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This latest project by Groovedesign Kollective is rooted in movement, thoughtful tension, joyful repetition and dreamy release.

United Tribes
The Groovedesign factor shapes itself in the opening track 'United Tribes' by repositioning intimacy over chaos, a life affirming sound that belongs to those magic early morning hours that really shape experiences. And generations. A unique blend of Afro, Funky beat and Disco Clubby grooves merging with visionary House piano's themes within a rich, deep electronic tapestry and dubby effects.

Supremes
This track perfectly complements the previous yet it is its own groove and carries great dancefloor weight. Further developing the concept of exquisite fusion and fine contamination between already blurred genre's lines, where feelings and emotions meet their sonic counterparts.

Feeling the dancefloor comes as a second nature to Groovedesign: unrelenting yet subtle, innovative yet grounded. Their music carries experience and innovation without announcing itself, guided by an intuitive sense of energy rather than formulas.

A mysterious artist pays tribute to Scandinavian dark synth pop pioneers, featuring reimagined versions of two cult classics.

Blending contemporary production techniques with the timeless atmosphere of the original recordings, the record offers a fresh perspective on these beloved tracks while preserving their distinctive vintage character.

Bridging past and present, celebrating the legacy of the genre's pioneers for both longtime fans and new listeners..

Four essential cuts extracted from the deepest corners of the Newrhythmic digital catalogue.
Hypnotic rhythms, fractured textures and immersive atmospheres converge in a limited vinyl selection focused on tension, depth and movement.

A1 - Gareth Wild - Boca De Venum
A2 - Joton & Divide - Junction
B1 - A.Morgan - Loathing
B2 - bw - Olives

Written, mixed and produced by V/A
Released by Newrhythmic Recs, Spain
Catalog Reference: NRLTD022
Mastered by Jose Angel Palacios
at Newrhythmic Studio - León, Spain.
Format: Vinyl 12 & Digital
Promo / Press : thotpr

Morpheus, the god of sleep is here to give you a quick chance of getting dream records that are nearly impossible to find.

Finally this legendary release first time pressing on vinyl. Massive list of remixes with pure timeless original version.

Our debut vinyl EP unites Strange Glide, Kamatchi, and Moxi in a project built around a deliberate progression. The tracklist was crafted to move from bright, solar energy toward darker, more introspective moods. Blending eclectic styles, we focused less on genre and more on emotion—shaping each track to express a distinct atmosphere while contributing to a coherent journey in tone and frequency. This EP is a shared narrative where each artist brings their own identity to a fluid, evolving sound.

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

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

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

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

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

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

Limited to only 350 copies worldwide.

The Saint Wax label branches out with a new series of edits from founder Eduardo Barbi aka Gledd, who traverses funk, disco and soul across five irresistible cuts. 'Street Preacher' has a spoken word that reminds of early rap days paired with a rousing choral backing, then 'Stevie's Word' turns up the funk with a chunky bassline. 'Do It For Me' is another gospel-fuelled pumper with big stabs ramping up the intensity and then 'Under The Moonlight' is a classy disco stomper lead by florid and chunky funk in the drums. 'Your Love' is an excitable finish with big horns, bigger chords and even bigger vocals. It's big, basically.

Cruise Music continues to serve up irresistible nuggets with its Vinyl Jams series, now reaching volume 15. Once again, it is a various artists affair that blends high production value with the right amount of emotional depth and dance floor kicks, this time looking at the warmer side of house. Keller's 'Stressed Out' is clean vocal house with a catchy wiggle and soulful bass roll, Mirko & Meex that layer a soaring diva vocal into 'There's A Light' that could well become an instant classic. Pianos rule on Oliver Knight & Angelala's 'Your Sunshine,' which is a perfect outdoor cruiser for the hotter days and Dino DZ closes down with the well-sampled 'I Like It.' These are refined, accessible summer house sounds but done with a touch of class.

There are collaborations that make sense on paper, and then there are the ones that feel like they were always going to happen. CHRIS STASSY and Interplanetary Criminal now bring their first recorded meeting to Up The Stuss with ‘Dangerous’, a four-track EP that sees two artists with unmistakable identities find common ground somewhere between house, garage, breaks and pure dancefloor energy. With the sounds of this collaboration having quietly made their way into the world long before the full picture was revealed, its arrival feels like the moment the pieces finally fall into place.

Across the EP, the chemistry is immediate. STASSY’s knack for infectious grooves and vivid synth work meets IPC’s breakbeat-driven energy and distinctly UK-rooted sensibility, with neither side disappearing into the other. ‘I Just Can’t Get’ sets things in motion with skippy rhythms, breakbeat drums and those unmistakable STASSY synths, before ‘Movin’’ accelerates the pace with punchy percussion and a more restless, breaks-heavy charge. ‘From The South Coast Mate’ pushes the meeting point further, bringing weighty low-ends and unmistakable UK touches while keeping both artists’ distinct approaches clearly in view. Title track, ‘Dangerous’, brings the journey to its natural conclusion. Bright and dark elements pull against one another as the two approaches lock into a shared rhythm, delivering a track that feels simultaneously euphoric, gritty and slightly unpredictable. It’s the clearest expression yet of what makes the collaboration work: two established sounds remaining entirely themselves while discovering what happens when those worlds meet.

For CHRIS STASSY, ‘Dangerous’ marks the first EP to arrive on Up The Stuss under his new name, following the release of the euphoric ‘U know me’ on CCS, adding to this new chapter with a collaboration of serious weight. For Interplanetary Criminal, it adds another dimension to the Manchester artist’s ever-expanding take on UK garage, which has seen him become one of the defining forces of its current resurgence. It’s the sound of two worlds meeting at exactly the right point - and one that many have been waiting for.

Few tracks carry the weight of techno history quite like Dave Clarke’s ‘Wisdom To The Wise’. Created in a damp basement flat in Brighton in the early ’90s, the track was produced on an Atari 1040 and micro-sampler, drenched in dubbed-out reverb and shaped by a young Clarke still honing the sound that would soon make his name.

‘Wisdom To The Wise’ became the centrepiece of Red 2, the second instalment of Clarke’s seminal three-release series. With Red 1 already making serious waves, it was Red 2 that sent interest in Clarke into overdrive. Within a year, the series had helped propel him from underground producer to global techno force, culminating in a major-label album deal and international recognition.

The track’s influence has endured ever since, earning celebrated reinterpretations from techno heavyweights including Robert Hood, Marcel Dettmann, Boys Noize and Steve Rachmad. Now, Spectrum adds another chapter to that lineage with a very special remix from label boss Joris Voorn.

Staying faithful to the spirit and unmistakable character of the original, Voorn brings his own weight to the classic, reinforcing its impact with a heavier kick and the subtle production touches that have become his signature. Originally created as a weapon for his own sets, the remix has been road-tested on dancefloors and is now ready to be unleashed beyond the booth.

Six tracks shaped by images of bats — dark, playful, and slightly off.

What is an edit? A correction, a confession, a DJ tool, a mild act of vandalism—or simply the result of listening to somebody else’s record and thinking: very good, but what if this bit went on a little longer?
For his contribution to the Running Back Mastermix series, Gilles Aiken aka Edward opens a folder that has apparently been filling up for quite some time.
The Giegling resident’s thirteen edits reach back through years of DJing, collecting and producing. Made for sets rather than release schedules, they form something like a musical autobiography told through other people’s records: Carl Craig, Roman Flügel, Motohiko Hamase, Kirk Degiorgio, Aubrey, Sven Väth, Michael Rother and more.
From Japanese ambient jazz and Detroit techno to dub techno, house, trance and kosmische music, these are not attempts to improve records that didn’t need improving. They are the small interventions that happen after living with music for a long time: a rhythm exposed, an entrance moved, a passage extended, the unnecessary made necessary.
“These records mean a lot to me,” says Edward. “They consist of edits I’ve gathered over the years, some of them going way back. In a way, they reflect my musical journey. All of these artists have been a huge influence on me as a producer and DJ.”
Usually, such edits remain on hard drives, USB sticks and in vaguely labelled folders. This time permissions were requested, publishers located and, somewhere, presumably, a spreadsheet became very important.
Miraculously, everybody said yes.
Thirteen thank-you notes to the music that helped make Edward Edward. Naturally, they require three records.
Mastermixed accordingly.
Also available on cassette,

Big welcome to Time is Now for J Wax for a bit of a statement EP and I am coming out swinging here cos this is a really good record. There’s good, and then there’s this, the kind of good that stays good.

You know that feeling when something’s just right. When flow state becomes clarity. Well listening to this EP from J Wax gives me that feeling. This is proper Goldilocks business. It’s equal parts Gun Fingers and Loved up hugs. Just right.

By now we all know that something very special happens when Speed Garage collides with 1st wave UK Hard House - but - what makes this just right is that J Wax didn’t stop there, just like the Dutch 2nd Wave of Hard House he’s slid onwards into euphoric trance and oh boy am I here for it. In 1997 we got Double99’s Rip Groove and Nalin & Kane’s Beach Ball and for me this EP has as much in common with perfectly formed ‘97 Trance as it does with Speed Garage. Who says you can’t have it all!

We’ve been following J Wax’s output for years. He has been grafting hard. And for me he’s already firmly a part of the long lineage of globally significant Scottish party starting producers and DJ’s. So when we signed this EP to Time is Now I was gassed. Four big tunes. Sick EP. For me it’s crystal. J Wax is now a producer operating in rarefied air.

Run the Tracks….

A1. The dubplate of ’Peaches’ has been causing mayhem for a minute. Gliding in smooth before that big diva vocal screams down the bassline.

A2. J Wax tags in Edinburgh local RUA.DJ. The pair double up on ‘Shift’ for a slice of Trance infused but no-nonsense Speedy G. Reece bass & gun shots + bouncy synthline & ethereal chords. Lose it and yourself.

B1. ‘Soul Movement’ is a big room weapon. Serious levels on this one that leave no doubt - this is a producer at the top of his game, writing high energy weapons to destroy the dance.

B2. ‘Smokin’ is peak time bizness. Harder darker house with a diiirty dirty south vocal chop. This one is heads down & lock in…

Goldilocks.

The almighty Joe of the Farr’s is a highly accomplished UK techno DJ, producer and mastering engineer. Originally associated with Bristol's electronic music scene, Joe studied TV and film sound design before building a solid reputation through hard-hitting, technically sophisticated techno releases on labels including Turbo, DSNT, Bloc, Soma and Power Vacuum. His concentrated output combines aggressive club-focused rhythms with melodic and IDM-inspired elements. Now based in Wales, performing internationally and on home turf, he also operates a professional mastering engineering operation of the highest esteem of which RIOT could simply not operate without, as many others will gladly attest too.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’ve finally let loose the screamer of a release, from such an integral member of RIOT HQ, that’s been patiently ‘Left Alone’ and waiting for the right time to unleash its User Experience. Joe’s totally went one step beyond and cranked out a pressure filled release of not only persistent anthemic prowess but one of such rigorous determination, all those on the dance floor MUST ‘Obey’ to its diligent beats. And with Rant & Rave Records boss Maedon serving up such an iconoclastic relentless remix, you will absolutely need to submit complicitly to all things RIOT.

The full digital release also features two bonus meticulously disciplined tracks to fulfil your obedient, subservient requirements.

WARNING: NON STOP BREAKIN’ N’ STOMPIN’ N’ BOPPIN’ TO THE RIOT BEATS WILL MANIFEST ITSELF

Dungeon Meat and SlapFunk sit right at the vanguard when it comes to house music that truly kicks. It's deep but driving and never too much of a slave to tradition. This is a second collaborative outing that welcomes emerging producers to submit tunes for the chance to feature. Khun goes first with 'Prince,' a delightfully well-swung sound with subtle synth tones and room for the atmosphere to land. Nay Barr's 'Kidnapped' is a more hunched over slammer with a firmer groove, while Patrizio Scope's 'Terdiek8' gets more loose with squirming FX and liquid bass. Yugwan's 'Fungeondunk' is a razor-sharp garage, tech and house fusion to get the floor sweating.

Das Aufeinandertreffen zweier Pop-Ikonen: Madonna und Kylie Minogue veröffentlichen mit "Love Sensation" eine gemeinsame Nu-Disco-Hymne. Die Kollaboration erscheint als limitierte 7"-Single auf Coloured Vinyl und kombiniert pulsierende Synth-Basslines mit glamourösen Vocals. Neben der Main Version auf der A-Seite enthält das Release einen Extended Club Mix auf der B-Seite und kommt in einem veredelten Sleeve mit exklusivem Artwork auf den Markt.

For over 30 years the Midwest machine menace that is Paul Birken has been developing and exploring his love for the limitless potential that exists when you chain together synths, sequencers, samplers and beat makers, he is a true audio explorer communicating his own unique sonic exploration through his machines + odd dreams. Starting out back in the day merely with a Commodore 64 computer and a few synths, his studio gear arsenal has constantly evolved over the years into a myriad of unfathomable boxes, cables and bangin’ in his attic allowing him to freely manipulate his random audio creations into the most serious and fun grooves anywhere in the techno realms. Along-with his own imprint Tonewrecker Recordings, Paul’s appeared on a huge stack of the most impressive labels including Don’t Recordings, Fun In The Murky, Earwiggle, Mord and of course a plethora of remixes and tracks on our very own RIOT Radio Records.

From within a tomb in ancient lands comes this 'Bandage Boogie.' A hallowed homage to all things that are non-stop breakin'  n' stompin' n' boppin' to the RIOT beats that have now manifested themselves on a 'Mummificated' dance floor near you. This aint street life, this is tomb life, and you'll need as many sacred tanna leaves to keep you movin’ as your fiendish high priest will bestow upon you. This brewed techno fluid that we're administering will ultimately invoke 'The Curse of RIOT’ and you’ll be doomed to eternal bouncin' aboot to its 'Pyramid Pongo' beats that go mysteriously THUMP in the night. Each track on here, and especially in his infamously legendary live sets, are unique in that they get erased from his machines after their creation and won’t ever be spawned again, but ssssssssssssssh, Mummy's the word.

The full digital release also features two bonus immortal tracks delving you deeper into the life-giving sounds of this ‘Mummy Wrapsody.’

WARNING: THESE UNWRAPPED TECHNO BEATS CREATE A WONK-A-THON YOU WILL NOT ESCAPE FROM