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Relive three decades of Belgian clubbing history.

We're celebrating the 35th anniversary of Cherry Moon withan essential collection of the anthems that defined a generation. Hard to find tracks, classics and sounds from the underground combined in a splendid 10x12" Vinyl Box Set.

From the first beats of 1991 to the peak of the "House of House", this is the ultimate tribute to a legendary venue.

Das erste Album mit Originalmusik von den englischen Künstlern Flying Mojito Bros., die total auf Americana und Dance-Musik stehen. FMB hat dank seines einzigartigen Stils, der als Desert Disco und Outlaw House bezeichnet wird - ein neu definierter Americana-Sound, der von Poolside-Vibes bis zur Tanzfläche reicht -, eine wachsende Fangemeinde in den USA gewonnen. Das Album bietet eine hochkarätige Besetzung mit Künstlern wie Scott Hirsch, Will Worden und Rob Chaney (weitere werden noch bekannt gegeben!) und hat die Unterstützung von einflussreichen Persönlichkeiten wie Diplo, Phish, Pretty Lights, BBC 6 Music und KEXP erhalten. Just Passing Through zeigt die Entwicklung von FMB und kombiniert ihre charakteristischen Re-Edits und Remixe mit Live-Band-Aufnahmen. Es ist ein mutiger Schritt in ihrer Karriere, bei dem sie von den 1970er Jahren inspirierten Rock und elektronische Rhythmen mit Kollaborationen von Top-Musikern wie Shawn Lee (Young Gun Silver Fox), Joe Harvey-Whyte (The Hanging Stars) und Joe Stoddart (ABBA Voyage) verbinden. Dieses Album markiert ein neues Kapitel in der kreativen Reise von FMB und fängt ihre Erkundung der neu definierten Americana und den interkulturellen Rock-Austausch zwischen den USA und Großbritannien ein.

Antônio Carlos & Jocafi, das legendäre Duo aus Bahia, dessen Musik seit über fünf Jahrzehnten den Soul Brasiliens verkörpert, kehrt mit einer kühnen neuen Zusammenarbeit zurück: Jazz Is Dead 026. Beto Barreto von Baiana System stellte Adrian Younge und Ali Shaheed Muhammad vor, und die Begegnung war sofort von Magie geprägt. ,Als wir uns zum ersten Mal trafen, war es wie bei einer Familie", erinnern sie sich. Diese Verbundenheit veranlasste Younge und Muhammad, das Duo nach Los Angeles einzuladen, wo sie eine Handvoll Ideen mitbrachten und vor Ort neue Songs schufen - ein intuitiver, improvisatorischer Prozess, der die Philosophie von Jazz Is Dead ausmacht. Mit dieser Veröffentlichung bekräftigen Antônio Carlos & Jocafi ihre kreative Vitalität und bringen gleichzeitig einer neuen Generation ihren zeitlosen bahianischen Geist näher. ,Adrians Liebe zu Brasilien ist größer als die vieler Brasilianer", sagen sie und betonen, wie aufmerksam er zuhört, studiert und die Rhythmen, Geschichten und Gefühle ihrer Kultur vermittelt. Das Ergebnis ist ein Album, das eine Brücke zwischen dem Mercado Modelo in Salvador und der globalen Bühne schlägt und die folkloristischen Traditionen Bahias mit der analogen Seele von Jazz Is Dead verwebt.

The soundtrack features music from the show 360, choreographed by Mehdi Kerkouche.

In 360, French choreographer Mehdi Kerkouche breaks away from traditional choreographic codes to harness the immersive energy of a live concert, heightened by Lucie Antunes’ electronic score and set within Emmanuelle Favre’s grand scenography. Standing all around a circular stage, the audience becomes an integral part of the experience. Through a series of vibrant tableaux, eight dancers deliver a striking portrait of contemporary youth, in search of a voice and representation.

Conceived as a collective driving force, the original soundtrack composed by Lucie Antunes plays a central role in the 360 experience. At the crossroads of electronic music, live energy and percussive writing, the score envelops the space, interacts with the dancers’ bodies and propels movement into a continuous dynamic. More than an accompaniment, it acts as a unifying force, creating a vibrant tension between pulses, textures and silences, and transforming listening into a sensory and celebratory experience.

360 will be performed on March 9, 10 and 11 at the Élysée Montmartre in Paris.

Respect The Craft returns with its sixth release, featuring Chicago House mainstay DJ Sneak and a rework from Tripmastaz. The record unites facets of Sneak’s style, shifting between raw house and acid experimentation yet remaining grounded in a direct, club-focused approach.

“Future” sets a tougher tone than typical for Sneak, anchored by driving drums, sharp 303 lines, and tribal-leaning percussion that fuel the track's momentum. On “No Reasons”, energy eases into a deeper house swing, with soulful vocal snippets atop a slower groove and acid accents adding subtle tension.
On the flip, “La Clave Boricua” stands out with looping Puerto Rican vocals, dense percussion and a rolling structure proven effective in larger rooms throughout Tripmastaz’s sets over the past 3 years. Tripmastaz’s “Spectral Pressure Dub” distils the original track, emphasising its funky bass and vocals, using subtle pads to expand the space over time.

With Future EP, Respect The Craft expands its catalogue with a release that strikes a balance between character and utility, bringing together established voices in a format that remains focused, effective, and built for the club.

Tied returns with its next vinyl-only release, timed for the spring and summer season. Mr Chic EP brings together four groove-led House & Tech House cuts from two emerging artists: three originals by Lose Endz, alongside a remix from Velvet Velour.

“Mr. Chic” opens with a smooth combination of tight drums, warm chords, and soft pads. Subtle ’90s House references sit within a modern, functional framework, resulting in a steady, floor-focused track.

Velvet Velour’s take on “Mr. Chic” introduces his characteristic swing and rhythmic phrasing. While retaining core elements, the groove and structure are reshaped, giving the track a more dynamic, driving feel.

“Churruca” moves deeper, built around a driving groove and evolving chords that gradually unfold into a Detroit-leaning progression. The arrangement develops patiently, creating a hypnotic, immersive feel.

On “Let The Acid Begin”, a rolling 303 line introduces a rawer edge. Vocal snippets and acid textures interact with a consistent groove, keeping the track direct and effective for later hours.

Across all four tracks, the EP stays grounded in groove and function—crafted for extended play, from warm-up through to more intense moments on the floor.

Information Society's Running was the band's debut single, released in 1985. Originally distributed to club DJs, it quickly became a club hit, especially in New York, and attracted the attention of Tommy Boy Records. The song hit number 2 on the Dance/Club Airplay charts. The b-side to this 7 features the instrumental version of the song.

Remixed and recreated from original recordings 2001 to 2008 in The Box by Jon Greig, Leicester UK.

Original versions were first released under the BeatBigot alter ego, apart from Toofast as Silver.

Cloud Management return to Altin Village & Mine for a unique collaboration with New York writer and creative polymath Vivien Goldman.

A pairing spanning generations and geography, but with a musical overlap that is quite fitting in both process and result. Cloud Management’s jammy, improvisational approach to their dubby electronics blends well with Goldman’s idiosyncratic vocal style, which has its origins in the early days of post–punk and UK dub experimentalism. Cloud Management blend many historical aspects of German electronic music into something distinctly their own, while retaining a view well beyond those borders or any particular era. This approach fits well with Goldman’s deep multidisciplinary career, not easily defined because of its eclectic abundance across disciplines, yet always orbiting around music as its foundation.

When it comes down to it, these are great tracks created in the same way they sound: loose but refined, circling and turning inwards and outwards, back onto themselves. A dub of a dub of a dub, but never falling too far from the source — the minimalism necessary to deliver a direct, steady resolve and a gripping listen.

The B–Side of the record features three remixes by artists from across the globe, all with strong connections to the front line of dancehall, dub, and electronic music experimentalism. Longtime Equiknoxx member Time Cow from Kingston (Jamaica), delivers a version of »Quick Cover Up« that represents a major overhaul of the original. This remix strips away much of the looseness of the source material and leans into a lush yet slightly darker atmosphere, created by layered synths and a masterful use of underlying percussion and melodic stabs.

Up next are Twin Cities, Minnesota–based Feel Free Hi Fi, who take on »Judge Judge.« The duo tighten things up, overlaying weighty vintage string synths and digi–flute melodies. This version feels designed for smoky, late–night dub sound system sessions, harkening back to dub’s foundations.

Last but not least is London’s Pat Orburn. Stripped way down, the remix rides an interplay between alternating minimalism and a more lo-fi but lush exuberance, somewhat reminiscent of a bossa nova–esque minimal synth sound. This version’s lo–fi pop sensibility provides a fitting contrast and completes an eclectic yet copacetic trio of remixes for the record.

Billie Eilishs mit fünf GRAMMY®-Awards ausgezeichnetes, mit Multi-Platin ausgezeichnetes Debütalbum
mit den Titeln „bad guy“, „when the party’s over“ und „you should see me in a crown“ – WHEN WE ALL
FALL ASLEEP, WHERE DO WE GO? – ist nun als limitierte erste internationale Pressung auf babyblauem
Vinyl erhältlich.
Diese Schallplatte besteht aus BioVinyl, das zur Vermeidung von Klimabelastungen das üblicherweise
bei der Vinylherstellung verwendete Erdöl durch Altöl und Abgase ersetzt. Alle Verpackungen aus Papier
und Karton sind FSC®-zertifiziert und bestehen zu 100 % aus Recyclingmaterial. Die Druckfarben sind
naturbelassen und pflanzlich, der Glanzdispersionslack ist wasserbasiert. Anstelle von Folienverpackungen
werden wiederverwendbare Hüllen aus 100 % recyceltem Polyester verwendet.
Billie Eilishs Debüt-EP mit weltweit über 2,6 Milliarden Streams, darunter „ocean eyes“, „bellyache“ und
„idontwannabeyouanymore“ – „dont smile at me“ ist jetzt als limitierte, weltweit erste internationale Pressung auf transparentem Vinyl erhältlich.
Diese Schallplatte besteht aus BioVinyl, das zur Vermeidung von Klimabelastungen das üblicherweise
bei der Vinylherstellung verwendete Erdöl durch Altöl und Abgase ersetzt. Alle Verpackungen aus Papier
und Karton sind FSC®-zertifiziert und bestehen zu 100 % aus Recyclingmaterial. Die Druckfarben sind
naturbelassen und pflanzlich, der Glanzdispersionslack ist wasserbasiert. Anstelle von Folienverpackungen
werden wiederverwendbare Hüllen aus 100 % recyceltem Polyester verwendet.

Phantasy transports back to 1982 for a faithful reissue of the highly sought after ‘Fools Are Friendly’ from Xclusiv, carefully re-mastered from the original tapes.

The alias of sisters Karen and Maxine Berlinski, Xclusiv emerged inconspicuously from the London borough of Croydon with a sophisticated vision of cosmic disco pop, linking the suburbs with Soho’s neon-tinted nightlife. Decades later, and in close collaboration with the sisters, this highly sought-after record arrives lovingly reissued by Phantasy in its original, sensuous form.

Originally self-released on Le Maitre Music, a record label spun-off from their family-run fireworks and pyrotechnics company, ‘Fools Are Friendly’ has the irresistible sense of a radio hit that never was. A brilliant DIY reflection of the disco and soul that dominated the charts of the time, its glossy, primitive electronics echo the synth experiments of Giorgio Moroder or Didier Marouani, pioneers that were transforming pop music.

The extended mix provides an overture to the sisters’ twinned vocals, unfolding with delectable disco drama. In contrast, the Instrumental Mix lets the record’s blend of elements truly breathe, a synthesised version of Xclusiv’s irresistible vocal hook holding court between timeless arpeggios and subtle modulation.

Risk/Reward’s third installment comes from Brooklyn-based California native Chuwee, a rising star with records in the bags of the scenes most discerning selectors. Teaming up with homies Sasta, Seb Hall and Gaspar Muniz to form the Wizards on Waverly, they deliver a wildly creative and versatile collection of funk-drenched floor fillers.

On the a side: 4TJADEN combines crunchy electro house drums with a twisting, monstrous analog bass lead and 80s synth pop strings, before euphoric chords and a killer acid line send this one in to the cosmos!

Let’s Talk About Sex is a big, bad, booty bouncing slice of West Coast electro funk. An ultra groovy and addictive bass line, naughty vocals, spooky synth lines and rays of acid sunshine straight from California, make for an infectious party cut that gets the floor rocking every time.

On to the b-side: Slippy Jim’s is a laid back, dubwise, chugger, perfect for warming up, day time sessions or late in the afters. Crunchy analog drums patter over a warm, playful bass groove, speckled with dubby stabs, an imposing synth lead and vintage Jamaican spoken word vocals transport you to Kingston after party where the rum and vibes flow in equal measure.

Pioneer of the dub tech house sound Grant Dell delivers a gargantuan remix, with enough weight to break even the sturdiest of scales. Chunky yet detailed drums, a sub-heavy & driving bass line, acid squelchs and dubbed out stabs create an absolute weapon of a track, with a truly epic breakdown featuring a legendary vocal that gets right under your skin and stays there.

Heavy support from Enzo Siragusa, Harry McCanna, Bushwacka!, Dyed Soundorom, Anna Wall, CHKLTE and more.

Masayoshi Fujita & Jan Jelinek, live in Kyoto, 29th June 2025 at Shimei-Kaikan, Kyoto

The concert took place as part of a Japan tour by the duo in June/July 2025. The show in Kyoto was organised by Tatsuya Shimada (night cruising). After a solo concert by Masayoshi Fujita and Jan Jelinek, the two performed as a duo.

faitiche edition is a series of concerts on tape cassette. The recordings are not available digitally. Buyers/owners of the tape can send a photo of their cassette by email to info@faitiche.de (Subject: »das digitale Konzert«) to receive a Bandcamp download code free of charge.

Sound recording: Kunihito Kizuka
Mastering: Jan Jelinek
Drawings: Vincent Klingelhöfer
Photo: Yoshikazu Inoue
Design: Tim Tetzner

The Romantic, the new album from Bruno Mars. The fourth studio album from the global superstar and 16 time GRAMMY® Award-winning artist marks Mars' first solo album release since 2017's 24k Magic and follows chart topping collaborations with Anderson .Paak as Silk Sonic, as well as smash hits with Lady Gaga and ROSÉ.

Available for pre-order on the 9th January at 5AM GMT and set for release on the 27th February 2026.

Sixteen-time GRAMMY® Award winner and thirty-three-time GRAMMY® Award nominee Bruno Mars is a celebrated singer, songwriter, producer, and musician who is one of the best-selling artists of all time and now continuously the number-one most listened-to artist on Spotify. With recent hits like “APT.” with ROSÉ and “Die With A Smile” with Lady Gaga—the latter earning him two nominations for “Song Of The Year” and “Best Pop Duo/Group Performance” at the 67th Annual GRAMMY® Awards—Mars has celebrated another extraordinary year in music. Among his robust list of accolades, some of which include “Album of the Year” for 24K Magic at the 60th Annual GRAMMY® Awards and “Record of The Year” for Silk Sonic’s “Leave The Door Open” at the 64th Annual GRAMMY® Awards, Mars has held the number one global song for more weeks than any artist in 2024 with both “APT.” and “Die With A Smile.”

The second chapter of the journey through the bamboo forests, sounds, and visions of some of the most eccentric artists who remained in the shadows of Japanese new wave. Between Kraut and electronic impulses, chamber music for glass dolls and avant-garde club tightrope walkers.

Side A

栄養 Boys
(Eiyō Boys: Nutrient Boys)
1 Blood Sunday 4:15
2 Bad Man 4:11
From Blood Sunday / Bad Man (1982)

3 Untitled 1 0:49
4 Untitled 2 2:57
5 Untitled 3 2:38
6 Untitled 4 1:28
7 Untitled 5 0:42
8 Untitled 6 1:35
9 Untitled 7 1:42
10 Untitled 8 1:37
From = (1981)

Side B

栄養 Boys
1 Asia in Japan -You Know? 6:10
2 Mad Call 4:53
From Asia In Japan (1981)

DUPPI
3 三千の夜 (Three Thousand Nights) (Velvet Night) 5:10
4はつねつのみやこ (Hatsune no Miyako: Capital of the First Song) 5:17
From Velvet Night (1986)

Obwohl es sich nicht eindeutig einem bestimmten Genre zuordnen lässt, hat ,A Way In" was von Afrobeat, Cumbia, Salsa, Jazz, Reggaeton und Soul - eine Mischung aus kraftvollen Rhythmen und geheimnisvollen Melodien, die Mitchum Yacoubs zweites Album in der Welt der Groove-Musik hervorstechen lässt. Zwischen synkopierten Dance-Tracks, ätherischen Klanglandschaften und gleichmäßigen Backbeats finden sich Geschichten über Angst, Liebe, Aufstand und Heilung. Zehn Tracks, die den menschlichen Geist offenbaren und feiern. Yacoub hat das gesamte Album selbst aufgenommen, produziert und abgemischt und damit den sorgfältig geschichteten Sound sichergestellt, den die Fans seines Debüts ,Living High in the Brass Empire" so schätzen. Wir treffen wieder auf Travis Klein, Bradley Nash und Wesley Etienne, seine unnachahmliche Bläsersektion, die man weder auf Platte noch auf der Bühne verpassen sollte. Mit den aufstrebenden Stimmen von Divina Jasso und Lourdes Iri auf der Hälfte der Tracks mangelt es ,A Way In" nicht an herausragenden Singles, die dich von morgens bis abends begleiten werden.

A true hidden gem from the early days of the internet, TRANCEFELD’s “Love Song” finally resurfaces more than twenty years after its creation.



Originally composed in 2002 by the underground German producer, this cult deep house track, defined by its unforgettable bassline, psychedelic vocals, and delicate violins, now receives a long-awaited official re-release. It arrives alongside a brand-new single, “Echoes Within Silence,” a hypnotic tech-house journey that immerses listeners in a world of rhythm and emotion. TRANCEFELD’s timeless, Berlin-infused sound is back.

NOW That’s What I Call 70s Soul brings together 50 era-defining tracks from one of the most powerful decades in soul music, featuring classics from Motown legends, Philly Soul pioneers, smooth balladeers and funk innovators – all pressed across 3LPs on beautiful blue vinyl… Out April 24th!

LP1 opens with one of the decade’s most recognisable love songs: Al Green’s ‘Let’s Stay Together’, a US #1 and UK Top 10 hit that became his signature recording. It’s followed by Marvin Gaye’s ‘What’s Going On’, the socially conscious masterpiece and title track from his landmark 1971 album, and Diana Ross’ Ain’t No Mountain High Enough’, which topped the US chart and became her first solo #1. Stevie Wonder’s ‘Signed, Sealed, Delivered (I’m Yours)’ remains one of Motown’s most joyful recordings and comes before Commodores’ ‘Easy’ introducing Lionel Richie’s smooth ballad vocals. The side also includes Bill Withers’ timeless ‘Ain’t No Sunshine’, a Grammy-winning classic, and The Stylistics’ lush ballad ‘You Make Me Feel Brand New’, a UK Top 3 smash, before closing with Rose Royce’s beautiful ‘Wishing On A Star’, one of the most loved soul ballads of the era.

Flip the LP over and The Jackson 5’s ‘I Want You Back’ – the group’s explosive debut single opens the side. Smokey Robinson & The Miracles’ ‘The Tears Of A Clown’ became a UK #1 and is followed by The Supremes’ Nathan Jones’ showcasing the group’s evolving psychedelic-soul sound. Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, Chairmen Of The Board’s Top 3 smash ‘Give Me Just A Little More Time’ and The Trammps’ ‘Hold Back The Night’. The O’Jays’ joyous ‘Love Train’ leads to The Blackbyrds’ Walking In Rhythm’, before the side closes with the romantic classic ‘Always And Forever’ from Heatwave.

LP2 opens with The Temptations’ epic ‘Papa Was A Rollin’ Stone’, a Grammy-winning US #1 remains one of the most stunning recordings from the Motown catalogue, is followed by Isaac Hayes’ ‘Theme From “Shaft”’, an Academy Award-winner and a US #1 smash. More funk follows from Ike & Tina Turner, James Brown with one of his key tracks ‘Get Up (I Feel Like Being A) Sex Machine’, Edwin Starr’s powerful anti-Vietnam protest song ‘War’, and Sly & The Family Stone’s hugely influential ‘Family Affair’. The Delfonics’ sublime ‘Didn’t I (Blow Your Mind This Time)’ comes ahead of Billy Paul’s timeless ‘Me And Mrs. Jones’ which closes the side…the other side begins with the 1977 #1 from The Floaters with ‘Float On’, before the breathtaking vocals of Minnie Riperton on ‘Lovin’ You’. The Isley Brothers’ Summer Breeze’ and William DeVaughn’s ‘Be Thankful For What You Got’ have become enduring classics and are followed by a run of ‘80s pop-chart crossover hits completing LP2 from Detroit Emeralds, The Moments Raydio and The Tymes’ #1 ‘Ms. Grace’.

LP3 opens with the unmistakable voice of Barry White and his US #1 hit ‘Can’t Get Enough Of Your Love, Babe’, before Aretha Franklin’s ‘Until You Come Back To Me (That’s What I’m Gonna Do)’, delivers one of her smoothest performances. Al Green’s ‘Tired Of Being Alone’ and Gladys Knight & The Pips’ ‘Midnight Train To Georgia’ are followed by minimalist soul classic ‘Why Can’t We Live Together’ from Timmy Thomas, and the side closes with a trio of defining ballads:- George Benson’s ‘The Greatest Love Of All’ Diana Ross’ ‘Theme From Mahogany (Do You Know Where You’re Going To)’ and The Jackson 5’s ‘I’ll Be There’, their biggest hit…while over on the final side…Freda Payne’s #1 ‘Band Of Gold’, opens alongside Ann Peebles’ influential and much covered ‘I Can’t Stand The Rain’.Marvin Gaye’s sensual ‘Let’s Get It On’ became another US #1, while Harold Melvin & The Blue Notes featuring Teddy Pendergrass deliver the contemporary standard ‘If You Don’t Know Me By Now’. Three massive UK #1s are next…The Stylistics with ‘Can’t Give You Anything (But My Love)’, The Three Degrees’ peerless ‘When Will I See You Again’ and Deniece Williams’ ‘Free’. This amazing collection closes with two timeless ballads: Earth, Wind & Fire’s ‘After The Love Has Gone’, a Grammy-winning classic, along with ‘Three Times A Lady’, a huge worldwide #1 for the Commodores.


NOW That’s What I Call 70s Soul, 50 defining tracks from one of music’s greatest decades. Out April 24th.

4am Kru make a return to vinyl with the Love On The Line EP, an exploration of the familiar, bittersweet story of a romantic relationship between two people, from start to finish.

Across seven tracks led by collaborator Layla Sibelle, we feel every facet of this universal human experience. Exploring the more vulnerable shades of 4am Kru’s proven dancefloor technique, each track on the Love On The Line EP shakes sound systems, while staying true to the record’s emotional core.

From the tingle of excitement depicted on 'Rush', to the disappointment of being let down on ‘Boy’, the relationship ending on ‘Hush Now’, alongside everything in between, Love On The Line EP keeps bodies moving, while pushing the sound and songwriting of 4am Kru in unexpected new directions.

Repress!

Belgian techno powerhouse Charlotte de Witte has unveiled brand-new EP ‘Apollo’, out 14th October on her own KNTXT label.

An uncompromising collection of club tracks, ‘Apollo’ opens with ‘Missing Channel’, a turbo-charged acid techno cut pairing pumping kick drums with squelching 303s. Next up, the title track shifts things into warehouse techno territories, juxtaposing bludgeoning kicks with haunting, ethereal vocals, while ‘Mercury’ cultivates a striking interstellar energy. Closing things out, ‘PPC’ is by far the record’s most experimental track, a shimmering, beatless creation laced with samples of space transmissions.

"The vastness and solitude of space always interested me. A compelling contrast between monumental power and the vacuum in between.” Charlotte explains. “This diversion can also be found in techno music, a pure simplicity divergent in power."

Charlotte de Witte has become known for her dark, stripped-back brand of techno, acid and anything high energy. She’s often crossing borders but maintains a deep form of respect for the underground. Highlight performances across the continents - including being the first techno (and female) DJ to headline the mainstage at Tomorrowland - Mixmag and DJ Mag covers, high-ranking positions in the charts and lists confirm her status as nouveaux techno royalty.

Heavy, breakneck club fodder, ‘Apollo EP’ is Charlotte de Witte at her bold and brilliant best.