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Leeds-based producer Nathan Alexander kicks off KUJE's debut release with PROFETIA EP, a bold four-tracker that drips personality and club-focused energy.
A rising name turning heads from the likes of Blasha & Allatt and NIX, Nathan brings his signature blend of cheeky rhythms and weighty low-end to the table. KUJE001 proudly marks the first chapter of the label's journey, dedicated to unearthing raw, unfiltered talent.
The A-side delivers serious impact: Bound is a propulsive dancefloor tool built for DJs, while Rabbit Hole hits hard with distorted effects and a Blawan-esque edge. On the flip, Tracer floats into spacey, bounding territory with a touch of psychedelic energy, already picking up early support. Closing the release is Technical Itch, a UK-rooted banger that ties together the artist's heritage with the label's forward-thinking intent.
Each track carries Nathan's unmistakable character-playful, punchy, and irresistibly 2-steppable. This is techno with a wink, made for sweat-soaked floors and heads-down moments alike.

"A TRIBUTE TO T-1000" Lead off "Mashup" is absolutely essential mid-90s Boo Williams. Rediscovered on a lost DAT originally intended for Relief Records, unreleased and unheard until a few months. Boo Williams pays tribute to legend T-1000 with a techy heater on the B. Also features 2 dubs by Ricardo Miranda.

EDIT & DUB diggin deeper to provide us Vol. 2 in the rarest of the rare series. Expect the unexpected alongside the unreleased disco versions we've come to love. Limited press, colored vinyl. Paper Sleeve. Don't sleep!

An immersive journey through the depths of soul and consciousness, this masterpiece weaves together elements of R&B, neo soul, and hip-hop, enveloped in a message that transcends the ordinary, ERIN has previously worked with the likes of TALIB KWELI, BUGZ IN THE ATTIC, and ATJAZZ.

"a flash of sunlight, and down the slope... the redwoods soar all around... we're working on many levels here"

the fourth 12” on Laen Disc from Farren Laen. hand stamped & numbered in NYC. 150 copies.

The 1st 12" from Chicago DJ/Producer JAYCEEINDAMIX'S label, GINZU EDITS. Side A features a sizzlin disco re-edit of "SWEET SUMMERTIME LIVIN" alongside a grimy edit of JANELLE MONAE's "PHENOMENAL." On the flip side are two lush and soulful 4/4 edits of GIL-SCOTT HERON and LALAH HATHAWAY. You might remember the OMAR remix and INCOGNITO remixes he did with us many many years ago.

This year marks the 75th anniversary of the release of John Lee Hooker’s ‘Boogie Chillen’. Recorded in Detroit in September 1948 by Bernard Besman – who had his own Sensation label – it was licensed to Modern Records in Los Angeles and released on 3rd November. The flip side was ‘Sally May’.

To say that the single caught fire is an understatement. It is believed that ‘Boogie Chillen’’ shifted in the region of a million copies in 1949 placing Hooker on the map as a blues guitarist and singer of the first rank – where he stayed until his death in 2001.

The original was, of course, released as a 78rpm single. In 2020 we issued ‘Boogie Chillen’ with ‘Boogie Chillen’ #2 on the flip as a limited edition of 500 copies that played at 78rpm.

We now present ‘Boogie Chillen’’ and ‘Boogie Chillen’ #2’ as a limited edition 7” single that plays at 45rpm. Despite being 75 years old, this classic recording still sounds so fresh and rhythmically propulsive it is hard to believe that you are listening to one man and his guitar playing live and stomping his feet in a room. Besman caught lightening as it flashed, just like Sam Philips did some years later with Elvis Presley in Sun Studios.

There are classics. There are stone cold classics. And there is ‘Boogie Chillen’’.

On September 26th, 2025, two decades and seven albums into his career, American musician, composer, and academic John Maus will release his most transcendent work yet: Later Than You Think. Arriving via his new label YOUNG, the album explores themes of grief, justice, rebirth, transformation, and spiritual warfare - coalescing into a work of confession and confrontation: an aural metaphysics where affect, intellect, and spirit converge in search of the beautiful, the truth and the real. Written, produced, and recorded in the Ozarks of Southwest Missouri, Later Than You Think spans 16 tracks and contains multitudes - the lush and the bare, the sacred and the profane, minimalist discipline and maximalist indulgence, counterpoint and simple pop harmony. At its core, the album reaffirms John Maus’ commitment to radical sincerity and emotional truth in an age of alienation. Powered by confrontation, faith and transformation - driven by the urgent belief that meaning still matters, and time is of the essence. Holding a degree in experimental music from CalArts and a PhD in political science from the University of Hawaii, Maus has been dubbed a “philosopher pop star” and “analog futurist” for the way he merges academic rigor with lo-fi synth-pop aesthetics. His influence spans genres and generations—from UK grime icon Skepta, who sampled his track “I’m Only Human,” and Gen-Z rapper nettspend, to filmmaker Josh Safdie, actor Natasha Lyonne, and photographer Wolfgang Tillmans. His track “Cop Killer” features in the 2025 film Friendship, underscoring his continued relevance across high and low culture. With five previous albums under his belt - Songs (2006), Love Is Real (2007), We Must Become The Pitiless Censors of Ourselves (2011), Screen Memories (2017) and Addendum (2018) - Maus has carved out a singular path where irony, grief, joy, and absurdity can coexist and gained a cult following along the way. On Late r Than You Think Maus doesn’t just return—he confronts, confesses, and transforms. The result is not only a career-defining work, but a rare artistic offering: one that dares to believe in meaning, beauty, and the possibility of transcendence

Paradise Lost’s sixth studio album (1997), which charted well across Europe, marked something of a change of direction for the West Yorkshire group: a transition from gothic metal to a more electronic approach, epitomised by the lead single ‘Say Just Words’, which remains a fan favourite and one of their biggest streaming tracks. This re-tooled aesthetic proved slightly controversial at the time but by the time of its acclaimed 20th anniversary reissue (mirrored here), for which it was remastered by Jaime Gomez Arellano, the general consensus was that the riffs, lyrics, and compositions on One Second are all vintage Paradise Lost. As noted by Decibel magazine, “There is a natural flow on display throughout the 12 songs that is akin to watching a favourite actor take on a somewhat different role than he or she is known for— and killing the performance.”

The A Side is one of the most adventurous synthed out peak hour spiritual- level boogie rager. Flip Side is another psychedelic disco freak out stomper. Hasn't sold on Discogs in almost 15 years. Test presses co-signed by fellow Chicago disco Kingpins MARK GRUSANE and DARRYN JONES.

After a year in studio together PST and DJFB are ready with another live studio excursion from the PSTStudion! They continue to explore the live possibilities in the studio. With more additional gear and upgraded old-school synch and programming methods! This time a more up tempo affair. Trippin’ into a dance floor oriented territory, with 808 grooves, the usual heavy dubbed out effects, subtle melody hooks and some psyched out live acid flow. Three track 12″ tripper with a deep touch and groove.

The Weeknd's sophomore studio album Beauty Behind The Madness was released in 2015 and features the #1 hits "Can't Feel My Face" and "The Hills." 10th Anniversary Edition 2 LP set is pressed on standard weight transparent vinyl.

La Rama’s club ready sub-label RamaJam is back after a long stretch with 6x new traxx for the dance. Introducing for the first time on record, two Montréal duos that have been rocking the city for the last few years.

The Wet Steppahz are Boogaloo Jones & Pitza Dave, young producers extraordinaire, engineers at local studio Breakglass, live PA performers and organizers of the 140/160 party series. You can also find Boogaloo every weekend laying it down with the Fella’s Q-Tips & Curls crews. Young guns on the come up, be sure to follow their label STEPPATRAXX for some hot fire.

DAPASHU? is the meeting of veteran producer Shash’U & long time local DJ, promoter and studio fiend Dapapa. A quick lookup on Shash’U will have you inundated with originals and versions for you to drop at any jam. A mainstay at dance competitions, a regular feature of institution Loop Sessions, and always ready to share a tip from his production tool kit. Dapapa gets busy on the regular at venues around the city & heads both the Ol’Jack Nu Jack organization and DASA (a Montréal production suite bridging local and international likeminded artists). A fellow who takes no tune for granted.

Musically we make it easy, 3 cuts per side, representing each crew’s essence. No need to describe each tune, listen in and take notes on the mood + we laced you with those BPMs on the label so you can throw them in to the mix at any moment, no stress!

Mastered and cut in the city by our man Cristobal Urbina. Pressed in Canada & distributed from our brick and mortar shop located at 77 rue Bernard O, Montréal QC, H2T 2J9.

PS Props: These tunes were selected from recordings of the Steppahz and DAPASHU? playing live for a Seer Records party at Osmo x Marusan in April 2024… Big shout out to Emiliano & Maximum Enemi <3

The 2020 digital exclusive finally gets a proper wax release. TYREE looks to the past, laces up his MC boots and reminds us why he's a godfather of hip-house. TYREE & UNG-KEL HUUD shine over the killer bass line on the OG mix. WADE TEO on the remix, w/ instrumental and vocal mixes on the flip.

A rare sought-after LP of French proto-disco from BERNARD ESTARDY (AKA ESTRAK LANCIOS) alongside JEAN-PIERRE BOURTAYRE. Composed during 1977, the time when space was the place and cosmic DJ DANIELE BALDELLI was rocking the world at Italian discotheques. Mystery colored vinyl! Pic sleeve.

RECORD STORE DAY EXCLUSIVE!

Late 70s Westcoast Yachtpop you can almost dance to!

Man nannte sie nicht umsonst die - Me Me Me Generation'. Die sehr von sich überzeugten bärtigen Musiker (und die Musikerinnen in wabernden Kleidern), die Mitte/Ende der 70er in L.A.'s Strassen rum hingen und sich selbst feierten. Der geschmackvolle Teil der Musik-Welt hätte diese Musikrichtung noch vor einigen Monaten nicht mit der Zange angefasst. Zu sanft, zu übertrieben, zu luxuriös, zu offen hedonistisch, zu ausladend. Zu unecht, zu gekünstelt, nicht authentisch, und dann noch diese unfassbaren Akkordwechsel...Aber ' Too Slow To Disco - vol. 1' hält sich nicht auf mit solchen alten Geschichten und Klischees. Wir alle wissen, sobald Musikgenres alt werden, scheinen die wichtigen, relevanten Teile auf einmal durch und diese Zusammenstellung versteht sich als Dokument eines fast vergessenen Teils der West Coast Musikwelt Mitte bis Ende der 70er Jahre.Es hat ein Jahr gedauert, die von uns ausgewählten, meist unbekannteren Songs aufzutreiben. Songs von Musikern, die damals gerade ihre ersten, oft wenig erfolgreichen Schritte unternahmen, bevor sie Jahre später mal eben eine Handvoll Welthits aus dem Ärmel schüttelten und die - grosse Welle' der Musik der kalifonischen Küste surften. Also, willkommen zu Volume 1 unseres sogenannten PRM (Personal Rediscovery Movement).

Hip Hop legends Micall Parknsun, Joker Starr & MCM (Caveman) join forces over a dope Jazz T boom bap killer "Nebula X". 7" vinyl with the instrumental on the B-side and amazing artwork by Matt Littler!

This is the fourth volume in the collection dedicated to the Arlecchino nightclub in Santa Maria Codifiume, in the province of Ferrara. It's once again a double-vinyl set that gathers the best of Afro, Funky, Rare Groove, and Black Music, as played at the club by resident DJs Giancarlo Lelli, DJ Ghello, and DJ Frank.

Cassette edition of Death Is Not The End's contribution to the Blowing Up The Workshop mix series.

"A trip across the frequencies of Bristol's pirate radio stations via cut-ups of broadcasts, taken from the late 1980s to the early 2000s ~ also a love-letter to my childhood, an audio document of the years I spent growing up in the city."

Death Is Not The End's mixtape-style selection of clips from tapes recorded live at soundsystems playing during London's Notting Hill Carnival between 1984 and 1988, originally broadcast on NTS Radio in August 2018, is the latest to be committed to cassette as part of their 10th anniversary series. Featuring sounds from the likes of Jamdown Rockers, Saxon, Java Nuclear Power, Killerwatt Turbotronic, Stereograph, Sir Coxsone, Volcano Express and more.

Audio sourced with the indefatigable efforts of the Who Cork The Dance crew - big thanks going out to Jayman, Ruff House, Keimo, Omar, Gee Wizz and the one Jah Humble.

A 90 minute cassette-only mixtape taking in Filipino folk, rock, country & OPM from the 1970s, originally broadcast on NTS Radio back during the early months of the pandemic. One missed out of the collection of DINTE radio shows committed to tape as part of 10 year anniversary celebrations last year.

Death Is Not The End platforms a selection of brooding, haunting Turkish tango recordings from the decades following the foundation of the republic in the early 1920s through to the mid 1950s.

Encounters with the ineffable.
The dormant roused.
Openness, observation, questioning, humility, sincerity.
Re-imagining the known, that which is untapped, all that was concealed.
Pathways to wholeness unearthed.
Meeting of truest self.
Temporal versus infinite.

The fallout.

Sudden disintegration, falling away, continuity shattered.
Facade ruptured, persona released, identity laid bare, history withdrawn.

Appearance of no-thing-ness.

Pregnant with possibilities, birth out of chaos, mystery unfolds.
Healing through anguish, renewal through trauma.
Newborn imaginings.

Accept the summons.

Chapters of lucidity, adventures in clarity.
Alignment in harmony.
All encompassing.
Reorientation emerges, subsequent renewal, transcendent insights, enlightened revelations.
Surrender reached, acceptance embraced, liberation appears.

Transmutation.

Solemn symbols of gratitude.
New found depth of meaning, of understanding, of moving, of seeing.
Beyond mental illusion, unifying as nature, expression of stillness.
Vision of the undivided, transmission of wisdom.

Flowering into being.

- Kas ॐ

Techno stalwart Mike Vinyl from Austria returns with Bloodline – a timeless, high-energy techno track that masterfully blends warmth and raw power. It’s a track that breathes – deep, rolling, and relentless – fusing emotional depth with a driving, physical intensity. With RDL, the pressure builds even further, a no-compromise peak-time tool that keeps the heat on. The release closes with Fading Lights, a slow-burning downtempo piece that drifts into atmospheric, introspective terrain.

‘Threads’ was my 1st album as Om Unit and this 10-year re-mastered anniversary edition comes around at what feels like a similar time for me of experimentation and finding new ways to connect sounds. Something of a full circle of sorts but then again I am marking time with this re-issue at a time where I can look back and feel very proud of the work still sounding so convincing. Now even better thanks to Subvert Central’s Robert Macchiochi!

Reflecting on the past 10 years since this record came out, I can say it’s been an incredibly fruitful journey, with the most striking element of it all being the opportunity to travel and meet so many people from so many different backgrounds with different world views and stories. I found that ‘Threads’ for many was their first insight into my music, and for some people was something of a milestone in their journey of exploring music itself with tracks like ‘The silence’ and ‘Governor’s Bay’ having been mentioned over the years as amongst favourites alongside some of the work released on Cosmic Bridge and Civil

I want to take a moment to give my Love and gratitude to all the featured vocalists. Thanks to Simon Jinadu for his angelic voice on ‘The Silence’, to Charlie Dark MBE for his reflective words on ‘The Road’ and to Alex ‘Bogues’ Rendall aka MC Jabu (of Jabu) for his intense delivery on ‘Patients’ as well as Jneiro Jarel for his self-reflective narration on “just sayin’” All 4 are still outliers in their own field and upstanding creative forces to boot. I feel blessed to have been able to capture them on this project.

Threads was made in a bedroom of 2a Station Rise in Tulse Hill, a flat I shared with journalist and writer Laurent Fintoni, in a space that had such a great sound to it that I’ll always miss that room. I hope that you feel the warmth that I felt then whilst making it. It’s been an adventure since and whilst I’ve moved on from a lot of the tropes intrinsic to the album, it will always remain a body of work that is dear to my heart.


Enjoy!
<3

‘Cataclysm’ is a poignant call for revolution of both politics and consciousness, conveyed through ten distinct songs written and produced by Zanias between 2020 and 2024. Each piece of music inhabits its own aesthetic universe and rhythm, featuring elemental fusions of coldwave, italo disco, witchhouse, trance, breakbeats, hyperpop and even a touch of drum and bass. The unique amalgamation is best described as post-industrial ethereal wave, of Zanias’s very own signature. The subject matter grapples with how to move forward through times when civilisation and the entire ecosystem of the planet feel like they are on the brink of total collapse, while gazing back over hundreds of thousands of years of human survival in total awe of how far we’ve come. The lyrics aim for a balance of vulnerability and poetic strength, as the audience is beckoned to “thread the power through the pain”. While darker atmospheres are conjured through the sound design and instrumentation, the album ultimately directs itself steadfast toward the glittering sheen of hope. As the tempo ascends through the course of the album’s tracklist, so too does Zanias’s deep attachment to our sacred humanity and refusal to give in to despair.

‘Cataclysm’ represents an ambitious defiance of genre tropes in pursuit of pure artistry, with a potent political message delivered with assertive fervour and playful sincerity. Additional production was contributed by mixing engineer Trey Frye, best known for his work in the band Korine, and the album was mastered by Alain Paul.