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Early Support From Laurent Garnier, Jimpster, Logan Fisher, Dom Cappello & Sean Johnston

Did Virgo Is Back On The Label Featuring Vocalist Mickey L’ange And Delivers Yet Another Belter Called Dream Alone. Remix Package Including Black Spuma (Fabrizio Mammarella & Lauer), Jkriv (Rnt) & Marc Brauner (Houseum).

Apiento and Lexx join forces on some super nice edits for Discotecas. The first one has long been a staple of Apiento’s Test Pressing show and finally hits vinyl. The others are all new edits which sit perfectly in the current climate.

Cult reissue label Sticky Buttons returns with ‘Sweet Edits’, their first official foray into dancefloor edits featuring 4 remixes of Nigerian boogie legend Dizzy K by a hand picked set of superstar producers specially designed to get the party moving.

Starting with a bang, the A Side features a double hit of remixes to Dizzy K’s 80’s sleeper hit “Afrikan Jamboree”. First up is Clive From Accounts, frequent contributor to Razor-N-Tape and hot off the heels of his 2025 debut full length LP, Clive’s edit has gifted us a complete foot stomper, filled with popping synths and squelchy baselines the track has already been getting big plays by the likes of Optimo over the past 18 months. On track A2, well known dance floor magician Lipelis takes the reins, creating his Disco Dub version, expertly layering traditional african drums and vocal loops from the original to build a wonky club track laden with energy and soul as come to be expected from the artist.

Over on the B Side, South London based duo Make A Dance (M.A.D) take the formula from their own widely popular house inspired edits imprint to take apart Dizzy K’s “I’ll Never Love Again”, stripping it down into a teetering, chugging acid sprinkled weapon overlaid with a ferocious drum pattern destined to move even the stiffest hips. Last but not least, Japanese producer Mayurashka brings her signature subversive style to Sticky Buttons, flipping Dizzy’s K’s “Konga Mama” into a hypnotic tribal masterpiece, pulsating with a psychedelic techno edge ripe for blending in smokey club venues and dark mainrooms.

Four heaters not to be slept on. Hearing is believing and on this limited edition vinyl release the legend of Dizzy K sings again, finely tuned for 2026 dancefloors but always carrying the raw spirit of the original.

Mastered by Submarea Estudio
Cover Art Illustration by Alex Ram

Osaka's renowned record shop and club, Compufunk Records, proudly announces the relaunch of its label. A.I. Soul released in 2010, featured remixes by Mark Flash (Underground Resistance) and DJ 3000 (Motech). Now the updated Version 2.0 by DJ Compufunk includes four original tracks, pressed on vinyl. The release represents an evolution of DJ Compufunk's signature sound, blending jungle and Detroit techno influences with deep electronic grooves and emotional sequencing. Compufunk Records continues to push forward its vision of evolving Osaka's electronic dance music scene and connecting global audiences through the spirit of sound.

For SIDE B's fourth release, an EP by Portugal's own DJ Dextro is in line. Ultra efficient, fine tuned techno is put under a microscope by the international mainstay for this record. Using high pressure in the low-end and creative textures to decorate the tracks, Dextro solidifies his place as a mainstay with a biting performance on home turf. Balancing his uncompromising sound with mystical synth work, Dextro opens 'Lost Frame' with the title track. In this A1, he rolls straight into a tunnel with flashing percussion and lurking melodies far out in the stereo field. Dancefloor focused but with a hint of mysticism, 'Lost Frame' creates a captivating ambiance to introduce the project with promises of earworm groove. Quick to follow up, 'Disclosure Of Who We Are' sees more space between the elements, creating a whipping effect in the rhythm and rich in sound design. Synth stabs cut through a booming kick, creating urgency in an EP that was lacking none to begin with.

This spirit is maintained on the record's flip to the B side - this time with an added bit of funk and shuffle. 'Liberdade' throws a vicious synth sequence forward for peaktime use and sees Dextro define his space with concentrated transitions and booming percussive hits. Swinging along with the occasional vocal sample to emphasize the obscurity, the producer maintains his delivery of razor sharp focus in all of his elements. To conclude, 'Panoplia Abstracta' settles things with an ambient, even meditative fourth track. Staying insistent with his kick, Dextro lets go of the wheel to drift his record from the body to the mind with progressive arrangement and soothing textures to see off a whirlwind of an EP for SIDE B records. Words by Noah Hocker

2025 Repress

DJ Europarking lands on UFO Inc. with his debut EP. Tongue-in-cheek and extremely danceable, this is an incendiary EP. 'Boompahpah' gets things rolling with dense beats, a high-octane tempo and a choir-driven breakdown. '20inch Chrome' is a madcap cut that uses a variety of hip hop-esque samples, sirens and a tribal chant. On the flip 'Bitte Everyday' utilises breakbeats and a mixture of rapping, chanting, and zany effects to enchant the listener. Finally 'Like Trampolines' features hefty beats alongside an incendiary riff that is sure to cause havoc on the dance floor.

Back into sessions from 2000-2002. DJ Savage designed this 2 tracker with hot tribal techno cuts.

DJ Steaw returns to the forefront with a sharp new Deep House EP, forthcoming onHouse Puff label.This project, available in vinyl for collectors and in digital format for everyone, showcases DJ Steaw's mastery of groove and atmosphere. The four tracks presented hereare true gems for lovers of authentic Deep House: deep, driving basslines intertwinewith soaring melodic pads and subtly percussive rhythms.Expect an immersive sonic journey, perfect for underground clubs as well as sophisticated chill-out moments. The release on House Puff is a guarantee of quality and a refined sonic aesthetic. An EP not to be missed for anyone who appreciates Deep House inits purest and most effective form.

For their 11th release, djfix makes his long-awaited return. A Soft Place to Land features six driving, techy tracks flexing his familiar djfix steeze with swung, slamming percussion, deep chattering low-end, and a psychedelic sheen.

Credits:
Written by Ethan Donovan in Bedstuy, Brooklyn
Mastered by Mike Grinser, Manmade Mastering
Additional Vocals: namastrange

For its third release, Honey Trap turns toward the instinctual. Ritmo Animal is a record driven by body memory, where rhythm becomes language and movement becomes communion. Vancouver- and Colombian-rooted duo Dosis weave club music with lived histories, drawing from punk ethics, soundsystem culture, and a deep commitment to collaboration.

Formed by Daniel Rincon and Zachary Treble, Dosis operates in the space between structure and looseness, where grooves feel hand-built and edges remain intentionally rough. Across five tracks, Ritmo Animal resists clean categorization. House mutates into dub-soaked psychedelia, vocals surface and dissolve, and percussion swings between discipline and abandon.

The A-side opens with “I Want To Be Your Dog”, a low-slung, hypnotic burner featuring Alien D, setting the tone through repetition and restraint. The title track, “Ritmo Animal,” anchors the record in motion, with saxophone lines from Dave Biddle threading through percussive momentum and grounding the track in something tactile and human.

On the flip, “Malibu” offers a softer pull, with Hannah Acton’s vocals drifting through warm, unhurried rhythm. “Humo,” featuring Hashman Deejay, leans deeper into smoke and sway, while closer “Sancocho” stretches time entirely, favoring communal simmer over destination.

Ritmo Animal is music made for shared space. It is not concerned with polish or purity, but with connection, between scenes, cities, and bodies on a floor. Another chapter in Honey Trap’s ongoing exploration of intimacy, pleasure, and rhythm as refuge.

Right on time once again, the fifth outing on Punctuality welcomes Irish producer Drua to the fore. In typical Punctuality fashion the release draws influence from the canon of golden era late 90s and early 2000s dance music with an entirely modern production aesthetic, engineered for big rigs and sweaty dancefloors alike.

Nightfire is a fully realised vision of Drua’s sound that could best be described as contemporary hard house. All four tracks are laden with punchy, rolling basslines, detailed low end, vibrant stabs, sultry vocals, undulating rhythms and sprinklings of quintessential club sparks.

The nouveau handbag styling of UP kicks off the EP. Stuttered vocals, M1 organs and solid grooves are fused together with clever sampling that is sure to make this one a hit for the festival season of s/s ‘25, as early support from the likes of Roza Terenzi, Confidence Man, Spray, Sally C and Maara would indicate.

Job 2.3 has all the elements of a Punctuality anthem and maintains the big tune mood of the EP: skippy bass notes, low end wubs, subtle breaks, catchy vocal hooks and precise drums nail the brief in executing this prog-hard-house hybrid heater.

On the flip, Nightfire nods to classic leaning deep house through a peak time lens. Introspective pads make way for pulsing subs, sensuous vocal chops and hip catching basslines. This is one of those tracks that can shift the arc of a DJ set to the next level. Big tip here.

The EP concludes with Arch In Ur Back which has all the elements to work a dancefloor: multiple grooves, rolling breakbeats, party starting vocals and the modern sound design that punctuality has gained worldwide notoriety for. An all killer no filler EP in the form of four well rounded club tools from Drua that are sure to be mainstays for discerning DJs and Punctualists

2026 Repress

2 tracks
45 RPM

Compiled by Rey Colino.
Design by AJAM.

Gems return with another superb signing from the 90’s the mighty Eagles Prey. The release reworks a 1992 underground classic, originally produced by John Kennedy (Apple Records) alongside Lee Grainge (Fat Cat Records) and Paul Coleman (Rocket Science , Rehab/Offshoot , Zoom Records) — a lineage deeply rooted in UK electronic history.

On remix duties, the Circulation Mix delves deep and hypnotic already receiving heavyweight support from Laurent Garnier and John Digweed, underlining its club and tastemaker appeal.

Jim Rivers, a proven serial producer and DJ, adds his signature depth and precision, balancing modern floor functionality with timeless underground sensibility.

Rounding out the package Ranj Kaler continues his standout run, currently omnipresent across production, remixes, and DJ sets, delivering contemporary drive while respecting the original’s DNA.

A release that bridges heritage and forward momentum, built for discerning DJs, specialist radio, and late-night systems.

Everyone’s favourite Israeli digger is back for another round of gloriously rare edit heat on RNT!

‘Baila’ gets the party started with infectious flamenco chants and claps over a churning acidic groove, and ‘Disco Hummus’ rounds out the side with a bit of joyful disco cheek.

On the flip, ‘Sun’ turns an unlikely cover of a classic into an Afro Disco banger, and ‘Simba’ rumbles and rolls with restraint toward a hypnotic peak of brass and vocals.

Elado has done it again…Mazel Tov!

G.Field, Abraham and O-Money are the originators of the Elecno Sound! Death 2 Techtro Crew, Podybopping for our life! 4 massively slammin' slammers to define the Elecno Sound in 2025. Hard edged 4/4 electro-acid-tekno that takes you to another place. Proudly presented by Klasse Wrecks overlords Luca Lozano And Mr. Ho.

Elfenberg nurtures four meticulously crafted progressions, a digital pet project draped in velvet grooves. Evolving with the patience of luxury craftsmanship and the addictive glow of a pixelated companion, feeding hypnotic cycles into transcendent dancefloor rituals. This is where underground devotion meets haute couture electronics. Press play, watch it grow, never let it fade, let it consume you.

Reissue of Elizio De Buzios's "Tamanquiro". Remastered and pressed on 45 RPM!

Sitting a good 90-minute drive away from Rio de Janeiro’s crowded beaches and packed tourist hot-spots, Campo Grande is not a neighbourhood that attracts travellers from around the World. Traditionally it is home to the city’s lower middle-class, whose aspirations of moving up the social ladder were played out in a suburb that has always been solidly working-class.

Campo Grande is home to Elizio De Buzios, a Brazilian musician who started playing music in the late 1970s and early 1980s. De Buzios began as a drummer, before learning to play guitar and starting to compose and sing his own music. When he turned 18, De Buzios joined a local band formed by some of his friends and other like-minded local musicians: Sol da Terra. The band mostly played samba in neighbourhood bars and small venues around Camp Grande, but De Buzios was interested in more than just samba. While he naturally admired great samba composers such as Cartola and Beth Carvalho, his musical pass went far beyond Brazil’s national music. He also loved MPB and bossa-nova and at home he listed to Joäo Bosco, Milton Nascimento, Luis Melodia, Tom Jobim, and many bossa-nova singers.

In 1980 De Buzios was noticed by a local representative of international major label Polygram, who gave him the opportunity to record two songs. He was excited, so started searching for inspiration for the songs he would eventually lay down. He found that inspiration close to home while passing a neighbourhood shop which made and sold clogs. After noticing a display of then fashionable Portuguese clogs outside the store, De Buzios popped inside to talk to the owner. It turned out that he was a tamanqueiro – as clog-makers are traditionally called in his native Portugal – and was as passionate about music as he was about the footwear he made. Thus inspired, De Buzios returned home to work more on the lyrics and music.

The next day, he headed into the studio to record the song, with Vale Ribeiro, who later went on to produce tracks for Marcos Valle, behind the desk. With Ribeiro’s assistance, De Buzios managed to record two songs in one day: ‘Tamanqueiro’ and ‘Sou Um Louco’, a ballad with English lyrics blended into the mostly Portuguese text. From the start, it was clear that ‘Tamanqueiro’ would be the single’s A-side. Incredibly catchy and funky, with some subtle disco elements, the song remained distinctively Brazilian thanks to the use of the cuíca. Listening back all these years on, De Buzios’ lyrics seem almost spontaneous, carry the track forward, and make it almost impossible not to sing along. Its infectiousness and funkiness made it an instant hit with the first few people to hear it.

When it was released, responses to the song were enthusiastic, even if it never became the Brazil-wide smash it should have been. It resonated well in the local clubs and on the radio, but unfortunately the marketing was handled by an inexperienced Polygram employee who failed to adequately promote the track. As a result, the record sank without trace and De Buzios’ dreams of stardom evaporated. Having just started a family, he realized he could not live off the uncertainty of being a musician. Instead, he got a job at city hall as a civil servant, a role he continued until his retirement a few years ago. ‘Tamanqueiro’ and ‘Sou Um Louco’ remain the only two songs he ever recorded.

In the early 2000s, with the rise of diggers’ culture, ‘Tamanqueiro’ slowly surfaced again. It became a sought after, hard to find seven-inch single, finding its way onto the airwaves once more and into the ears of a new generation of listeners. Some started appreciating the song so much that it was referred to as the “best-Jorge-Ben-song-Jorge-Ben-never-recorded”. And they are right: ‘Tamanqueiro’ does have that Jorge Ben-straight-forwardness. It’s a completely honest song that’s almost impossible not to fall in love with. Thanks to this remastered reissue on Rush Hour, De Buzios may now get the props his sole record so richly deserves.

Now for the good news: De Buzios is still singing in local bars and clubs in and around Campo Grande. He is surprised, but also incredibly proud, that the record he had almost forgotten about is appreciated so much by a group of music lovers he didn’t even know existed. But above all, he is happy that more than 40 years after the recording session, the record lives on – not only on this re-release, but also in his weekend sets in the bars of Campo Grande.

2025 Repress

Repress

Endlec on Gen X with label heads Deep Dimension on remix duties