993, a classic year for auteurist electronic music that didn't always fit on the dancefloor. Written by Mike Paradinas in his late teens with some help from Frank Naughton, it still stands up really well today and its influence on electronic music in the decades since is obvious. Across an expanse of ideas, taking influences from early Aphex, Detroit Techno and UK Hardcore, Mike created this spirited, funky, jerry-rigged, lo-fi version of rave; with crunchy drums and a knack for melody that fell somewhere between John Barry and classic TV themes. Without owning a computer, Mike had been writing techno, house and industrial tracks on and off since 1990, playing live keys alongside drum machine rhythms on his 4-track recorder. µ-Ziq started when Mike linked up with Frank who was also writing dance-influenced music, and importantly owned an Atari 1040ST computer with Cubeat software. They pooled their equipment and Mike would travel up to Frank's house a couple of miles away in Wimbledon to record together. By 1992, and after a false start when a proposed EP for Mark Pritchard and Tom Middleton's Evolution label got shelved, Mike had started at Kingston University where he deejayed and met like-minded people including a couple of guys who knew Aphex Twin who was also a student at Kingston too, and they passed Aphex a demo of Mike's material. A few days later Mike got a message from his mum to 'call Aphex Twin' and he gave Mike some advice, and seemed interested in releasing something. So when Frank and his family went on holiday that summer Mike borrowed his Atari and synths and wrote the majority of the Tango N'Vectif album during that 2 weeks. By the end of 1992 a release with Aphex Twin and Grant Wilson Claridge's Rephlex label had been agreed - Aphex had moved to the house in Clissold Crescent where he recorded a lot of his early classic albums and Mike went over to collect his advance, in the form of his very own Atari computer.
Recorded Things reaches its 50th release with a new vinyl record by label owner Oliver Rosemann.
Rosemann works with tightly reduced structures, obsessive sequences and small, continuous mutations, balancing scientific precision with physical pressure. Tension develops through layering, subtraction and detail rather than obvious gestures, giving the tracks a focused, almost architectural sense of movement.
Terence Fixmer reworks the material through his own vocabulary of dark machine funk, EBM tension and controlled industrial pressure.
For catalogue number 50, the collaboration brings together two individual artistic languages with a shared sense of restraint, intensity and structural clarity.
Rather than looking back, the release marks the milestone with a clear statement of where Recorded Things stands now.
More good news for fans of Luke Vibert's Plug output. Hot on the heels of the Variety Magic album, released earlier this year, De:tuned returns to the vault with four more previously unreleased Plug tracks.
Following the hugely acclaimed 11-track Variety Magic, which saw Vibert unearth and hand-pick a collection of forgotten jungle and drum & bass gems from his original mid-90s DAT archive, Robotic Futuristic digs even deeper into the same treasure trove. Four more raw, playful and highly distinctive Plug cuts, all previously unheard and finally brought to light.
The EP takes its title from one of the tracks and opens with Luke Vibert's personal favourite: 'Bring A Fuckin' Army'. A full-on jungle workout driven by rolling breaks, heavyweight bass and that unmistakable Plug funk. Put the needle on the record and let it rip. Go 'Head - Do It!
Robotic Futuristic also marks the 17th anniversary of De:tuned, making this a particularly fitting release for the Belgian label.
Visualised by the Variety Magi. Stencil art by Pablo Fiasco and rewired by Openmind. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops.
More good news for fans of Luke Vibert's Plug output. Hot on the heels of the Variety Magic album, released earlier this year, De:tuned returns to the vault with four more previously unreleased Plug tracks.
Following the hugely acclaimed 11-track Variety Magic, which saw Vibert unearth and hand-pick a collection of forgotten jungle and drum & bass gems from his original mid-90s DAT archive, Robotic Futuristic digs even deeper into the same treasure trove. Four more raw, playful and highly distinctive Plug cuts, all previously unheard and finally brought to light.
The EP takes its title from one of the tracks and opens with Luke Vibert's personal favourite: 'Bring A Fuckin' Army'. A full-on jungle workout driven by rolling breaks, heavyweight bass and that unmistakable Plug funk. Put the needle on the record and let it rip. Go 'Head - Do It!
Robotic Futuristic also marks the 17th anniversary of De:tuned, making this a particularly fitting release for the Belgian label.
Visualised by the Variety Magi. Stencil art by Pablo Fiasco and rewired by Openmind. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops.
Today we are happy to announce that we are reissuing Merucry Rev’s 1993 album Boces in the UK & EU! Available from the 13th of November, Boces has been newly remastered by Henry Rudkins at Air Studios and is available on black vinyl and CD.
Hailing from Buffalo New York, Mercury Rev are one of the US’s most well-respected bands, always experimenting and continually reinventing. The Guardian called them “a rarity in indie rock: a band who have continually evolved their sound, pushing at the boundaries of what rock music actually means…borrowing from jazz, funk, doo-wop, techno, folk and more along the way.”
Boces is such an important record in their discography, a grand and epic part of their story. The songs on the album came from the whole band. Everyone contributed and the recording process really allowed everyone’s freak flags to fly – partly thanks to their first ever major label recording budget. The opening 10-minute epic track “Meth of a Rockette’s Kick” really let’s you know that this album will be like nothing you have ever heard before.
What does it mean to actually experience another City, one of such historical and cultural'd'asignificance as Detroit, A city that truly expands the capacity of Human love and resilience. Just to be there…?'d'aWhat sound do the birds make?…? What colour are the buses ? …?. What sounds do we hear in the streets'd'a?…? It's like one step beyond just experiencing a place but truly absorbing it as if it becomes a little piece of'd'aus. That's the only way you really get to understand the groove, the little everyday things that make the'd'apeople tick, their daily grievances and small moments of collective joy culminating over lifetimes. That is'd'awhere you get to the essence, the secret sauce and Lord knows this City is oozing with it.'d'aIn July 2025 Ziggy undertook a 6 week residency in the motor city with no concrete plan other than getting to'd'athe roots of a deeply layered and rich musical culture. One that has been a guiding light for many of us..'d'aWhether you are coming from the generation of Motown through the 1st generation of techno to hip hop'd'arevolutionaries, the city has left an undeniable mark on the history of American Music.'d'aAfter meeting at a weeknight vinyl session at a downtown bar, Ziggy and Malik realised they already knew'd'aeach other's work and immediately made plans to hook up in the studio. Malik being a Lifelong Detroiter with'd'aa background as a Gospel keyboardist and Singer turned House dancer, producer and DJ it was no wonder'd'ahe was a perfect addition to the Label Roster. To accommodate the sessions local turntablist and producer'd'aDJ Moppy kindly offered up his home studio and we shared many great records and vegan hot dogs in his'd'aleafy backyard.The music is primarily inspired by the enduring and charismatic folks we encountered in the city, their stories'd'aand personalities live on through the continued Musical Legacy of the city.'d'aSpecial thanks to Mike Banks, Cornelius, Crystal, John '?Jammin'? Collins (R.I.P) Rick Wilhite, Wajeed and all'd'aof the Underground Resistance family who hosted us. DJ Moppy, Meftah, Badriyyah, Raj Mahal all in the'd'abuilding!'d'aGospel and jazzy infused electro-funk and deep-house, a collaboration between one of Detroit'?s'd'aunderground dons Malik Alston and Ziggy Zeitgeist of EXREC. The result of a six week pilgrimage to Detroit'd'ain 2025, Zeitgeist set up shop in DJ Moppy'?s living room and the results are deep, dark and funky'd'a'd'a.
Few producers embody the soulful heart of House Music quite like Move D. Being a mentor of the label since day one, All That Jelly brings together two defining and desirable cuts from David Moufang’s recent history to one record.
'To The Disco ’77' 2013 original version for the A-side and the 2017 live rework finds its way to the B-side, both freshly remastered by the amazing and sought after Andreas Kauffelt. 'To The Disco ’77', opens with a clean, electro-styled beat that has a restrained power and a controlled tension that gradually blooms as the keys start to lift the mood into something lighter. When the iconic 'to the disco' vocal sample cuts through, it’s like a wink
from the past, threading disco’s golden exuberance through the disciplined swing of classic house. The track is a seamless blend of Funk, Disco, House and Electro with each element raw yet playful, woven into a groove that never stops urging you forward. It’s a masterclass in balance: sleek but deeply human, nostalgic but alive in the moment. It's like listening to the history of dance music in one special track.
'To The Disco ’77 (Move D Live Rework)' stretches the idea out into something even more fluid. The groove loosens, the funk rises to the surface and the extended runtime gives space for guitar and bass lines to share center stage, riffing around each other with organic warmth. The 'to the disco' mantra remains, grounding the track in its celebratory intent. It’s the kind of tune that closes a night perfectly and makes you not want to leave the dancefloor. Reissued together, these versions show Move D’s masterful ability to bridge eras and genres, reminding listeners that the dancefloor is as much about emotion as it is about motion.
“Across The Room” brings together the elegance of contemporary R&B and the infectious groove of Nu-Funk. With music composed by Midas Touch, arranged by Ivan Makvel, and led by Ivan’s smooth vocal performance, the track captures the chemistry of an instant connection across the room. Warm synth textures, tight rhythmic movement, and a sensual late-night atmosphere make it a refined yet danceable Modern Funk/R&B crossover.
“Stay With Me” captures the romantic side of Modern Funk and Nu-Disco, blending smooth talkbox vocals with a polished late-night groove. Composed by Midas Touch, with lyrics written and performed by Ivan Makvel on talkbox, the track carries a warm, nostalgic, and cinematic feel, perfect for night-drive moments. Emotional but still groove-driven, it connects classic synth-funk sensibility with contemporary R&B and Nu-Disco elegance.
“Across The Room” brings together the elegance of contemporary R&B and the infectious groove of Nu-Funk. With music composed by Midas Touch, arranged by Ivan Makvel, and led by Ivan’s smooth vocal performance, the track captures the chemistry of an instant connection across the room. Warm synth textures, tight rhythmic movement, and a sensual late-night atmosphere make it a refined yet danceable Modern Funk/R&B crossover.
“Stay With Me” captures the romantic side of Modern Funk and Nu-Disco, blending smooth talkbox vocals with a polished late-night groove. Composed by Midas Touch, with lyrics written and performed by Ivan Makvel on talkbox, the track carries a warm, nostalgic, and cinematic feel, perfect for night-drive moments. Emotional but still groove-driven, it connects classic synth-funk sensibility with contemporary R&B and Nu-Disco elegance.
Disco Collected celebrates the dance music which originally developed from R&B, soul, and funk from the late 60s and 70s and turned into a mighty subculture in discotheques, with Studio 54, Manhattan, New York as one of the most famous and extravagant discos all over the world. Disco used a steady four to the floor beat, string sections, horns which created a perfect setting for DJs who mixed their special 12 inches to an eager dance crowd.
Movies like Saturday Night Fever and Thank God It’s Friday contributed to disco’s mainstream popularity. Compiled on Disco Collected are some of the best, well-known and great disco hits by Rose Royce, Chic, Kool & The Gang, The Trammps, Thelma Houston, KC & The Sunshine Band and 16 more guaranteed floor fillers.
The 2LP Disco Collected is available as a limited edition on disco ball silver vinyl and includes an insert.
Anton Ivanchenko aka Light The Fuse and Ivan Moskvin (who is half of Fankin) met while judging Red Bull's beatmaker battle back in 2021, but it took years before they actually made music together. Decades of vinyl digging and a knack for sampling weird, unexpected fragments turned into studio jams, then into their debut album, Ghettoblaster Twins. There's no forced concept when they work together - they let the music happen naturally and it shows: breezy, curious, over before you know it. Source material ranges from obscure jazz to a Soviet film theme, all floating between funk, hip-hop and breakbeat, laced with a warm, nostalgic pull. A lovely debut, hopefully with more to come in future.
Those who’ve followed the career of Aussie disco don Dr Packer should be familiar with the Surgery Edits name – it was the series of mostly self-released re-edit EPs with which he launched his career back in the 2010s. Wax Digits boss Fingerman has not confirmed that this double 12-inch is the Australian’s work, but since he has released previous instalments in the series, it is likely to be. Either way, there’s plenty to set the pulse racing throughout, from a lolloping and loopy disco-house style rub of Chewy Rubs ‘Future Freak’ and a similarly chunky, house-style rush through V’s ‘Muzik Got Me’ (itself a take on an early 80s NYC classic), to the chugging, organ-rich disco-goes-deep house re-tweak of BO’s ‘Nites’ and a peak-time-ready bounce through the disco-funk edit excellence that is BC’s ‘Shake’.
Wewantsounds is delighted to present the first official reissue of the highly sought-after 1979 classic, Summer-Time Love Song by The Milky Way. Originally released on the Seven Seas label in Japan and produced by the legendary Makoto Matsushita-the visionary behind the cult album First Light -the album is a premier example of the sophisticated sound that defined the era. Featuring the cream of Japanese musicians, including Yasuaki Shimizu, the record offers a superb mix of AOR, jazz fusion, funk, and bossa nova. Remastered for vinyl by Colorsound Studio, this deluxe reissue features the original artwork, an OBI strip, and a 4p booklet with a new introduction by Paul Bowler.
Savy Records' seventh release marks the label debut of Matti Turunen, one half of Finnish electro outfit Morphology and a cult figure across the wider electro scene. Rantaluhta EP is a timeless masterpiece. Synth-heavy throughout, it moves from bass-driven, Detroit-rooted machinery into a more euphoric, rave-leaning close -- a record that shows real range within the electro spectrum. On the flip, veteran producer Carl Finlow, contributes a remix under his Silicon Scally alias, pushing 'Oleanterinkiitaja' into trippy and galactic machine-funk territory.
DJ Support: Louie Vega, Joe Claussell, Danny Krivit, DJ Spen, Ron Trent, Don Carlos, Sandy Rivera, Emmaculate, Souldynamic and more…
Paolo Fedreghini is a key figure in the Italian nu-jazz and jazz-funk scene, also known, lately, for his FAM Disco project.
Paolo's latest offering, Jazz House Rituals, is more than just an EP; it’s a masterclass in organic production. A 4-track project that bridges the gap between sophisticated jazz arrangements and the infectious energy of the dancefloor. Recorded with a rich palette of live instrumentation—including saxophones, flutes, trumpets and organic drums—the project is a testament to Fedreghini’s ability to blend analog warmth with contemporary club rhythms. From the latin sun-drenched "Happy Feeling" to the nocturnal Deep vibes of "Smoking Area," this EP is an essential choice for lovers of Jazzy-house music.
A staple of the ’80s electro-funk and disco scenes, On The Shelf by The B.B. & Q. Band is a classic 1985 disco-funk track. Remixed by legendary Dutch producer and DJ Ben Liebrand. (“BL” stands for Ben Liebrand), who created several extended and “Finest” mixes for the group’s seminal 1986 Genie album. Now remastered and reworked, these mixes are on point: electro drums, punchy keys, and really warm, subtle bass. A very sexy slice of mid-80s disco funk with soul.
In their countless years of deep digging, Dark Entries has uncovered many curiosities, oddball Italo and synth-wave creatures too rare to live, too funky to die. Dark Entries’s conservationist efforts began with 2020’s Endangered Species Vol 1. Six years later, we are finally treated Endangered Species Vol 2, an even more ambitious effort which features eleven specimens previously deemed extinct, now safely preserved on vinyl. Things kick off with an extended mix of Palazzo di Danza’s “Play That Song For Me,” a lavishly produced German-Italo number propelled by a slinky bassline. Russian Olga Vosconyan’s “Cars” delivers what might be the moodiest song ever produced for a car commercial.
Fuzz Dance maestro Alexander Robotnick appears with a previously unreleased male vocal demo version of “I Wanna Believe,” a legendary track that would later appear under the name Gina & the Flexix. Canadian industrial royalty Dwayne R. Goettel (Psyche) and cEvin Key (Skinny Puppy) team up on the horror-sampling hit-heavy blaster “Bastards.” Belgian EBM progenitors à;GRUMH... report for duty with a slab of machine funk on “The Army.” UK DIY stalwarts Khmer Rouge bring Krautrock-inflected minimalism with “Take Me (Across the Floor Tonight) In Dub.” Endangered Species Vol 2 comes housed in a sleeve designed by Eloise Shir-Juen Leigh, and includes a 16 page booklet featuring liner notes, lyrics, and photographs of each featured project. Please assist Dark Entries in their efforts to preserve the rarest of beasts (and beats).
In the seclusion of a house in the Bavarian Forest, something unfolded that felt less like a conventional album production and more like an internal process of condensation. This house wasn’t a studio - it was a retreat. Its 1960s-inspired interiors, creaking wooden stairs, and crackling fireplace shaped the sound of Carl Gari as much as the instruments themselves. Though the house no longer exists, its atmosphere remains present in the recordings.
The music of Carl Gari - Jonas Yamer, Till Funke, and Jonas Friedlich - resists easy categorization, a trait that continues on this monumental new album. From the friction between electronic music and guitar textures, the trio forges a distinctive, idiosyncratic sound. Distorted electric guitars and pulsating basslines intertwine with analog drum machines, tape delays, and intricate effect chains, creating music that is raw, organic, and psychedelic. A new element on the album is the trio’s first use of vocals: Jonas Yamer, usually on bass, raises his voice in a punk-tinged, invented language that hints rather than narrates, unsettling more than it explains.
The guest artists do not merely decorate the sound - they alter its very structure at critical points. Polygonia contributes layered vocals that mesh seamlessly with the album’s technoid architecture. Will Brooks of Dälek delivers a dark rap feature on ‘Poison Shyness (Anti-Social)’, his words carving the sonic space with precision. Coby Sey adds introspective vocals that hover between experimentation and restraint on ‘Inner Link’. New York rap pioneer Sensational introduces a deliberately rough, individual counterpoint on ‘Disco Lights’, while the German percussionist Simon Popp drives the album forward with an uncompromising drum performance that insists rather than accompanies on ‘Zeitesser’.
The cover photographs, taken by Jonas Yamer, project images of corridors onto paintings located in the now demolished house where the album was recorded. Visually, this reflects a key motif of the album: spaces exist only as overlays and echoes - not mystical ghosts, but traces of a place that has physically vanished.
Recorded between 2016-2024 in Neunburg vorm Wald and Munich. With kind support by Kulturreferat der Landeshauptstadt München.
Mixed by Johannes Wagner aka J.Manuel at Apollo Studio, Berlin (A1, D1 w/ Fadi Mohem). Mastered & cut by Stefan Betke at Scape Mastering.
Photography by Jonas Yamer. Packaging design by Sepehr Mokhtarzadeh.
DJ Support: Marco Carola, Funk D'Void, Fish Go Deep, Quentin Harris, Carl Craig, Horse Meat Disco, moodymanc and many more
Me Me Me is back after 2 years on ice, with a new focus and new priorities, built around the regional music community being driven by Man Power and friends in North East England.
Written, recorded, performed and pressed in the North East, Newcastle live artist Mac Seldom's Twenty Twenty-Three EP see's the artist find his stride after early outings on Skream's "Of Unsound Mind" label and Scuba's "Hotflush Recordings" and leans into a more house-not-house rhythmic palette to further cement his status as being one of the most exciting and adept sound designers to recently emerge in club music.
*The Mood Mosaic Vol. 12 – Mondo Porno* returns in a special new edition. This cult
compilation explores the sensual, cinematic side of rare groove, bringing together
funk, soul, erotic lounge, psych-funk and afro-funk through a selection of rare tracks
by artists including Chakachas, The Afro Rhythm Group, Bill “Ravi” Harris, Rita
Cadillac and South African Combo.
Fully remastered and expanded with a previously unreleased track, the reissue comes
as a double LP on white vinyl and includes an exclusive 50 × 70 cm poster.
A collector’s edition created for lovers of irresistible grooves, vintage sounds and cult
cinema.
Legendary London drummer Crispin “The Pump” Taylor releases his long-awaited debut album Licence to Fill on Monks Road Records, celebrating 35 years at the heart of the Soul, Funk, Rare Groove and Acid Jazz scenes.
A founder member of Push and former member of pioneering Acid Jazz outfit Galliano, Taylor has also toured and recorded with Zero 7, The Blow Monkeys, Dexys Midnight Runners, Seal, Paul Weller, The Funk Brothers, Marlena Shaw, Candi Staton, Carleen Anderson, Urban Species and many more.
Licence to Fill brings together original Funk, Soul and Jazz material, featuring acclaimed musicians including Mick Talbot, Angelo Starr, Joe Cang and Matt Deighton.
A heavyweight debut from one of the UK's most respected groove-driven drummers.
Stix Records, a sub-label of Favorite Recordings, is back with Disco Reggae Vol. 7, continuing a series that goes back more than 20 years, to the success of The Dynamics’ acclaimed album Version Excursions.
Born in Jamaica, reggae has always shared deep roots with Soul, Funk, R&B and Pop. Over the decades, Jamaican musicians have mastered the art of reinterpreting iconic songs through their own unique musical language. With the Disco Reggae series, Stix Records celebrates this rich tradition, bringing together fresh reggae interpretations of timeless classics from across the musical spectrum.
For this seventh volume, Charles Maurice has once again carefully curated a selection packed with gems, featuring reinterpretations of tracks by Hall & Oates, Gloria Estefan, Crystal Waters, Patrice Rushen, Cameo, Joe Smooth, and many more.
Behind the controls, the usual crew of friends is back: Taggy Matcher, Mystic Jungle, Soul Sugar aka Booker Gee, and Mato. This time, they are joined by Dub Shepherds and Slowly from Japan, who each bring their own flavour to the collection with two killer covers.
The result is another feel-good journey through Disco, Funk and Reggae, made for dancing under the stars, cruising with the windows down, or simply vibing with friends.
Disco Reggae Vol. 7 is another chapter in Stix Records’ ongoing celebration of the timeless connection between Jamaican music, classic songs and the dancefloor.
"Unique Reason presents his first authorial release at Sudd WAX. His first appearance was Remixing STK at the Sudd WAX Limited 3rd release. From West Zone of Sao Paulo, the underground producer brings much Soul from his Analog MPC. Closer to Moodymann, Buzz Goore, Norm Talley, Rick 'the Godson' Wilhite, the artist sounds very influenced by Detroit Music. The release sounds Deep, House, Techno, bit of it all. The Sound Elements are dirty, lo-res, and RAW. Shinedoe appears reshaping the funky mood. What a brilliant Remix. She turned into 90's House Vibes, and build up that atmosphere back these days. This is a classic underground tune, special tool, killer dance floor weapon."
casa voyager represses a selection of tracks from sought-after early albums by unsung house hero Hanna. jazzy, funky and other-worldly house music with a beating human heart, fitting perfectly casa voyager's feeling and funk crossover trademark sound.
The long-awaited reissue of "Woodstock Generation” set for release in the 11th installment of "Spin This Now!," a masterpiece of Japanese jazz-rock by Soul Media, led by Jiro Inagaki!
Led by Jiro Inagaki, one of the leading saxophonists in the Japanese jazz scene, Soul Media captured the explosive musical movements of the late 1960s and early 1970s on this classic album. Rooted in jazz while boldly incorporating elements of rock, funk, and psychedelia, the album is packed with the thrilling sound that could only have emerged from Japan's music scene of the era.
Coming in hot on Berlin's Toy Tonics label: a new EP by the talented duo ALMA NEGRA!
Founded in 2013, Alma Negra is a Swiss collective centered around the brother duo Dersu and Diego Figueira, whose diverse roots in Switzerland and Cape Verde inform their sound. The project was launched with the ambitious vision to explore the world's diverse rhythms and drive musical innovation by mixing different styles. Their work is anchored in a process of digging and sampling, skillfully blending traditional sounds-from Fela Kuti-influenced Nigerian afrobeat and Angolan Lamento to Caribbean Zouk and the Maloya sound of Réunion-into a contemporary dance music context.
The Figueira brothers' eclectic DJ sets embody this ethos, peppering disco and house with salsa, samba, jazz, and Afro-Caribbean carnival rhythms, all under their guiding motto: "As long as it's Funky."
Since 2014, Alma Negra has made an important contribution to intercultural exchange in their hometown of Basel. Their international presence began in 2015 with their first shows abroad in countries like France, the Netherlands, and Portugal. From 2016 to 2019, their reach expanded significantly, with performances in major hubs like London, Paris, and Berlin, as well as Istanbul, Tel Aviv, and Tunisia. Highlights from this period include sets at the Montreux Jazz Festival, Dimensions Croatia, and Fuse Club in Brussels. Their standing is further cemented by releases on respected labels like Heist Recordings, Sofrito, and Basic Fingers, alongside remixes from an elite group of peers, including Soulphiction, Kuniyuki, and Yuksek.
Parallel to their studio and DJ work, the project expanded into the Alma Negra Live Band, formed with jazz musicians from Basel. While the band is currently on hiatus, this collaboration made live instrumentation increasingly central to their productions, creating a dynamic they feel is essential for any dancefloor. The live band has performed in cities like London and Hamburg and has led to collaborations with artists such as French singer Pat Kalla and jazz trumpeter Bodo Maier.
St. Panther is the recording project of Dani Bojorges-Giraldo (they/them), a Mexican/Colombian artist, producer, singer, rapper, and multi-instrumentalist living in East Los Angeles. On their full-length debut, East Side Love Story, they dedicate an effervescent, soulful set of love songs to the place they call home.
The project has developed over the past six years within the walls of their East Los Angeles apartment. Friends, lovers, sounds, and songs, the essence of the East Side pours through the windows as an endless stream of distinctly Latino taste. Chicano soul, Motown classics, G-funk anthems, and other feel-good oldies fill the air with warmth and romance. Everything imbues the timeless East Side Love Story, arriving in 2026 on the art-forward label drink sum wtr.
As a longtime member of Hot Chip and LCD Soundsystem, Al Doyle has spent decades working alongside two of the most distinct vocalists in modern pop: Alexis Taylor and James Murphy. If he’s had a song or an idea, there’s always been someone else he’d rather have sing it.
But on November 20, 2026, the British multi-instrumentalist will release Hollywood Saviour, an album that drove him to finally embrace his own voice. “It’s me discovering a way to write and sing stuff that I could live with,” he says of his first-ever solo outing.
Recorded in his East London studio, Relax and Enjoy, Hollywood Saviour has the feeling—the rush and release—of a breakthrough, of an artist letting go. Doyle’s found freedom in simplicity here, leaning into the many pleasures of guitar-bass-drums, indulging wholeheartedly in the weird, spontaneous, raucous, and raw. He sounds free.
That sense of fun and rampant possibility can be felt in every groove, Doyle finding added inspiration in the loose and the louche, from Sexual Harassment’s 1983 electro-funk raunch-o-rama “I Need A Freak” to Throbbing Gristle’s locomotive 1980 paean to jerking off, “Something Came Over Me,” which is lovingly covered here.
At times, this album feels like a delirious response to the darkness of our current moment. On opener “Hard Times in America,” Doyle offers us a psychedelic window into his experiences traveling back and forth to the United States in recent years, feeling fascism’s hold tighten with each visit.
That sense of character comes through in Doyle’s vocal approach, a giddy combination of Iggy Pop, Pete Shelley, and PIL-era John Lydon. On “All I Want for Christmas”—a dark and devastating highlight—he takes on the shape of a drug addict come holiday season, “both dead and alive,” abandoned by his family, stumbling through a garden of drum machine and piano. It’s a pop song, lovely and lovingly rendered. It just wouldn’t be the same without his voice.
One can only see clearly with the heart. Essence is invisible to the naked eye. Two South-Hessian music legends, Roland Leesker and Ricardo Villalobos, aka R+R, joined forces in 1995, long before they had the slightest idea what life had in store for them. Unreleased, mysterious, rough and old-school rave adventures, preserved on a dusty, long-forgotten DAT and later
remastered by Lopazz in 2015.
Now finding a new home on Secret Weapon Records as a limited white label vinyl release, the original is joined by a futuristic 2026 remix from Mr. Ho, who propels the track into new territory with razor-sharp electro rhythms, machine funk and forwardfacing synth work.
Love from all of us.
Rhythm Cult returns with a heavyweight four-track EP from Magnetik Source, featuring a very special remix from Brian Kage. Four deep, driving cuts built for the heads, moving between Detroit house, dub techno and stripped-back machine grooves. Title track “Eastpointe” sets the tone with its rolling drums, deep chords and understated Detroit feel, before Brian Kage takes it deeper into tougher, more hypnotic techno territory. “Tecumseh” strips things back further, locking into a raw, drum-led groove, while “Cinron” closes the EP on a deeper, slower-burning note. A serious four-track package from Magnetik Source, with Brian Kage on remix duties and already receiving early support from John Digweed, Laurent Garnier, Radio Slave, Danny Howells, Guy J, Joseph Capriati, Âme, Paco Osuna, Funk D’Void, Karotte, DJ Harri and Chris Fortier. Another Rhythm Cult release made with the vinyl heads firmly in mind.
DJ Koze's 2013 album opus Amygdala has continued to bewitch all who encounter it since its release. Tipped as his own personal Sgt. Pepper, the sublime long-player revealed a fully-realised and personal body of work, complete with a classic songwriting at its core, House in its heart, and veins coursing with psychedelic color. La Duquesa' was the album's dreamy single standout, a journey into deep, tropical ecstasy. XTC' begins in the same spirit, and captures the all the blissful allusions of its name, but its initial gentility belies the deep intensity to come. Floating pads glow with celestial ambience as a kick drum is gradually coaxed into solid form, and the introduction of spoken text begins the second act. Many people are experimenting with the drug Ecstasy,' it says, ...is the drug like the lie and meditation the truth Or am I missing something that could really help me". XTC' then transforms: sweetly imploring tones become demanding, gentle gradients between chords turn hard-edged, and sharp hi-hats cut through the haze. Complete with Koze's signature percussive quirks, it drives towards the track's final pay off: an undeniable, all-consuming, irresistible high. Knee On Belly' recalls Koze at his most tongue-in-cheek and overt, it is bright, bold and literally brassy, using cut-up horns of all shapes and sizes to patchwork together his own unique arrangement. With the highs and mid ranges accounted for, Koze adds in a swollen, thrumming bass line to mix to bring this floor-filler to life. Knee on Belly' recalls a raw, filtered and funky approach to groove, with a nod to disco house and the art of artful sampling, as it orbits between its own neon highs and simmering lows.
Robag Wruhme, working on the material. On the very same piece. And performing two different movements. First, thinking in category Album: who will hear it where? also: mood, position, length. Second, thinking in category Maxisingle: a spinning-tool for the club – another form of another functionality: accelerating the rhythm, lowering the harmonicmelodious, still preserving the nature of the song. And each version should make you HOT for the other!
Nata Alma, a voice loses itself in the infinite, a car brakes, a horse whinnies, the sun scorches relentless. Further, further on, towards the flickering, stoically. Water, flames on the horizon, Fata Morgana, a mirage. »And you might say, we've got no place to go?« - okay? no notokay at all!: Shuffle!
Nata Alma, melancholic Eight-minute-forty. A love song, a wave good-bye: »And you might say, that you need me no more?« sings Sidsel Endresen alongside Bugge Wesseltoft's swells and ebb-aways – metal never sounded so longing; a buzzing swing, a siren call from afar.
Robag Wruhme takes a seat at the organ and plays minor bass notes. He gets up, leaves the room and lays down a dry rock of funk: wooden kick on wooden snare, tight-cut voices, driving hi-hats and shakers, gated synth danglers and percussion loops. Relentless, stoically. »And you might say, that it's over?« – relentless, maybe, but that's how he creates the Further: keep going! dance it off! a new day rising!
And right here. Flip it and keep on moving: Venq Tolep. A summer meadow, grass-stains, a gentle breeze, an early smell of hay. Venq Tolep. Endorphins tickle under the skin. A
percussive spectacle, dance of the insects. Hopping around in flat shoes, the beat is phat and reverberated by a cluster of trees. Stabs on the e-piano set in, picturing the euphoric moment when Loving-feelings walk hand-in-hand with a Hint of Melancholy.
Robag Wruhme, Nata Alma and Venq Tolep - music for dance floors, inside and outside, music for the summer, day and night, and for convertibles on the way there.
Coin-Op Records serving up another killer 4 track EP, this time from The Sentinel.
Title track "Theme from Sentinel" is a slab of jacking, relentless, robotic funk that will get heads nodding like nothing else. "Binary Communication" recalls 00's tech; punchy drums and drifty intro pads set the scene before dropping into a heavy stabs-n-bass groove.
On the flip, "Fight or Flight" builds from driving percussion into a gorgeous peak-time synthy slammer. Closing track "Climbing Cosmos" is in the classic B2 style; laid-back, groovy deepness, with glassy chords and 808 drums lifting you up to round off the EP.
Orson Bramley aka Transparent Sound needs no introduction as he delivers the instant classic slab of Machine Funk. A foundation machine fueled by infinite creativity. “Manufacture Shit” is a timeless classic for the imminent paradigm shift of what has been called “reality”.
Prepare to recalibrate your senses. Now move your body.
PYRAMID TRANSMISSIONS are excited to present our next release by one of our favourite artists on the scene, FLECK E.S.C (Franck Collin)
Hailing from FRANCE but resident in TOKYO, FLECK's music is a myriad of Scifi sound design, pulsating funk ridden beats and this release reaches Autechre like intricacy.
He has recorded for many labels such as ELECTRIX, SCIENCE CULT, SHAMELESS TOADY and PYRAMID TRANSMISSIONS among may others.
This is a sonic masterpiece of Electro and IDM!!!!!!
Massage Brain Cult returns with its second Various Artists compilation, available on vinyl and digital. Featuring tracks from p1nkf1re, Lini, Uf0, Lee, Mause, AZARYC and a djtool by Suso Flores. The release offers a fresh sonic flavor—staying true to the label’s reputation for diversity.
Almost an instant sell-out on the debut BISOU release via G.A.M.M
This on every likely to do the same !
Maximum sunshine vibes, with uplifting steel-band Funk and Afro-Disco reworks melting the speaker cones !
Seven-piece instrumental group Let Your Hair Down herald their triumphant return with super heavy new 7” Pingu’s Anthem b/w Gronk.
Hailing from the hotbed of Melbourne / Naarm, Australia, Let Your Hair Down step out from the shadows for the first time since their 2021 album‘Waiting Room’. The seven-headed cinematic funk group is a conglomerate of Melbourne’s thriving cinematic soul movement, comprising members of Surprise Chef, Karate Boogaloo, Owelu Dreamhouse and Temporary Blessings. The band’s sound is a sturdy mix of dusty minor key funk, off-kilter conguero psychedelia and horn-heavy boogaloo, represented robustly across both sides of the forthcoming College of Knowledge 45‘Pingu’s Anthem b/w Gronk’.
Side A, ‘Pingu’s Anthem’, pays tribute to the tune’s titular penguin protagonist. Emblematic of Pingu himself, LYHD’s horn section sticks its chest out boisterously atop the rock-solid drum feel of Hudson Whitlock. The tune is laced with a resolute flute solo from saxophonist Will Morrissey.
Side B, ‘Gronk’, is a punishing funk cut; relentless rhythm section careening through the tune, punctuated by the metallic, percussive sound of an empty gas bottle being struck. Razor sharp farfisa and menacing horns reinforce this deadly joint as one to handle with care.
Pingu’s Anthem b/w Gronk is out worldwide on 45RPM 7” vinyl on College of Knowledge Records August 7th 2026.
B-Side and Sucka Timmy make music together as SuckaSide and take care of the A-side of this new 7" from their own label. It finds them bravely approaching a rework of a stone-cold soul classic, 'Somebody Else's Guy' (SuckaSide remix) and the first thing they do is lean into the lung-busting vocal, serving it up with some raw chords before letting a funky disco-house groove unravel below. LROY then steps up win the flip with 'Happy Sugar', a funky-ass and wobbly jam with acrobatic vocal turns and tin-pot percussion. It's a fun vibe with tons of character and, like the flip, is a great tool to have in the arsenal.
The duo of Nail and Barney Osborn are rising stars who work under the Indoor Tall Boys alias, a new name on us but this fresh drop on In The Dance suggests they have a deep understanding of dancefloor dynamics and a wide-ranging taste. 'Flames' is a supple, succulent and poppy sound with silky disco flourishes and a soulful, almost gooey groove. 'Re-Vibrations' has a lovely double skip in the drums and a gloopy bassline that brings a nice louche vibe, while 'Hold A Groove' has a sunny outlook and subtle strings worked into a smooth groove that exudes summery heat. 'KTT' shuts down with a filter-edge and glistening keys all stitched into a classic disco house groove full of colour and funk.
A second collection of cuts from New York electronic music fusionists Aries Project, a collaboration between producers Collin Suttles and moe.BPM focused on fusing 21st century deep house grooves with elements inspired by hip-hop, jazz, funk and soul. Their trademark sound, as showcased across four guest and collaborator-heavy cuts, is certainly one that blurs boundaries. For proof, check opener 'Celebrate' (featuring Jermaine Holmes), a hybrid nu-disco-meets-synth-heavy house affair, and 'Nobody', a colourful, tactile and synth-heavy broken house number rich in vibrant riffs and sparkling electronics. Elsewhere, Stefan Ringer lends a hand on the smooth deep house/garage-house warmth of 'Down', while vocalist Larie E Edwards does a superb turn on the organic, sub-heavy and Rhodes-rich loveliness of 'Freedom'.
Scruniversal's LSD (Local Sugar Diggers) series continues its deeply satisfying mission of sending trusted diggers into the field and letting local talent reveal all. This time Los Protos heads to Brazil and resurfaces with DJ Elohim, a native digger and producer with the sharp editorial instinct the series is known for. Two edits, two sides, two jewels: 'Eu Quero Ver Voce Se Remexer' collides vintage Brazilian groove with funky heat, while 'E Congo' delivers the kind of free-flowing and sunny rhythmic energy that only comes from Latin America. Another impeccable entry.
The latest in our series of Limited Edition 7x7" Soul Box Sets celebrates the work of Dave Hamilton.
Dave's musical career in Detroit stretched from the 40s into the 80s. He was involved in all black music styles during that period - blues, jazz, and gospel as well as soul music.
A talented songwriter, he wrote or contributed to ten of the fourteen compositions here and produced them all in his studios.
Though his released output was modest, considering the amount of recording he did, the gems in his tape vaults have been surprising and entertaining black music lovers since they were accessed by Ace in 1990.
That purchase came about due to Richard “Gilly” Gilbert’s detective work in discovering that a big covered-up Northern Soul spin at Wigan Casino was actually Dave’s production on “Little Ann” Bridgeforth. The ensuing years have seen soul tracks in all genres, issued on Kent and BGP and we are still discovering great tracks 36 years on. Witness ‘You Got Me Where You Want Me’ by Chico & Buddy, a fabulous funky number from around 1970 that would have been a soul fan’s favourite whenever it was issued; this is its first public appearance.
Funk crosses over to all dance scenes these days and even jazzier tracks like Dave’s own ‘Soul Suite’, a close relation of his coveted ‘Pisces Piece’ will pick up plays now it is on vinyl. Northern Soul lovers have been demanding J T Rhythm’s ‘I Love The Way You Walk’ on a seven, as have Motown connoisseurs with Rita DuShay’s original of ‘All I Need (Steal Away Tonight)’ as covered by Barbara McNair on her 1966 Motown LP.
Original copies exist of the Ravins ‘Your Love Is What I Want’ but unless you have several grand to spare on this fast and furious dancer, our audio-enhanced release is a great substitute; especially with the Kent 45 deleted.
OC Tolbert delivers a tough and menacing Clarence Reid song ‘Along Came A Woman’ which has huge dancefloor potential, like Dave’s own bluesy vocal on his similarly gritty, R&B composition ‘Take Care Of Your Own Business’.
Dave’s accomplishments into the 70s and 80s are admired by modern soul lovers and his ‘Ride The Disco Train’ by the Moderations, hit a perfect groove for progressive clubs of the genre. Both the Felecia Johnson and New Experience tracks thrive on the laid-back atmosphere Dave was able to conjure up in his home studios and the talented singers present his thoughtful songs with panache.
With enhanced audio for both of Little Ann’s uptempo and ballad classics ‘What Should I Do’ / ‘Deep Shadows’ this box set is irresistible as well as being a tribute to the unsung heroes of Detroit Soul music.
A.P. and Rowland The Bastard provide 2 tough warehouse techno tracks each for the iconic Cluster label. A.P. gets slightly funky on City Fever but then pounds hard on You Are What You Are, whilst Rowland delivers sinister grooves on Barabas, and more straight ahead dynamic power on Overlab Sub Stab.
After the worldwide techno hit that was Darc Marc's "Dirty Rocking Bass" comes the next Cluster X instalment from French legend GANEZ THE TERRIBLE. "The Rave..." is another prime time techno monster from the Acid Techno/Techno underground that is going to cause massive dancefloor mayhem with its cheeky 'The rave, the sound, the people, the party" sample and hard funky beats and 303 stabs. With pounding remixes from D.A.V.E. THE DRUMMER, and new kid-on-the-block SEON, and a kicking bonus track "Elevator" from Ganez himself this gives a nod to all areas of harder techno.
10 years since his first edits outing on RNT, label co-founder JKriv digs into his deep well of reworks for a four-tracker of cheeky dancefloor madness. Coming in hot on the A side, I Feel Amor is modern twist on the disco classic anthem, a peak time weapon of epic proportions with hard-hitting beats and churning synths, and the inimitable sing-along vocal (pero en Español). Love Dub is a stripped down deep house affair, a solid driving groove with thunderous bass, synth accents and acapella flourishes. On the B-side, Cuando Bailo is the edit you didn’t know you needed; a callback to a bygone era of one-hit wonder magic, flipped masterfully to be all-club and just a sprinkle of camp. And rounding off the record Dance Sexy takes an obscure purple-hued cover into hypnotic red-light territory, with funky synth stabs riding a pulsing and infectious bass line, in classic JKriv fashion.
Swooped Records would like to introduce our limited series of vinyl only edits We love many of the edit labels with 1-2 tracks per release, and we’re going to help you value up with 4 top-shelf cuts on every record! We kick it off with Chainsnatcher “Jump Up In It” Vox that is straight up, dirty, bumping House music! It’s also featured on Derrick Carter’s for The 6 Mix w/ Mary Anne Hobbs on BBC’s flagship BBC Radio 6 Music. Next up Ric Viera of Guided Methods fame teams up with Elrose for “Only Ewe”. This funky House take on an afro-boogie jam will shake the dance floor and keep the discerning heads nodding. The flip side brings us Chainsnatcher “Jump Up On it” Dub. This is for those that want a stripped back version of the Vox with well placed, minimal vocal snippets and that dance floor boogie. Agent 818 rounds it off with “Don’t Let Nobody” and it’s time to get the summer time vibe started pronto! This jam will do the trick whether it’s day party-fun to after-hours strutting, just ask DJ Heather as she’s been playing it for a minute now.
Elypsia Records presents A Future Tribe, the new album from Italian electronic music producers CEM3340 & 2030. Rooted in the formative language of electro and early techno, A Future Tribe channels the past through a lens very much focused on the future. Across the album, analogue warmth, machine-driven funk, synthetic textures and futuristic atmospheres come together in a sound that channels the pioneering spirit of early Detroit while remaining unmistakably connected to the present. For CEM3340 and 2030, machines are not simply tools, they are central to the creative process. Both producers have spent years immersed in the culture of electronic hardware. They've been carefully building and refining their own approach to production through an extensive collection of synthesisers, drum machines, sequencers and studio equipment. Based in Bari, southern Italy, their work reflects a deep fascination with the physicality of electronic music: oscillators, circuitry, voltage, rhythm and the unpredictable character of machines programmed and played with a human touch. That philosophy is deeply embedded in A Future Tribe. Rather than treating the early years of techno as a museum piece, CEM3340 & 2030 approach its foundational ideas as a living language - one that can be stripped back, re-translated and taken somewhere new. The influence of Detroit's first generation of electronic innovators is unmistakable. There are echoes of the futuristic electro and techno pioneered by artists including Juan Atkins and his contemporaries, where funk, science fiction, machines and the possibilities of tomorrow became part of a new musical vocabulary. It is an approach that has already earned the duo recognition within that lineage. Their previous Machines Awake EP, released through Atkins' Metroplex Records, was described as paying homage to the classic foundations of the genre while pushing them into new territory. Juan himself gave the release his sonic approval. But A Future Tribe is not an exercise in retro-futurism for its own sake. The album comes from two producers who understand the history, have the hardware to explore it and, crucially, are interested in what happens when those influences are given space to evolve. The result is electronic music that is full of funk, groove and a kind of nostalgia that is pure and intentional without being a pastiche. Together, they make music that is rooted in one simple truth: machines can't come to life without human creativity.
A key name from the golden era of French Touch, The Buffalo Bunch return to the spotlight with a selection of some of their most essential cuts, including their highly sought-after remix of Phoenix’s “If I Ever Feel Better” — a track that has become increasingly elusive on vinyl over the years.
Also featured is We In Music’s “Grandlife”, a cult early-2000s gem born from the same creative circle. Built on addictive disco-funk loops and straight-to-the-floor energy, it sits perfectly alongside The Buffalo Bunch’s signature productions.
Filtered house, disco, funk and raw groove collide throughout the compilation, capturing the unmistakable sound of a duo whose records have become firm favourites among DJs and collectors.
More than twenty-five years after their first releases, TMS Records brings these tracks back into circulation with a vinyl edition made for the dancefloor, the record bag and a new generation digging deeper into the French Touch legacy.
Aura Safari are taking it back to the source with new album Spaced Out Disco on Hell Yeah. The eight-track record is inspired by the iconic sound, feel and studio techniques of the original 1970s disco and was played entirely live with real instruments.
Aura Safari are Andrea Moretti, Lorenzo Lavoratori, Daniele Melloni and Nicholas Iammatteo, and they have been releasing EPs, LPs and remixes on this label since 2020. They have long been entrenched in the local scene of Perugia and are live specialists with a unique chemistry that allows them to translate funk, jazz, soul, disco and house into their own timeless and universal musical language.
Integral to the album is the live performance aspect. All the band members hooked up in the studio and played together, often laying down tunes in one take and then adding some post-production for a modern edge. Disco, dub, jazz-funk and instrumental grooves define the sounds while the creative use of classic delay, echo, spacey FX and dubbed out arrangements lead the record the same Jamaican character that inspired original dub-disco pioneers like Arthur Russell, the Compass Point Studio and labels like Prelude and West End.
'Starlove' opens with low-slung grooves and squelchy bass that twist you inside out before 'Spaced Out' shimmers with astral melodies and synths that rise like a rocket disappearing into the night sky. Funky claps and flashes of Dexter Wansel-inspired soul complete the picture, while 'Santa Barbara' eases the pace with a brain-bending dub workout full of weighty low-end and warm, sun-kissed chords. 'Cosmic Affair' lives up to its name, gliding through the galaxy on uplifting guitars and slinky drums, all wrapped in irresistible retro-futurist magic and lit by the moon.
'Disco Mirage' turns inward with simmering bass, dusty open hi-hats and hazy synth trails drifting through effervescent jazz keys that rise like champagne bubbles. 'Magik Space Dust' stretches towards the stars with soaring leads and knotted bass locked into an effortless groove.
Spaced Out Disco does exactly what it promises and plots a richly imagined journey that never stops looking towards the stars while keeping its feet firmly on the dancefloor.
Bill Withers was a modest, gentle, and yet towering musical figure responsible for some of the most important, universally known soul hits ever written. It’s no wonder that “Just the Two of Us” and “Ain’t No Sunshine” won him two Grammy awards and undoubtedly played a huge role in getting him inducted into both the Songwriters and Rock and Roll Hall of Fame.
Naked & Warm is Withers' fifth studio album, released in 1976. A year earlier, the Sussex label—home to Bill's first four landmark albums—ceased operations. Withers then signed with the mighty Columbia Records, which would remain his home until the end of his recording career. While Naked & Warm retains Bill's unique, earthy approach to soul that made him Sussex's biggest star, it's clear that musically too, he was in transition; the first half of the album is full of synthesized jazz-funk vamps, while "City Of The Angels" is an almost 11 minutes long cosmic funk excursion combining biting Rhodes chords with swirling synth pads and Dorothy Ashby's spiritual harp work. All in all, Naked & Warm might be one of Bill's most underrated records, simply because his previous work for Sussex was just that impactful.
Naked & Warm is available as a 50th anniversary edition of 1500 individually numbered copies on blue vinyl and includes a 4-page booklet featuring lyrics and new liner notes written by Marcia Withers.
Die Rare Groove Collection: Ethiopian Rare Groove beleuchtet einen der faszinierendsten Schmelztiegel moderner Musikgeschichte. In den Clubs und Cabarets des vibrierenden Addis Abeba der 1960er und 1970er Jahre entstand ein einzigartiger Sound, der äthiopische Traditionen mit Soul, Funk, Jazz und Disco verschmolz. Diese Edition versammelt rare und prägende Aufnahmen einer Szene, die bis heute weltweit nachhallt. Künstler wie Mulatu Astatke, Mahmoud Ahmed oder Getatchew Mekurya stehen für eine Musik von hypnotischer Kraft, getragen von polyrhythmischen Grooves, markanten Bläserlinien und unverwechselbaren Melodien. Das Doppel-Vinyl ist mehr als eine Compilation: Es ist ein musikalisches Zeitdokument, das die kreative Energie einer urbanen Hochphase einfängt - rau, elegant und zeitlos zugleich.
Perry Louis is a pivotal figure in the UK jazz dance movement. As a dancer and choreographer, producer, DJ, broadcaster, and founder of the internationally respected jazz dance collective JazzCotech Dancers, he is perfectly placed to curate this collection.
Perry has been at the heart of the scene since the early 1980s, from JAFFAS, the Electric Ballroom, Dingwalls, Acid Jazz, Hi Hat, and Messin’ Around, taking its energy and sound as far as Japan, the USA, St. Lucia, India, Canada, and across Europe.
This compilation celebrates 25 years of Shiftless Shuffle, with Perry as its ambassador and driving force. Over the years, he has collaborated with top DJs including Paul Murphy, Gilles Peterson, Snowboy, Colin Curtis, and Shuya Okino, helping shape the UK jazz dance sound into a global phenomenon.
The album blends deep jazz, fusion, Latin, and groove-driven tracks, reflecting both the scene’s rich heritage and its forward momentum.
From the brand-new exclusive track by Kyoto Jazz Massive, Get It Together (Samba Fusion Mix), to Bunny Brunel’s Fickle Funk appearing on vinyl for the very first time, and the hard-hitting Caribbean Fire Dance by Tom Grant, this compilation tells the story of a movement—an underground culture born on UK dancefloors that has now captured a worldwide audience.
Turbo was a part of Joe Robinson and Sylvia Robinson’s All-Platinum Records set up in New Jersey which operated from 1967 to 1979. At one stage the fiercely independent and proudly black owned label threatened to become another Motown or Philadelphia International. That never happened, but the Robinson’s dream of worldwide success came later when Sylvia discovered Rap, recorded Rappers Delight by The Sugarhill Gang and Sugar Hill records was born.
Music historian Steve Guarnori describes All Platinum as "probably the most unusual record company there ever was. Dysfunctional, but at the same time wonderful."
The All-Platinum chaos extended to Turbo. But despite anarchy - some superb albums went straight from manufacture to be deleted and sold as cut-outs - sublime music was created. This 10" 6-track release collects together some of the most hallowed Turbo releases which between them have become cherished by collectors.
Brother to Brother "The Bottle" captures the label at its most astute. Gil Scott-Heron and Brian Jackson’s original version was an album only track on Strata-East so Turbo seized the opportunity to quickly make a worthy cover version and rush release it a single which enjoyed success.
"Ton Of Dynamite" by Frankie "Love Man" Crocker was Turbo’s debut release in 1968 (it actually sounds a later recording). At the time Frankie was a DJ on WWRL radio station in New York and the release was essentially a reward for his previous support of All-Platinum releases. The record (a b-side) is actually made Willie & The Mighty Magnificent who went on to re-record it as
"Funky 8 Corners". It took until 1975 for "Ton Of Dynamite" to get recognition when it became an anthem as the UK Northern Soul scene adopted it as part of the movement away from old skool 1960’s Soul. Whatever its’ provenance, "Ton Of Dynamite" is now revered by the Rare Soul and Funk communities.
The Optimistics "Man" from 1971 is another b side single. The group specialised in smooth harmony Soul but "Man" is a funkier affair which won support from Rare Soul aficionados and will cost you £600 plus if you are lucky enough to locate a copy of the hard to find 45.
Willie & West "Attica Massacre", also from 1971, is an even more elusive single. It is a powerful protest against the killing of 29 prisoners, many black, following a riot at a prison - Attica Correctional Facility in New York. The deaths and a subsequently discredited cover up caused outrage. John Lennon was amongst the first musicans to make a recording about the bloodbath, but the most emotional protest is this Willie & West track. Only 300 copies were manufactured of one of the most powerful civil rights recordings ever made. The vocal sounds like anti-War Edwin Starr at his most bristlingly aggressive.
Perhaps the strangeness of All-Platinum is best illustrated by the later success of Lonnie Youngblood "Sweet Sweet Tootie" which is essentially the backing track of "Attica Massacre" plus exquisite sax playing by Lonnie. Despite it selling 100,000 plus copies the label did not see this as a reason to reissue "Attica Massacre". Strange. Or as Marvin asked "What’s Going On"?
The New Sounds "Don’t Take Your Love From Me" was only issued by Turbo as an album track. Despite good music on it the LP was poorly (it at all)/ promoted and flopped. The superb "Don’t Take Your Love From Me" is a long time Northern Soul / X-Over favourite.
Larry Saunders mesmerising "On The Real Side" made no impact when released on Turbo in 1974 but was nevertheless issued in the UK by London Records. The Northern Soul discerning dancers instantly latched on to its combination of uplifting lyrics, heartfelt vocal and clomping beat and since then its’ appeal has extended across the whole of the Soul community. Without doubt an all time classic.
So six treasures from a label that despite frequently advocating cash out of chaos frequently conjured up awesome music.
ANORAX is grateful to have the opportunity to present this very special Soul selection.
The debut release by Confusion on Incompetence Records documents an exercise in disciplined spontaneity, a jam session where organic interaction is rigorously shaped into form. Recorded live in Belgrade by Dmitrii Steinberg, Aleksei Siubaev, Viktor Volkovich, Evgenii Piankov, and Leonid Lipelis, the material was subsequently dissected and reassembled with a scalpel like precision reminiscent of Teo Macero’s landmark edits for Miles Davis. What emerges is not a loose improvisational document but a suite of cohesive constructed pieces: weightless structures suspended over a hypnotic pulse, steeped in cosmic vibes and soft psychedelia. There is a slo mo insistence to the grooves, a kosmiche drift that folds jazz funk rituals into something both intimate and expansive. For musicians previously orbiting rare groove, house, indie rock, and modern composition, Confusion expands their explorations into a terrain where genre dissolves into texture and intention. The record’s mesmerizing beauty lies in its restraint, motifs surface, dissolve, and return as if refracted through magnetic tape memory, each fragment locked into place yet breathing with human elasticity. Rather than presenting virtuosity, the quintet channels it into atmosphere, into a patient, glowing continuum that feels less like a jam and more like a carefully mapped inner cosmos, calibrated for deep listening and slow revelation.
Hamburg's GOME joins the roster of Cinthie's 803 Crystal Grooves Collective Cuts sub-label here with a new fourtrack EP entitled 'Free Refill', featuring a collaboration with James Juke. GOME is shaking up dance floors worldwide with a raw, 90s-inspired House sound infused with Funk, Soul and Disco.
Having built a strong reputation through releases on Heist Recordings and his own Snackwax imprint, GOME has earned support from leading DJs and performed at renowned venues including Robert Johnson (DE), Berghain (DE), Golden Pudel (DE), Shelter (NL), Lofi (NL) or Blitz, to name but a few. Alongside celebrated live hardware performances and the community-focused "GOME + The Gang" events, GOME has become known for an authentic DIY approach, making this new 'Free Refill' project a fitting addition to the Collective Cuts catalogue. Leading the EP is the collaborative 'Keep The Party Going' with James Juke, an apt title for a frenzied five-anda- half-minute House jam featuring swinging, snappy drums, siren-like synth swells, gritty chord stabs and an amalgamation of vocal hooks throughout. 'Extraordinary' follows, employing a gritty electro-leaning bassline, a crunchy off-kilter rhythm section, twitchy arpeggio lines and a loopy, infectious vocal refrain. On the flip-side, 'CONGRATULATIONS' sees GOME lean heavily into House roots, perfectly aligned with the Crystal Grooves sonic aesthetic. Harkening back to 90s rave culture, it combines shimmering piano hooks, squelchy 303 licks, robust 909 drums and murky low-pitched vocals. 'You Make' then closes the EP, a loop-led cut fuelled by circling synth lines, bright strings, a bouncy low end and a fluttering vocal hook.
Techno mainstay Gary Beck drops hugely sought-after cut 'Hopper' on SHDW's Mutual Rytm sub-label Spectra, with remixes from KiNK.
Glasgow-born Gary Beck is a primary figure in techno and has been for well over a decade. Dropping seminal
underground classics and cultured full-lengths on an array of leading labels, as well as his own BEK Audio imprint,
he has also led the way as a revered DJ as his legacy continues to build. Now, adding to his standout 'Upside
Criminal' EP as well as his well-received track 'Fold' on the 'Federation Of Rytm III' VA, he returns with a record that
has often featured in both his and Mutual Rytm boss SHDW's sets, stepping out on the label's Spectra series with
a cut that has long been sought-after by those who know.
A spontaneous studio moment turned club weapon, the timeless 'Hopper' merges a syncopated disco bassline with
subtle nods to funk and classic dancefloor energy. It's one of those tracks that lingers in your head long after the
night ends - a pure embodiment of Beck's raw energy and production finesse built on an infectious groove full of
contrast and character.
Bulgarian synth wizard, hardware genius and tireless innovator KiNK delivered Spectra's inaugural release, so he
lands as the perfect person to remix. His first interpretation stays close to his roots with a house-leaning, slowed
down take that channels warmth and groove in equal measure. On the B2, however, he flips the script with a high
octane fusion of techno and UKG. It's a peak-time anthem engineered to ignite dancefloors and closes out a
standout EP with the third release in the Spectra catalogue.
Gary Beck 'Hopper' drops via Mutual Rytm Spectra on 20th June 2025.
Ribe & Roll Dann serve up potent techno on Mutual Rytm with 'Virtus Occulta'.
Built around concepts of unacknowledged work and enduring merit, the release marks their first EP on SHDW's widely
respected label.
Based in Toledo and Madrid, Ribe & Roll Dann are exciting residents at Laster Madrid and Lanna Club, two of Spain's leading venues. Emerging as driving forces in their national techno scene, they have also made an impact on the global landscape, making wider moves through collaborative releases on Klockworks, and individual outings on a number of other influential labels. Having previously featured in the label's Federation of Rytm IV compilation, the pair make their full EP label on SHDW's Mutual Rytm imprint to open March with a deep dive into their expansive sound.
Opener 'Sub Terra' is a pure club tool that is direct, physical and rooted in the underground with a seriously heavy low end. 'Extra Lumen' is more restrained but still built on a steady, forceful rhythm with controlled energy that prefers to operate in the shadows. 'Ars Non Placens' stays true to the idea that music is not made to please, but to exist on its own terms with hunched drums and dubby undercurrents. Next, 'Meritum Negatum' fizzes with static electrical charge and minimal drum funk and is a direct reflection on overlooked skill and unacknowledged work, before closer 'Virtus Persistens' delivers a continuity and a steady pulse rather than an explosive ending, keeping you locked throughout.
In addition, three digital bonus cuts come alongside the vinyl package. 'Labor Inauditus' speaks to hours of technique, production and booth experience that remain invisible. Next come the taught, rubbery rhythms and unrelenting atmosphere of 'Silentium Testium', while 'Sine Aplausu' - which means without applause - brings a ghostly late night vibe that you will never want to end.
KiNK & Raredub inaugurate new sub-label Spectra on SHDW's Mutual Rytm, backed by remixes from icon Marcel Dettmann.
Spectra is a new sub-label from contemporary techno powerhouse Mutual Rytm, with the project set to showcase memorable singles alongside feature innovative remixers. The name Spectra reflects the wide range of vibes the label will deal with and the diversity of sounds that emerge through these creative reinterpretations.
Needing little introduction, Bulgaria's KiNK is a synth wizard and live specialist who gets more out of machines than anyone else on Earth. He has dropped endless standout tunes ranging from Running Back to Hypercolour and, more recently, Mutual Rytm with his 'Quantum Shake' EP earlier this year. For this latest outing, he works with fellow Bulgarian talent Raredub, known for his own high-octane, distinctive and dynamic sound that has gained supporters From FJAAK to Paul Woolford.
The original 'Time to Change' has already generated buzz and has been a favourite of DJs from across the electronic realm, bringing a forceful and slamming cut with plenty of machine funk. A buzzy lead synth roams through the mix to bring great menace, while garage-like percussive loops keep things moving over a monstrous bassline.
One of techno's most influential DJs and producers, long-time Berghain resident Marcel Dettmann joins the release to offer his unique touch as the first remixer on the project. His 'Reconstruction' brings subtle nuances as he slows the beats to a more dubbed-out house vibe and layers in bright synths and swirling vocal loops that will get hands in the air. His 'Universal Raw Mix' closes the package in style, delivering a stripped-back roller with freaky vocals and eerie synth details.
Three decades deep and still as restless as ever. That's the energy Tokyo's Realrockdesign collective bring to this second anniversary split to mark 30 years of cross-disciplinary creativity. DOTT opens things with two tracks crafted from unpredictable basslines and razor-sharp vocal chops that never settle into anything predictable. Then Rio Kawamoto takes over and the shift is immediate: funky breaks laced with tribal samples give way to a heavier, acid-warped second cut that feels rather feral by the end. These tunes map out two different corners of Asia's underground but they share an unrelenting originality and shared allergy to the norm. A fitting way to mark three decades, then.
Epicentre was an R&B/funk group formed in Seattle, Washington by keyboardist Ric Ulsky. The band developed a loyal following, playing the extensive NW club, concert and dance venues throughout the mid-to-late 1970s. Their sound was a blend of melodic R&B and powerhouse funk that dependably filled music venues throughout the Western US. Bernadette Bascom was the lead vocalist, who captivated audiences with her powerful yet velvet-smooth voice and commanding, magnetic stage presence.
In 1978, Epicentre worked with Seattle producer Don McKinney to record their music in Seattle's now legendary Kaye-Smith studios. The result was seven strong, fully -produced R&B songs, with occasional horn and string orchestrations tastefully added to the final versions.
Their music quite literally sat on a shelf for decades until McKinney decided that all the hard work and talent should no longer remain undiscovered and it needed to find its audience. He restored and digitized his copies of the master tapes and looked for an opportunity. A chance call to the former leader of the group, Kell Houston, led to a serendipitous introduction to UK boutique/funk/R&B label founder Russell Paine. The result was an agreement to release their music, starting with two songs, "When You Were In Love With Me", and "Magic Carpet."
And now the follow up single of "Searchin/Tongue Tied"
Footnotes: Lead singer Bernadette Bascom became a protegé of Stevie Wonder, and was the first artist to be signed to his label Black Bull , starting a period of collaboration between the two. Bermadette is the daughter of Reverend Dr. Marion C. Bascomb (1925-2012), one of Baltimore's major civil rights voices and pastor emeritus of Baltimore's Douglas Memorial Community Church. Ric Ulsky eventually left the group to play keyboards and tour extensively with The Association. You can also find Epicentre's music on the compilation album "Seattle Funk, Modern Soul & Boogie: Volume II 1972-1987." In addition to Bernadette, the musicians on the 1978 sessions are Kell Houston, keyboards, Michael Cox, bass, John Carmondy, guitar, and Ricky Lynn Johnson, drums and vocals. While their recorded material is primarily original, Stacy Christensen from Seattle's Gabriel contributed two of his compositions.
Arguably one of Get Physical’s most influential tracks, ‘O Superman’ sees a new release with remixes from Man Power and SIS alongside the 2008 version from Robag Whrume and a remaster of the now classic original. Man Power kicks off the new interpretations with an epic, ten and half minute version that patiently stretches the original’s melodies into pads and held bass tones across crisp, micro-house styled beats before unleashing loose, clattering breakbeats after a striking, extended breakdown. SIS’s dreamy, percussive version sees the German producer in hypnotic, and tracky form, focussing on the ebb and flow of the original’s tuneful vocoder and synth work that drift across his perfect groove. Robag’s Pumper-Nikkel remix, for those that missed it some years back, is yet another funky, chopped, sliced and diced piece of work from the playful producer and still sounds as fresh as ever. M.A.N.D.Y. vs Booka Shade feat. Laurie Anderson - O Superman Remixes are released on Get Physical 12” in late July with a digital release following in the Autumn.
Erol Alkan returns to his vinyl Reworks series for ‘Part 6’ the first new pressing since 2017. A long-awaited addendum to a series that has previously encompassed artists including Daft Punk, Justice, Hot Chip and Tame Impala, Alkan delivers two club-friendly tracks from his own Phantasy Sound imprint, both previously only available digitally.
For a propulsive take on Josh Caffe’s emotionally defiant, warehouse-bound ‘You’, originally produced in collaboration with Quinn Whalley of Paranoid London, Alkan delves deep into a lifelong appreciation of Chicago house. Stripped, spacious and tough on the drums, Alkan keeps Caffe’s demands front and centre while riding out an irresistible bassline and conjuring a brooding, typically psychedelic atmosphere.
Flipping from minimal jack to maximal funk, Alkan pays a visit to the esoteric archives of Cowboy Rhythmbox, the partnership of much-loved London DJ Nathan Gregory Wilkins alongside pop-provocateur Richard X. ‘Rock Music’ arrives rescued from a dormant hard drive of demos, its frenetic collage of samples stitched back together and fully recharged for a circuit-frying electro workout by Alkan, operating here at full tilt for the dancefloor.
Brooklyn-based DJ and producer Son of Lee is a native New Yorker who's been active in the local underground for over a decade. He launched this label back in August with a doozy of an EP that soon sold out, and so we're glad he's back. These are four more flame-hot disco edits marbled with references to many classic sounds and artists. 'Stop Making Cents' is jangling disco-pop, while 'Different Places' slows down to an 80s synth chug and 'Louis-Dreyfus Dance Face' brings some erotically charged disco sophistication and 'Nichols In May' is a mid-tempo and dubbed out delight with funky guitars for days. Classy and effective.
Bogdan Ra kicked off his new label Love Affair with some banging house cuts that threw it back to early Chicago styles. This third outing flips the script and shows his range with four disco sounds that take their cues from the late 70s and 80s: all the hallmarks are there, from the classic synths and vocoders to dusty drum machines. 'Complimento' is a smooth title track, while 'Shout' is a French-tinged funk workout., 'Paramour' glides through cosmic disco textures, while 'Fire in Cairo' brings an unexpected vocal twist and acrobatic bassline full of movement. Charming stuff.
The highly prolific purveyor of acid electro funk, Acidulant has arrived on Analog Concept with a grand landing of an EP.
Straight to underground lights out business A1 - Run To Survive delivers a dark world of vocoder lyrical style, smoothly concentrated acid lines, and nocturnal melody in the pads for deeper submersion of your sonic attention.
Following up, is A2, “All I Want is Everything You Got” with strikes of melancholy waves, before manifesting a dystopian world of aggressive electro acid bass sure to rock the Place.
A3 - Chordzi takes a detour into lush, and beautiful electro territory, laid down with smooth sunny pads and cosmic acid lines, surely refreshing and satisfying for the body and mind.
On the flip, we shift into the remixes, 1st up with the high talents of EKATA providing an industrial aura and truly unique perspective of “Run To Survive” it's not playing games or taking prisoners with its heavy kicks and dense snares, dark atmospheres, and lysergic arpeggios that hypnotize and own your ears.
The track sees another revision through the hands of Mutex. Moody and warm chords serenade smooth acid basslines and breaks in this emotive number, that dances between IDM, Breaks, and Acid Electro, concluding an ep that is full of both energy and deep personality - This is Analog Concept number 20, Acidulant - Run To Survive….
983 Cleveland Ohio funk bomb from Dennis “Cash” Roberson’s trio CASH. Co-Written with Mike Calhoun (C-Brand, Dazz Band) and Kevin Kendrick (Cameo, Flash) two midwest talents unmatched. PPU-121 also includes “I Know You Care” the unreleased follow-up single (re-discovered by boogie-times records, france)
Analog Africa's latest essential compilation began with a ruined needle. Samy Ben Redjeb, who was newly back from a 2002 digging trip, dropped a stylus into a groove that censors at the SABC had gouged with a blade. The record had been marked "not suitable," and the story behind it runs through the whole compilation. The 22 tracks pull American soul, funk and disco toward jazz, reggae and local rhythm until the result sounds utterly Jo-burg. 'How Long?' and 'Take It' are the early standouts, though the Beat Set two-parter and Dudu And The Big Time Boys hold their own. The 16-page booklet fills in the context nicely on this well assembled deep dive.
NOFEAR! Musik presents its second vinyl release, bringing together two of the label's most celebrated tracks alongside a fresh reinterpretation of a true classic.
The A-side features Alegría and Fuego, two tracks by Head Horny's & K-Style that became standout releases on the label, receiving strong support from DJs and dancefloors across Europe.
The B-side is dedicated to Funky Feelings 2026, a modern rework of one of Head Horny's classic productions. Together with Carlos Perez and K-Style, the original idea has been updated into two complementary versions: a driving hardgroove-techno interpretation and a more old-school klubb-oriented mix.
Pressed on 180g vinyl, NFV02 reflects the sound and identity of NOFEAR! Musik: energetic, groove-driven and built for the dancefloor.
First released 30 years ago (...) We're talking about 1990. Written and produced by 'FSOL' before they became The Future Sound of London.
This EP brings together the original recordings of the 3 main tracks released by Mental Cube, while the forth was released under a different name, it was intended to be a Mental Cube track.
Q - quickly became a dance floor favourite funky 909 drums and speak n spell top line and big warm strings; Chile of the Bass Generation - Clanking Breakbeat wig-out. So this Is Love! A masterclass in classic UK House-Music, that sounds so good even 30 years on...
In The Mind Of A Child - Originally released as Indo Tribe but in fact was intended as a Mental Cube Release - Bouncy heavy bass 909 drums beautifully constructed top melodies.
Highscore is one of the newest-and quite sensational-discoveries in funk of the 1980s out of Germany. Two tracks Breakin' Out and Girls So Fine, both recorded about 40 years ago and shelved ever since, are finally receiving a long-overdue 12" release.
Label founder DJ Scientist tells the story of how the tracks were uncovered:
"Several years ago, while researching the Crea label-after we had already licensed 'You're Not The One For Me' by Peter Patzer-I also wanted to find out more about another band on the label: Nuages, who had released the stunning jazz-funk/fusion album Cumulus.
Interestingly, a Discogs user had uploaded a hand written promo letter from one of the band members along with the LP. In it, drummer Mike Bach mentioned plans for a second album, as well as a single featuring a 'coloured singer'-which caught my attention. (A note on language: the original letter from 1985 uses the term 'coloured.' We've chosen to quote it directly as a historical document, but want to be clear that this reflects the terminology of the era and not language we would use today.)
Digging deeper, more information was found on Bach's own website, where a project called 'High Score' was mentioned. I immediately got in touch and asked if the recordings from that project still existed. Unfortunately, Bach couldn't locate any of the material at the time.
Years passed before we reconnected, when we featured 'Strange Weekend' by Nuages on our recent yacht rock compilation. I still had the Highscore project in mind and asked again. Once more, Mike had to deny-but he made another effort and reached out to former collaborators. A few weeks later, guitarist and composer Hermann Behrens discovered cassette tapes containing tracks from the Highscore project. I couldn't wait to hear them…"
To go back a bit: Nuages were a jazz-rock band from Bremerhaven, originally formed by guitarist Joachim "Fussy" Fuß in 1982. The lineup included Mike Bach (drums and percussion), Klaus Hinners (bass), and Frank Fischer (keyboards). In 1984, John Dillard, a U.S. GI stationed in Germany, joined Nuages for several live performances as a soul singer.
Around 1985/1986, Dillard and Bach then teamed up with Hermann Behrens with a new focus on electro funk and disco: Highscore was born.
When the three demo recordings were finally sent to us, they immediately blew us away. Breakin' Out stood out as an incredible electro-funk boogie gem-exactly what we had been looking for. What's more, it didn't sound like a rough demo at all, Breakin Out was a well-arranged and almost perfectly recorded track, driven by fresh, vibrant synths, drum machines and guitar. The cassette mix wasn't entirely final, but the remaining details could be refined during mastering.
The B-side, Girl So Fine, impressed just as much-equally strong and just as captivating as the A-side. Our reaction was immediate: this had to be released without delay!
Most importantly, there are a few more recordings from Highscore. However, these only exist as multi-track studio reels, which currently cannot be transferred. In the best case, more material from the band may surface soon-hopefully without another long wait.
The 12" release Breakin' Out / Girl So Fine" comes with a newly designed picture sleeve, featuring an original photo of the band members, including background singer Ruben Hopkins who does not appear on these two recordings.
Donkey Trax kicks things off for the new 482 Studio Jack imprint with the Understand House EP. Four tracks that know exactly what they’re doing: loopy, tooly, soulful, funky and made for long nights and those tunes that won’t leave your head. No extra fluff, just straight-up groove that keeps rolling. The vibe’s clearly rooted in Chicago, no forcing it. No big room stuff, no drama, just house for people who actually feel it. A bit rough around the edges, but still warm where it counts. Best played when the floor’s already locked in and nobody’s thinking about going home.
Swedish talent Dold drops nuanced techno cuts on 10" via SHDW's Mutual Rytm X.
Stockholm-based Patrik Eriksson, aka Dold, is a cultured producer known for crafting hypnotic loops with a minimalist, emotive touch-bridging underground dancefloors and introspective listening.
As a DJ, producer, and co-founder of Arsenik, Dold has championed raw, unembellished techno since 2015. His releases on Key and Fuse blend Detroit techno's legacy with IDM's intricacy and ambient's ethereal tones, creating a style that is both timeless and forward-thinking. Whether it's crafting tapestry's recorded via hardware in the studio or performing live, Dold continues to innovate, honouring techno's roots while exploring its future, and his talent is on full display across his label debut on Mutual Rytm X.
'Grainy' opens the EP and showcases Dold's ability to craft deep and loopy techno with a stripped-back, emotive
edge. It's deft but enthralling, with innovative synths rising and falling through the minimal drums. 'Surface' is another compelling deep cut with hurried drum funk and subtle synth pulses, adding a futuristic edge to the groove. The fantastic 'Blush' brings smears of warm synth and machine soul to a dynamic dub techno rhythm that bends the
past with the present. Digital bonus cuts 'Dub at Heart (Club Version)' and 'Dub at Heart (Sofa Version)' offer
contrasting perspectives of the same track, with the first aiming directly for peak-time sessions, while the latter closes the package on a laid-back tip.
Swiss techno icon Deetron shows his class with a new four-track EP on Mutual Rytm's sub-label, X.
Deetron is one of the most respected producers of his time. From sleek house to deep techno, he brings impeccable sound designs and melodic elegance to his work while remaining true to his authentic signature sound. He always delivers, whether landing via labels like Ilian Tape under his Soulmate guise or via the likes of Axis and Music Man, and that quality is on show once again as he brings the class on this new EP via the sub-label of SHDW's Mutual Rytm.
First up, 'Translate Rhythms' layers jazzy, de-tuned melodies into a quick and slick deep techno groove. It's a colourful and playful sound with a serious impact. 'Cause' is a more heads-down and moody sound with walls of drums and bass rolling beneath raw percussive loops and tight vocal stabs that ramp up the energy levels. The fantastic 'Move' brings grainy pads, inescapable bass weight and bulky drum loops to make for an immovable wedge of serious concrete techno funk. Last is the digital bonus cut 'Orbit', which heads off to the stars with a deepspace
vibe, swirling pads and minimal drums that tap out a rumbling groove.
Following the passing of our dear friend DJ Romain earlier this year, we've spent a long time reflecting on when to share some of the new music he entrusted to Hard Times Records. The incredible response to 2024’s 'The Lost D.A.T.S.' EPs reignited Romain's creative spark at a time when, unbeknownst to many, he was quietly battling serious ill health. After relocating from his beloved New Jersey to Cleveland, the studio once again became his sanctuary, inspiring a remarkable new chapter of music. The 'New Jersey' and ‘Cleveland’ EPs were the first recordings from that period.
Funky Streets completes the first trio of new EPs, but it is also just a glimpse of the wealth of music Romain crafted before his passing. His final studio sessions became an escape from his daily battles, inspiring a remarkable outpouring of new material that he was determined to finish, knowing his beats would continue to warm dancefloors and further cement the legacy of one of house music's true masters.
Opening with the horn-driven swagger of the title track, the EP moves seamlessly into the soulful groove of 'I Like To Boogie' before culminating in the deep, organ-led dancefloor energy of 'This Is Where I Wanna Be’. Romain signs off with 'The Chocolates’ - an uplifting, guitar-laced boogie jam filled with warmth, joy and unmistakable soul.
Beautifully crafted from beginning to end, Funky Streets stands as a lasting testament to DJ Romain's extraordinary talent, timeless musicality, and enduring contribution to House music. His legacy lives on in every groove.
Your Trip bw Workout is the second release by Magnus Dahl under his MDHL moniker. Your Trip is a machine funk techno including acidic melodies, ethereal sounds and a vocal sample on top of a relentless funky bassline. The second mix strips it down to the bare essentials. A rhythmic dubby take that lets the bassline shine. On the flip is the long Workout. In a slightly slower pace the murky kick and metallic percussion is combined with an ambient, dubby, dreamscape that keeps evolving as it unfolds.
Following the acclaimed release of the Digitec LP, this companion EP digs even deeper into the archives of one of UK tech house’s most influential figures.
As a pivotal force in shaping the late '90s and early 2000s underground, the longtime Fabric resident and close friend of Sushitech finally opened his vaults to reveal a treasure trove of rare classics, forgotten sessions and unreleased material.
This follow-up offers collectors a further glimpse into that archive, featuring meticulously remastered editions of the elusive Funky Future and Bonjour Charles two stripped-back, dubwise London tech house cuts that became permanent fixtures of Terry’s legendary Fabric sets! Timeless, understated and unmistakably Terry Francis.
UK tech house pioneer Dexter debuts on Endell Street with a release deeply rooted in London’s underground tech house history. For years, Tangent Boy has circulated as a mythical weapon, passed hand to hand through London’s underground and closely guarded by those in the know. This marks its first ever vinyl release. On the B-side, the sought after Funk Warped finally returns newly remastered, preserving its original grit while sharpening its analog edge.
Steeped in the dub-tech traditions of early London, this is a masterclass in restrained, functional sound design, capturing a defining moment in time from an artist who helped write the genre’s vocabulary.
DiscoGram's self-titled label is quickly becoming our disco dealer of choice. This third massive gets us further hooked on the groovy goods. After a Brazilian flex last time out, there is more of an Afro overtone to this 12": 'Africa Tribal' is a percussive sun-soaked sound with expressive horns and equally expressive vocals over a ton of percussion, hand claps and wiggly grooves. 'Chillin' Out' is more US-flavoured with a low-slung and breezy vibe and sunny vocals. 'Coconut' ups the pace and injects florid feels with Philly strings and stomping drums. 'Hi Tension' then keeps its foot down with a heavy but funky disco sound and irresistible double-claps.
Jnbo ist der Künstlername von Henry Jenkins, einem Komponisten, Produzenten/Toningenieur und Bassisten aus Melbourne/Naarm. Jenkins ist den meisten als Produzent/Toningenieur hinter Surprise Chef, Karate Boogaloo und der für den Grammy nominierten Frollen Music Library bekannt. Als hauseigener Toningenieur für Aufnahmen und Abmischungen bei College In-House-Aufnahme- und Mix-Ingenieur bei Knowledge Records hat Jenkins die klangliche Grundlage für die instrumentale Cinematic-Soul-Bewegung von Melbourne/Naarm geschaffen. Auf ,& Friends" setzt Jenkins seine Fähigkeiten für seine eigenen brillanten Kompositionen ein. Das Album umfasst 12 introspektive Instrumentalstücke - tiefe, cineastische Odysseen, die von Romantik und Aufrichtigkeit durchdrungen sind und jenen unverkennbaren ,Freak Funk Bump" haben. Jenkins erklärt die Konzeption von ,& Friends": ,Ich wollte ein Album schreiben, auf dessen Aufnahme ich mich mit meinen Freunden freuen würde. Die Musik, die ich schrieb, hatte eine Funk-Sensibilität in Bass und Schlagzeug, kontrastiert durch einen eher cineastischen Ansatz in Bezug auf Harmonie und Melodie, mit Gitarren, die sich dazwischen schlängeln und gleiten. Ich habe versucht, diesen Kontrast zum Charakter des Albums zu machen. Ich fand, dass jeder Song die gleiche Instrumentierung und die gleichen Musiker haben sollte. Das wurde zu einer angenehmen kreativen Herausforderung: Wie viel Variation konnte ich im Laufe des Albums aus denselben acht Instrumenten herausholen? Ich wollte innerhalb dieser engen Grenzen so viel Vielfalt wie möglich finden." Jenkins hat diese Prinzipien bei den Aufnahmen zu ,& Friends" angewendet und langjährige Musikpartner wie Hudson Whitlock, Darvid Thor und Callum Riley (Karate Boogaloo), Lachlan Stuckey und Jethro Curtin (Surprise Chef), Lewis Coleman und Lena Douglas (The Cactus Channel) zusammen, um unkonventionelle Arrangements für drei Gitarren, Klavier, Streichersynthesizer, Hammondorgel, Schlagzeug und Bass zu verwirklichen, wobei Jenkins selbst den Bass und die Produktion übernahm. Das Ergebnis ist ein auffallend einzigartiges Album: Mal gibt's malerische Stimmungen, mal funkige Rhythmen, die zum Mitwippen einladen, wobei die drei Gitarren und drei Keyboards genau im Stereofeld angeordnet sind. Das Album zeigt die Einflüsse des Filmkomponisten Bernard Herrmann, des Lounge-Pioniers Les Baxter und Lamont Dozier von Motown, zusammen mit den exzentrischen Eigenheiten von JNBO. Für Fans von Surprise Chef, El Michels Affair, Menahan Street Band, Les Baxter, Bernard Herrmann.
A pioneering keyboardist of crossover music in Japan, Jun Fukamachi recorded and released this hidden masterpiece of the early Japanese fusion era in 1975 as part of Toshiba EMI’s audiophile-oriented high-fidelity analog “Pro Use Series”.
Now, it returns on clear red vinyl.
Backed by a powerhouse rhythm section consisting of drummer Shuichi “Ponta” Murakami and bassist Ray Ohara, Fukamachi showcases a rich palette of analog synthesizer sounds, while Kenji Ohmura delivers breathtakingly intense and fluid guitar solos.
The centerpiece of the album is the approximately 14-minute jazz-funk epic “Bamboo Bongo”, a standout track that perfectly captures the virtuosity and adventurous spirit of this landmark recording.
Mit ihrem ersten offiziellen Studioalbum seit 16 Jahren meldet sich Erykah Badu eindrucksvoll zuruck. In den Jahren seit ihrer letzten Veroffentlichung hat die vielfach ausgezeichnete Kunstlerin nicht nur als Musikerin, sondern auch als Mutter, Mentorin, Doula und kulturelle Vordenkerin gewirkt. Ihr Einfluss auf Musik, Mode und Popkultur ist dabei kontinuierlich gewachsen: Die funffache GRAMMY-Preistragerin mit insgesamt 20 Nominierungen zierte 2023 das Cover der Vogue, erhielt 2024 den CFDA Fashion Icon Award und wurde 2025 mit dem Billboard Icon Award geehrt. Gleichzeitig arbeitete sie mit Kunstlerinnen und Kunstlern verschiedener Generationen zusammen, darunter Janelle Monae, Tyler, The Creator, Flying Lotus, Robert Glasper, Teyana Taylor und Rapsody.Ihr neues Album "Before the World Blows" entstand gemeinsam mit dem renommierten Hip-Hop- Produzenten The Alchemist, der seit Jahren zu den pragendsten und produktivsten Produzenten seines Fachs zahlt. Das Werk verbindet introspektive Texte mit innovativen Klangwelten und kreist um Themen wie Liebe, Erinnerung, Traume, Weiblichkeit und personliche Entwicklung. In vier Kapiteln entfaltet sich eine musikalische Reise durch Badus Gedankenwelt, die zum Innehalten und Nachdenken einladt.Die Zusammenarbeit begann vor uber drei Jahren und entwickelte sich zu einem kreativen Dialog, aus dem ein vollkommen eigener Sound entstand. Soul, Blues, Funk, Rock, Jazz und Underground-Hip-Hop verschmelzen zu einem genreubergreifenden Klangbild. Bereits vor Veroffentlichung wurde das Album in intimen Live-Shows erprobt und weiterentwickelt. Das Ergebnis ist eines der ambitioniertesten und zukunftsweisendsten Projekte in der Karriere beider Kunstler.
Mit ihrem ersten offiziellen Studioalbum seit 16 Jahren meldet sich Erykah Badu eindrucksvoll zuruck. In den Jahren seit ihrer letzten Veroffentlichung hat die vielfach ausgezeichnete Kunstlerin nicht nur als Musikerin, sondern auch als Mutter, Mentorin, Doula und kulturelle Vordenkerin gewirkt. Ihr Einfluss auf Musik, Mode und Popkultur ist dabei kontinuierlich gewachsen: Die funffache GRAMMY-Preistragerin mit insgesamt 20 Nominierungen zierte 2023 das Cover der Vogue, erhielt 2024 den CFDA Fashion Icon Award und wurde 2025 mit dem Billboard Icon Award geehrt. Gleichzeitig arbeitete sie mit Kunstlerinnen und Kunstlern verschiedener Generationen zusammen, darunter Janelle Monae, Tyler, The Creator, Flying Lotus, Robert Glasper, Teyana Taylor und Rapsody.Ihr neues Album "Before the World Blows" entstand gemeinsam mit dem renommierten Hip-Hop- Produzenten The Alchemist, der seit Jahren zu den pragendsten und produktivsten Produzenten seines Fachs zahlt. Das Werk verbindet introspektive Texte mit innovativen Klangwelten und kreist um Themen wie Liebe, Erinnerung, Traume, Weiblichkeit und personliche Entwicklung. In vier Kapiteln entfaltet sich eine musikalische Reise durch Badus Gedankenwelt, die zum Innehalten und Nachdenken einladt.Die Zusammenarbeit begann vor uber drei Jahren und entwickelte sich zu einem kreativen Dialog, aus dem ein vollkommen eigener Sound entstand. Soul, Blues, Funk, Rock, Jazz und Underground-Hip-Hop verschmelzen zu einem genreubergreifenden Klangbild. Bereits vor Veroffentlichung wurde das Album in intimen Live-Shows erprobt und weiterentwickelt. Das Ergebnis ist eines der ambitioniertesten und zukunftsweisendsten Projekte in der Karriere beider Kunstler.
Mit ihrem ersten offiziellen Studioalbum seit 16 Jahren meldet sich Erykah Badu eindrucksvoll zuruck. In den Jahren seit ihrer letzten Veroffentlichung hat die vielfach ausgezeichnete Kunstlerin nicht nur als Musikerin, sondern auch als Mutter, Mentorin, Doula und kulturelle Vordenkerin gewirkt. Ihr Einfluss auf Musik, Mode und Popkultur ist dabei kontinuierlich gewachsen: Die funffache GRAMMY-Preistragerin mit insgesamt 20 Nominierungen zierte 2023 das Cover der Vogue, erhielt 2024 den CFDA Fashion Icon Award und wurde 2025 mit dem Billboard Icon Award geehrt. Gleichzeitig arbeitete sie mit Kunstlerinnen und Kunstlern verschiedener Generationen zusammen, darunter Janelle Monae, Tyler, The Creator, Flying Lotus, Robert Glasper, Teyana Taylor und Rapsody.Ihr neues Album "Before the World Blows" entstand gemeinsam mit dem renommierten Hip-Hop- Produzenten The Alchemist, der seit Jahren zu den pragendsten und produktivsten Produzenten seines Fachs zahlt. Das Werk verbindet introspektive Texte mit innovativen Klangwelten und kreist um Themen wie Liebe, Erinnerung, Traume, Weiblichkeit und personliche Entwicklung. In vier Kapiteln entfaltet sich eine musikalische Reise durch Badus Gedankenwelt, die zum Innehalten und Nachdenken einladt.Die Zusammenarbeit begann vor uber drei Jahren und entwickelte sich zu einem kreativen Dialog, aus dem ein vollkommen eigener Sound entstand. Soul, Blues, Funk, Rock, Jazz und Underground-Hip-Hop verschmelzen zu einem genreubergreifenden Klangbild. Bereits vor Veroffentlichung wurde das Album in intimen Live-Shows erprobt und weiterentwickelt. Das Ergebnis ist eines der ambitioniertesten und zukunftsweisendsten Projekte in der Karriere beider Kunstler.
Mit ihrem ersten offiziellen Studioalbum seit 16 Jahren meldet sich Erykah Badu eindrucksvoll zuruck. In den Jahren seit ihrer letzten Veroffentlichung hat die vielfach ausgezeichnete Kunstlerin nicht nur als Musikerin, sondern auch als Mutter, Mentorin, Doula und kulturelle Vordenkerin gewirkt. Ihr Einfluss auf Musik, Mode und Popkultur ist dabei kontinuierlich gewachsen: Die funffache GRAMMY-Preistragerin mit insgesamt 20 Nominierungen zierte 2023 das Cover der Vogue, erhielt 2024 den CFDA Fashion Icon Award und wurde 2025 mit dem Billboard Icon Award geehrt. Gleichzeitig arbeitete sie mit Kunstlerinnen und Kunstlern verschiedener Generationen zusammen, darunter Janelle Monae, Tyler, The Creator, Flying Lotus, Robert Glasper, Teyana Taylor und Rapsody.Ihr neues Album "Before the World Blows" entstand gemeinsam mit dem renommierten Hip-Hop- Produzenten The Alchemist, der seit Jahren zu den pragendsten und produktivsten Produzenten seines Fachs zahlt. Das Werk verbindet introspektive Texte mit innovativen Klangwelten und kreist um Themen wie Liebe, Erinnerung, Traume, Weiblichkeit und personliche Entwicklung. In vier Kapiteln entfaltet sich eine musikalische Reise durch Badus Gedankenwelt, die zum Innehalten und Nachdenken einladt.Die Zusammenarbeit begann vor uber drei Jahren und entwickelte sich zu einem kreativen Dialog, aus dem ein vollkommen eigener Sound entstand. Soul, Blues, Funk, Rock, Jazz und Underground-Hip-Hop verschmelzen zu einem genreubergreifenden Klangbild. Bereits vor Veroffentlichung wurde das Album in intimen Live-Shows erprobt und weiterentwickelt. Das Ergebnis ist eines der ambitioniertesten und zukunftsweisendsten Projekte in der Karriere beider Kunstler.
The undisputed Godfather of Boogie, Leroy Burgess’s Logg project is his grand masterpiece.
The self-titled LP, originally released on Salsoul in August 1981, is one of the greatest albums of the post-disco era. It’s one of Be With’s favourite ever LPs and so it’s a complete honour to be giving it our reissue treatment. With all the touchstones of Burgess’s finest work - breezy grooves, undulating synths, funk-drenched bass and life-affirming lyrics - delivered with gospel-derived vocals and harmonies - it’s a record to uplift both body and spirit.
Already a cult soul figure as lead singer of seminal vocal group Black Ivory, Leroy Burgess cut his teeth as arranger, vocalist and songwriter with legendary producer Patrick Adams on essential late-70s projects like Phreek and Dazzle. He went on to define the essence of “boogie”: the vibrant underground dance sound that stood in contrast to commercial disco. With its reduced speed - mid-90 to under 110 BPM - the cool boogie of Burgess has the disco bounce, just more laidback.
All six tracks here could have been stand alone 12" hits. Indeed, some of them were. But together they are also an incredibly cohesive album, where all the compositions are deeply relevant to each other. In short, it’s essential; a thrilling showcase for Burgess’s finest arranging and production work - with his vocals at their euphoric peak alongside the inventive rhythm section of Aaron (Sonny) T. Davenport on drums and James Calloway on bass.
Opener “(You’ve Got) That Something” is a balmy sunshine groover with an insistent chorus whilst the timeless vocal of “Dancing Into The Stars” - married to percolating synth and airtight drums - showcases the chemistry between Burgess and the rhythm section.
The fusion of funk and gospel-influenced harmonies which propels “Something Else” is remarkable - deep, joyous and bouncy. Infamously mixed by Larry Levan, “I Know You Will” is an easy glide, all rollicking electric piano underpinned by a precise and relentlessly upbeat groove. “Lay It On The Line” radiates smooth, understated brilliance, elevated by interstellar keys and finally album-closer “Sweet To Me” is a chilled-out gem of profound soulful elegance.
Logg has long been a hit with the likes of Kenny Dope and Dam-Funk whilst, in the last decade, MCDE and Harvey Sutherland have routinely cited it as a huge influence. Accordingly, finding original copies on vinyl at affordable prices has been a thankless task. This fresh Be With reissue ensures this legendary record now sounds, looks and feels as sensational as it deserves to.
Mastered brilliantly by Simon Francis, cut by Pete Norman and with lovingly reproduced artwork, we think this is a reissue that does justice to this classic LP.
House is the Religion. The DJ is my Deacon. The Music is my God and James Bangura is cool af.
Genuine, passionate, clear, authentic and real…. He isn’t trying, he just is. And his music is the same. It’s fucking cool. It’s real and authentic and it just is James Bangura. So it’s a real honour to add him to the Shall Not Fade roster; from Techno to Jungle to House and everything between the DC native can extract the true essence of a genre and simultaneously make it his own & pay homage to its roots.
So on Jack Sermon there’s no surprise when he flexes a seemingly generationally inherited knack for all things House (and Techno) and delivers four tracks of raw, real, genuine House music. OG shit.
‘House is the Religion, and the DJ is my Deacon, but the music is my God” says the Evangelical vocal on title track ‘Jack Sermon’. Never has there been a more aptly named track…This is a jack sermon… an OG inspired Chi town cut channeling early house music’s soulful beginnings delivered with straight up jacking house beat offset with laidback dusty dub chords….. We don;t say this lightly but we’re calling anthem on this one.
‘Scat Pack’ takes a more percussive and drum forward House motif. Thunderous kicks tease techno but this is still house, NY at heart complete with voguing diva vocals . Blown out and choppy we could say ‘this could have been ripped from a late 90’s club recording on a lost tape’ but that would do disservice to the precise but invisible fusion that's been laid down here..
‘Funk To Berlin’ opens the flip side and in Bangura’s journey to explore classic forms of house and techno, this track may well have taken root from Dub techno pioneers from the past. Deep dub chords and deeper subs lead the track but that jacking percussion makes this more than homage. Machine Funk, Machine soul. AA side business.
‘The Green Line’ closes out the EP in style.. rolling it out with skittering synths that work like percussion, ethereal pads and a faint vocal ‘Chicago’ spiralling into itself making this track one you can get lost in. Some might argue that this one is techno but who cares. It’s the journey not the destination. Two tickets please.
If you don’t know James Bangura’s music already (or even if you do) do some digging.. Look for releases on Mister Saturday Night, K7! and Floorspeed and check his output as part of “Black Rave Culture” with Amal and Nativesun and as a member of Groovedeep with Toronto’s Ciel and fellow DC native Jackson Ryland.
To close, we’ll leave you with this note from James……. told he is cool af.
House music, to me, exists on a wide spectrum. I’m inspired by its many forms: stripped-back minimalism, percussive drive, hypnotic textures, and soulful undertones. Rather than confining myself to one approach, I treat each track as an exploration—testing structure, pushing rhythm, and allowing subtle details to carry emotional weight. The studio becomes a space where groove and atmosphere meet intention. This body of work highlights that process. It reflects how I balance technical precision with feel, tension with release, and tradition with forward motion. Every decision—from drum programming to spatial design—is part of shaping a sound that feels honest and instinctive. - James Bangura
Some records never really disappear. They wait for the right moment to be rediscovered.
Originally created in 1981 by legendary Italian composer and keyboardist Claudio Simonetti alongside producer Giancarlo Meo, Kasso emerged at a pivotal moment when disco, jazz-funk and electronic music were beginning to collide, and a distinctly Italian dance sound was taking shape.
Built around Simonetti’s unmistakable piano and keyboard work, Kasso developed a significant following across Europe, particularly in France and Italy. The project would produce cult favourites including “Kasso”, “Key West”, “One More Round” and “Walkman”, the latter becoming a major French success, reportedly selling around 500,000 copies.
Kasso’s influence travelled considerably further. Finding its way into the underground clubs of New York and Chicago, with original material receiving the remix and edit treatment from John “Jellybean” Benitez and, later, house music pioneer Frankie Knuckles.
Behind it all is Claudio Simonetti, a musician whose extraordinary career stretches from European disco to some of cinema’s most iconic soundtracks as keyboardist and composer with Goblin, including Deep Red, Suspiria and Dawn of the Dead. Now, more than four decades later, Claudio Simonetti’s Kasso returns.
Unlocking key elements from the original production, including Simonetti’s distinctive piano, the music has been placed in the hands of another European dance music pioneer: Ben Liebrand.
A hugely influential DJ, producer and remixer, Liebrand’s groundbreaking In The Mix radio shows and legendary Grandmix series have helped shape European DJ culture, while his extensive remix catalogue stretches across artists including Bill Withers, Phil Collins, Sting, Salt-N-Pepa and countless others.
His new interpretations of Kasso respect the musicianship and unmistakable character of Simonetti’s original while giving it a fresh, contemporary dancefloor life.
And this is only the beginning.
Kasso launches a series of four new singles, culminating in Kassologie, a definitive collection bringing together the essential Claudio Simonetti recordings alongside new remixes and updates. And all vinyl will be released in a colored-vinyl edition also!
Over forty years after it first emerged from Italy’s extraordinary early-’80s dance scene, Kasso is ready for another round.
Nippon Psychedelic Soul 1970-1979 is Time Capsule’s continuation of the deep dive into Japan’s rich history of folk and psychedelic soul music.
Vinyl LP with 4 page insert, original artwork and photos
The kaleidoscopic psychedelia of 1970s Japan captured a fragile and fertile moment as the country sought its future in funk grooves, heavy reverb and lyrical hallucinations.
The follow-up compilation to Time Capsule’s Nippon Acid Folk, Nippon Psychedelic Soul takes myriad pathways into the tripped-out undergrowth of 1970s Japan. Finding their feet at home and looking for inspiration abroad, the musicians featured here were engaged in the communal soul-searching that followed the breakdown of the 1960s protest movements. Some made it big, others drifted into oblivion. The music they left behind shimmers with intensity.
At the core was Happy End, the first project of YMO’s Haroumi Hosono, whose distortion-heavy guitar and crisp back-beat laid the foundations for Japanese lyrics that flipped the paradigm of Japanese rock music on its head. With it came a new found sonic ambition, such as in the bold Philly-soul style arrangements of producer Yuji Ohno, whose work with occult wandered Yoshiko Sai shares some of the bittersweet grandeur of Rotary Connection or David Axelrod.
Then there was Jun Fukamachi, a pioneer of Japanese synthesis, whose debut album was a carnival of orchestral funk, euphoric horn lines and rich production, complete with soaring guitar solos, psychedelic organ and a truly cinematic finale. The first and only time Fukamachi would sing on record, ‘Omae’ rips like the ultimate end-of-nighter.
Influenced by giants of the US soul scene, maverick composer Hiroshi “Monsieur” Kamayatsu (otherwise known as ‘the Brian Wilson of Japan’) went one step further, enlisting Tower of Power to play on ‘Have You Smoked Gauloises?’ The B-side to Monsieur’s biggest-selling single, it coasts with sophisticated cool - a liquid bassline and suave keys comping under a roaring trademark ToP sax solo. No surprise it found favour once more on the Acid Jazz dance floors of ‘90s London.
Such was the spirit of experimentation that big studio productions and private press releases sat side-by-side, with the likes of Momotaro Pink and Kazushi Inamura, taking their hopes of success into their own hands with the resources available to them. More reflective but no less robust, theirs was a heavy, fat-backed drum sound, soaked in dramatic, soulful psychedelia.
If some were dreamers and others space cadets, none were further out than sci-fi writer, musician, activist and self-made scientist Tadashi Goino, who transformed his own fantasy novel Messenger from the Seventh Dimension into an operatic prog odyssey with few discernible musical reference points – a majestic and completely bonkers outlier even among company as strange and brilliant as that which is collected here.
Less a compilation of a scene, as a compilation of a sentiment, Nippon Psychedelic Soul is a wild ride from start to finish, shattering the narratives of the Japanese folk and rock tradition into a million tiny pieces.
This has been a very personal project and a mammoth undertaking for us folks here PACE HQ: 12 tracks unearthed from the cult Scottish figure’s completely overlooked back catalogue. Collected archive material from the past 25 years, originally composed as an OST for the feature length film The Flesher (1992) which was also written, shot and directed by Rae. No copies remain. Deep cuts that span G-funk, hip-hop, house, synth-pop, electro, dub, downtempo, funk/soul, R’n’B with appearances from Rae’s heavyweight list of frequent collaborators… Bernie Worrell, Adrian Sherwood and Jimmy Douglass.
"In 1991, the Scottish Rugby Union & the Royal Bank of Scotland, commissioned me tae make the world's first Scotland World Cup music video... they didn’t pay me so I fought back. It took 18 years tae win, and I nearly lost everything. I turned to audio visual art: under the pseudonym Jock Pleasure - I wrote and directed a feature length film called The Flesher as well as creating 100s of full length DVDs and tracks” (Jesse Rae).
One man took on the banks and won, but it took its toll and in this totemic corpus of work Jesse Rae counts the cost. The Flesher is art as pure defiance: “this stuff is very dark and deep, it is such a vast body o’ work, but when I won my battle against the bank, I secretly returned tae Hodge Close (in the Scottish borders) and dropped the entire work sealed in stone intae the deep deep murky depths of that water, where it has remained since 2009. There are no mair copies."
What we have here then is the salvaged remains. A hopeful dunt of Scottish erotica that gets you right in the pits.
Splice DJ Screw with Dean Blunt, Moodymann, Prince, Cocteau Twins, MF DOOM, Luther Van fuckin’ Dross, Barry fuckin’ White; run that through the B-movie videotape static meets Harmony Korine, Les Blank & early Grand Theft Auto. Empty boulevards. Small-town strip joints. Late-night dial-up. Sacrifice and solace. Outside of the OST, there’s a cast of forgotten characters: primary school kids making house jams, teenage popstars from the Scottish Borders, and the rhapsodic Ayrshire soprano NIKA laying down haunting vocals in Miami.
Celebrated as a cult figure in the USA, Jesse’s work has never fully had the appreciation it deserves at home. Not really. Aye, we know Inside Out and The Thistle. But he’s too easily fobbed off as an eccentric outsider: a helmet-wearing, claymore-wielding gimmick. But do we really know the extent of what this man has done - and gone through - for the sake of art?
Luca “DJ Rocca” Roccatagliati isn’t just a producer, he’s a shapeshifter of sound. Emerging from the late ’90s under the Maffia Soundsystem alias, he’s spent decades bending genres, dissolving boundaries, and reconfiguring the DNA of club music.
From cosmic disco to leftfield house, Rocca’s catalogue reads like a map of underground excellence. He’s collaborated with a roll call of innovators—Howie B, Dimitri From Paris, Daniele Baldelli, François K, Jazzanova, Zed Bias and many more. Crafting releases for some of the most respected imprints in the game: like Rekids, Toy Tonics, International Feel, Defected, Rush Hour, Hell Yeah, Rotters Golf Club among others.
His output is prolific, restless, constantly evolving.
Partnership is central to Rocca’s universe. With Dimitri From Paris, he co-created Erodiscotique, a sleek electro-disco project that fuses vintage sensuality with future-facing production. Alongside Daniele Baldelli, he’s explored deeper, more psychedelic terrain, delivering albums like Podalirius and Quagga—records that blur the line between Balearic mysticism and dancefloor propulsion.
His aliases Ajello, Supersonic Lovers, Crimea X are parallel auditory dimensions. Each one pushes a different facet of his sound, from Italo-tinged grooves to raw, analog-driven club cuts. As a remixer, Rocca has reworked everyone from Andrew Weatherall to Soul Clap, always imprinting his unmistakable signature.
To say we are excited about this new EP is kind of a massive understatement……
Having been huge fans for over two decades, when he reached out to us it was a bit of an eye rubbing and arm pinching moment.
We have been graced with a 3 track EP titled “Tonight is the Night”
A1. Sun Deck – A link-up with Athens mainstay Lex, drifting somewhere between yacht funk and late-night boogie. Sun-washed grooves, crisp synth leads, and just enough 80s energy to keep it moving without trying too hard.
B1. Italo Boogie Stomp – Does exactly what it says. Rolling Linn drums, sharp synth lines, and a nostalgic flute motif that nods to NYC’s street soul era without getting stuck in it.
B2. Ferroso – Picks up the pace slightly. Deep house drums meet a driving electro bassline, with arpeggiated synths and warm pads rounding it out—focused, functional, and built for the floor.
Nite Hawk is a new name to us, but one we'll be keeping an ear on, just off the back of this new EP on York-based John Deevechis's The Owl label. The opener plays with a classic rhythm and serves it up with a bleeping synth sequence that will also be familiar, while the rickety drums unfold in off-grid patterns. It's a great start before 'Shake Ya Rump' brings machine-made disco with sugary synths and playful vocals over funky basslines, then 'Be Together' closes with another cold analogue groove that ramps up the pressure and is the sort of tasteful and timeless crowd pleaser you will be playing forever.
Mat Fink with his first solo EP, on new label, Funky Soul Creations, delivering driving bass-lines and jazzy melodics. 4 tracks telling stories of diversity and funkiness with touches of Detroit and Chicago energy. From a DJ for a DJ, the versatility of the release is for any environment whether peak-time in the club, at the afters, or just a Sunday afternoon listening. A Side opens with the title track, a raw funky tribal groove with an off-the-top one take vocal that was never written nor planned. That’s followed by a ‘Peace of Deep’, an early morning deep house mood that intensifies and inspires the sun to rise over the horizon. B Side is where the release becomes darker and quirky. The first track offers a hypnotic bass-line with deep textures and rolling percussion lines. The track is set in the environment of the long club night, managing the intensity and progressions.
The final track of the release is a cocktail party for the forest animals. Futuristic folk
A pure goa-trance-classics compilation; back on vinyl with Astral Projection, MFG, Xenomorph, Shakta, Oforia,... !
This compilation opens with a track of Roy Sasson, who was famous in the 90s as part of Shidapu. Here he opens with a deep & groovy psychedelic dancefloor monster. The second track has a darker atmosphere, is super powerful but also melodic and spiralling! Xenomorph hasn't released any music for a long time, but he clearly kept his magical touch! That darker touch is carried on by Battle of the Future Buddhas, who went towards pure acid 303 territories in his haunting track! Shakta brings back some sunshine with his funky uplifting "Expedition To Earth"! Now after this first part of the CD come two of the most famous Goa-trance names ever: Astral Projection & MFG! They both do what they do best: creating wonderful melodic soundscapes! Sensitive, emotional & harmonious trancy music for people that want to feel a sunny dancefloor through music! Then RA mixed his known euphoric type of melodies & chords with a more modern sound! The result? Music that will do the trick on every dancefloor around the world. The ender is a more floating, warm track of Oforia, who showcases his more mellow style :)
We hope to create the same heartwarming feeling in your heart, as the one we had when we heard goa-trance for the first time! Enjoy and make sure to land again after reaching the sky!
Long regarded as one of electronic music’s true individualists, Aubrey’s legacy stretches across decades of uncompromising, deeply musical productions — always balancing raw machine funk, psychedelia and emotional depth with a uniquely personal touch. Through Deep Series, Georgios DSR brought him on board for a release shaped less by trends than by a shared dedication to timeless underground music culture.
On the A-side, Aubrey delivers the shimmering and organically evolving *Insectos de la Luna* alongside the weightless, jazz-leaning groove explorations of *Flying Low*. The B-side shifts into deeper and more functional territory with Georgios DSR’s *Analog Ground (LiVRO’s Groove Shape)* and the hypnotic pulse of *Signal Drift*.
Rather than following contemporary formulas, *Shifting Phase* reflects a mutual commitment to atmosphere, movement and long-form dancefloor storytelling — rooted in house and techno traditions while remaining open, psychedelic and forward-thinking.
Previous Deep Series material received support from XDB at Dimensions Festival, generating a strong response around the label’s growing catalog.
RDS003 is another step in the ongoing evolution of Deep Series: music driven by conviction rather than hype.
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