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2025 Repress

Portland was produced by our mate Dave Clark aka Sparky and was the first record we released in 2002, about a year before the first ever Numbers party took place.

Originally recorded live to tape using an MMT8, a Microwave II, and an ESi32 in the summer of 1998, it was released on an old label of ours named Stuffrecords and formed part of a somewhat rambling compilation called STUFF001. We hastily stuck this record out without any proper distribution, because at the time we didn't know any better. Despite this the record did pretty well, selling 500 copies to a few select stores who had faith in what we were doing.

Fast forward a year or so to when Numbers kicked off and the track became one of the first bonafide anthems in the club. It was our tune and it would tear the roof off at any of our parties.

A couple of years later, we booked DJ Pete, aka Substance, to play. We're talking about the record in the pub when he suddenly informs us that Ricardo Villalobos is crazy about it and even charted it. This was a deep, almost Drexciyan electro track and here was the king of crazy experimental minimal house music caning it in his DJ sets.

Not long after that night, the Numbers label was up and running and the idea to re-release Portland with a remix from Mr Villalobos was brought up almost as a kind of pipe-dream. Now in 2013, with a little help from Gerd Janson, it has finally happened. Recorded live in one take and clocking in at over 30 minutes long, it's cited as an "experiment" by Ricardo. Designed to play at two speeds, at 33rpm its almost like an early 90s Black Dog track stretched out to infinity, whilst at 45rpm, it's a club-ready groover with an almost Dopplereffekt rhythm to it - the sort you could imagine sneaking into a DJ Assault or Godfather Ghettotech mix. Somehow, it also manages to be classic Villalobos.

To finish off the record Dave gave us a two unheard tracks from those original Portland sessions in 1998. The malevolent electro of 'Jigsaw' would instantly have become another Numbers anthem if only Dave had let us hear it ten years ago, and closer track 'Wilson St' heads down an ambient route.

DJ support from DJ Sneak, Joss Moog, Jason Hodges, Austin Ato and Igor Gonya

From the wine country of Bordeaux, France Suburb Beat of Robsoul and Ondule Recordings fame brings us his first vinyl release titled the ‘Red Eyes EP’ with a bumpin Remix by Nenor! We have MPC magic on our hands with the title track Red Eye spreading vibes on thick! Hot on the heels of massive releases on Razor-N-Tape Reserve & Fossils it’s Nenor’s Bumpin Remix that’s sure to fire up dance floors the world over! We kick off the B Side with a solid groove titled It’s Time, Suburb Beat proves he knows how to D.I.Y. Nottingham style and inspires a shout out to Al Royale. Ain’t Got No Home has got ya chugging from the early morning through those early evening warm-ups. Dig it!

SuckaSide know how to twist a classic into new realms. This latest is further proof on their own self-titled label, starting with a flip of Brazilian-inspired gem. Drums gently break like waves, the vocals are intriguing spoken words, and there's a dark soul lingering in the air. On the flip is their take on downtempo delight which becomes a high speed drum & bass roller with light pads and elevating chords. The lazy trumpets from the original remain in place for that nostalgic touch.

Suicide AFTR 7 is a musical partnership forged across two continents. This cross-Atlantic collaboration was founded in Barcelona by New York’s Neud Photo and London’s Antic.Distributed by Runas, a new label also based in Barcelona. New beat and Proto-Wave influences permeate the 12”.

Lean, mean, and evocative, "Soft Geometry" sets the stage with its blend of classic analogue textures and a sound palette that evokes the darker, more hypnotic side of electronic music. Throaty samples whisper through a synthesizer smoke, sodden bass lines throb against scaling crystalline chords.

The standout track, "Interplay", is an instant classic. Lyrics are distant, words ring, “Distant shadows," as snapping snares and warming pulses pull the listener closer drawing you deeper into its hypnotic world. Across the four offerings, a brooding dance floor looms; a
shadowy square of bodies shrouded in fog, pierced by strobe. This track will stick with you long after the music fades, a perfect blend of light and shade. It's the undeniable dancefloor moment on the EP, forever playful, forever bumpin.

"Last Word" pulses with a cold, hypnotic groove, driven by a deep 808 groove that'll get you moving. Think hypnotic rhythms, driving basslines, and a touch of electro grit. Slow, ethereal strings and shimmering synth stabs create an atmosphere of tension, punctuated
by film noir samples.

A sinister seam runs through the entire EP, coming to the surface for “Blind Spot.” Terse percussive patterns and eclipsed synthlines are stalked by vocals stripped of emotion, the mantra of “We are your enemy” encircling to a close.

Eduardo de la Calle and DJ Surgeles meet Fabio Giachino, David Strike, and Manu Melero Amaya in Telmaco Xavier Quintet, a project where jazz and electronics engage in a real-time exchange rather than a controlled experiment. Set for release on Apnea 115 in May 2025, Time Pawn is built on interaction--musicians and machines reacting to each other, shifting between structure and instinct. Eduardo and Surgeles don't frame jazz within an electronic grid, nor do they treat electronic textures as a decorative layer. Instead, they allow both elements to retain their full character, pushing and pulling in ways that never settle into easy resolutions. Fabio Giachino's piano moves freely, alternately threading through and cutting across the pulse. David Strike and Manu Melero Amaya bring movement that resists the obvious, allowing groove to exist without being locked in place. The result isn't about merging styles but letting them exist in the same space--sometimes in harmony, sometimes in friction, always in motion.

Efficient Space continues to bind its mind with Altered States Tapes, offering another service to How So?, Th Blisks' 2022 debut in home-cooked experimentation. A blurring of three vastly different heads into a single disjointed, but fluid organism, How So? finds Yuta Matsumura (The Lewers, Keanu Nelson), Amelia Besseny (Troth, Impatiens) and Cooper Bowman (Troth, CD3) working with vocals, melodica, deeply pulled samples, guitar, drum machine, synths and resourceful percussion. An Elixa-blueprint of sideways ambient rituals, fog-thick melodica dub and paranoid trip hop by way of Sydney's pioneering industrial collagists, the LP recirculates beyond its original 150-copy confines for those who missed its first apparition.

DJ Support: Luke Una, Darryn Jones, Red Greg, Gilles Peterson, Patrick Forge

The second EP in the set from the dynamic duo themselves, The Mighty Zaf and Linkwood. 2 more killer edits to devastate the more headsy dancefloors.
Limited stock of these early copies. Act fast.

Played 3 of the 4 at Tillatec recently and they rolled.

Repress

DJ Support: DJ Sneak, Manuel Sahagun, Jason Hodges, Natural Rhythm & Suburb Beat.

Born into the underground House Music scene of Los Angeles, CA we bring you Tom Carle of Moxy Muzik and Cross Section Music fame.

We’ll keep this short and sweet because the Brooklyn Style EP speaks for itself! You have 3 tracks of down n out funky House Music business and cap it off with the dirty underground banger “This Acid”.

Better hope the floor brought their dancing shoes because the Brooklyn Style EP is straight heat!

Two decades into his winding voyage through music, culture and creativity, Tom Trago has become part of the densely woven fabric of the Dutch electronic scene - a producer, DJ, label owner, collaborator, remixer, radio host and DJ's DJ who is renowned not only for his impressive productivity, but also the genuine depth and variety of his work. While it was Trago's distinctive DJ sets that once grabbed headlines - he famously held residencies at renowned Amsterdam institutions Trouw and De School, and for a decade spent much of his time jetting between some of the most renowned clubs in Europe - in recent years Tom has cut down on appearances. Today, he chooses to be far more selective about where (and when) he DJs or performs live, often working with a handful of cherished venues and festivals while ensuring that his travels are sustainable and inspiring. Instead of the grind of touring and hedonistic night-time activity, Trago has chosen to focus on music-making, alongside semi-regular forays into radio broadcasting (NTS, Radio Radio, BBC Radio and EchoBox). He now spends most of his days producing and remixing at his new SR-3 studio in Alkmaar and his seaside home-come-studio in Bergen aan Zee. As part of these lifestyle and career changes, Trago took time to look deeper, not only inside himself, but also for musical inspiration. Tom has always loved, and devoted time to, digging into a wide variety of production styles, using this inspiration to develop a trademark personal production style, but in recent years he has taken it even further. Fuelled by a desire to challenge himself, Tom consistently tries new things in the studio while channeling all he's learned during a career that has moved forwards at breakneck speed. Since making his debut in 2006, Trago has released six critically acclaimed albums (two of which, the eclectic, beat-focused, career-spanning, Patta-released archive dive, 18, and the dancefloor excursion, Trembala, appeared in 2022); extensively worked with Dutch electronic music institutions Rush Hour and Dekmantel; collaborated with countless friends and contemporaries (Charlie Soul Clap, Awanto 3, Maxi Mill, Steffi, San Proper, Seth Troxler, and BokBok included); remixed artists including New Order, Carl Craig, Cassius, Tiga and Erol Alkan, and championed a swathe of fellow Dutch producers via the Voyage Direct label he founded in 2009. In 2025 Tom returns to legendary Dutch label Magnetron Music, home to Fatima Yamaha, DMX Krew, Legowelt, Staygold and many other, to release his Magnus Opus; Ignorance.

Wasteland EP - debut solo from Tomie - six cuts running from electro to techno - 808drive, rough edges and stripped to its core.

Berlin-based, half Italian and half Moroccan. Runs the /xex label and the project torcidas mentes. Produces electro, techno, and EBM. Plays both live and DJ sets. Upcoming releases on Sismo 005 and XEX 002.

In response to popular demand, Traumers « District » is finally getting a vinyl release –the Parisian mastermind's hit is accompanied by a new mega club tool, “At Lanta”,as well two beautiful deep techno pieces from one of today’s most prolific artists and BERG AUDIO’s roster essential elements, Kolter.

HANDSTAMPED LIMITED COPIES !

Marking their fifth instalment on the label, Aquaregia bastions Troma & PERS1 unveil their debut album entitled Ancestral Posterity. Through four Acts, this opus serves as a sonic tapestry across the annals of time; a deep hypnotic escapade from the genesis of civilisation to an enigmatic, dystopian future.

350 copies Hand Stamped. First release from Takeovers Music run label Mama Said No! featuring two edits and one unreleased track.

Groovy stuff that will make your hips Rock and your feet sore. Comfortable dancing shoes are strongly recommended!

Unsighted is the Brooklyn based project of Nicolás Sierra ,and Mutante returns with a new sonic manifesto: an EP that channels the rough energy of EBM, the analog sensibility of Minimal Synth and the hypnotic pulse of New Beat.

This EP is a distorted time capsule, where corrosive basslines, martial rhythms and analog synths coexist in constant tension. It is a statement without nostalgia but with retro DNA, designed for sweaty dancefloors, smoky basements and minds that vibrate on the fringes of the mainstream.

Foreboding EP is a collection of tracks that don't ask for permission, they hit you straight on, like a post-industrial alarm on eternal loop.

In the world of Dance, the 90s were characterized by the worldwide explosiion of House Music. Among the protagonists many were artists and producers of Italian origin and this sub-genre was called Italo House. This double vinyl collection contains 12 classic songs
from that magical period, all in the original 'full version', by:
Don Carlos, Soft House Company, Double Dee, Tameka Starr, Key Tronics Ensemble, Omniverse, Jestofunk, Riviera Traxx, Kipper, Aritmya, Be Noir e Bossa Nostra.

White Lunar, an underground electronic music label from Seoul, South Korea.

Founded by Lyumin and Oho, is excited to release its first project.



This debut features four talented artists in the world Oho, ffrvnco, Stefano Andriezzi, and Jucid. Each artist brings their own unique sound, creating a diverse and powerful collection of tracks.

Get ready to experience a fresh and energetic mix of electronic music from these rising artists.

Support from: Dave Lee ZR, Birdee, Mousse T, Da Lukas, Dr Packer, John Morales, Terry Farley, Horse Meat Disco, Basement Jaxx, Oliver Dollar, Yuksek, Bill Brewster, Bibi Seck, Chloe Callait, Glenn Underground, Nick The Record, Mark Brickman, Jimpster, Damian Lazarus, NTS Radio, BBC Radio 1, Joey Chicago & many more..

Full steam ahead! Put on your dancing shoes and jump aboard The Disco Express as the much loved London label unveils its hugely anticipated Best of 2024 compilation.

Pressed on special edition purple neon vinyl, this electrifying compilation showcases the wider breadth of the label's sound. Best of 2024 ventures into a multitude of styles: Soul, Disco, Italo and House, all made with cutting-edge production.

A brilliant fusion of established and emerging artists, the compilation boasts a stacked line up of talent; celebrating the vibrant spirit of The Disco Express whilst perfectly infusing modern twists, optimised for contemporary dance floors.

This is original house & disco for 21st century dance floors and this train ain't slowing down anytime soon...

Throughout the 1980s, Michael Antener, born and raised in Bern, Switzerland, initiated an array of sonic endeavours in the realm of industrial, dark, aggressive music. Of his times as a post-apocalyptic hunter, he says today: I found a musical niche where I could express myself, along with other people who were not afraid of dark themes. It would have been hard to sing about love in my music, so I included sounds and cries of pain taken from horror movies.

It was a fortunate coincidence to come across one of his self released records, the 1986 EP Strangler of the Swamp, which marked the beginning of our quest to find this all but forgotten musician whose work seemed nowhere to be found. Eventually, we got in touch with Michael, who is still living in Bern, and began the process of searching through all his surviving musical and visual material.

The triple vinyl release is all about documenting Michael Anteners adventures during that intense 1980s period. We tried our best to select the most interesting material from his two earliest projects, The Strangler of the Swamp and Bande Berne Crematoire, comprising materials from vinyl records, cassettes, and live recordings, some of it unreleased. The release also includes a deep dive into Michaels visual archive of posters, photos, and sleeve artworks.

The disjointed, tumultuous body of work presented here marks the testament of a fringe musician who was disruptive and confrontational, keen to shock and alarm people (much to our liking), and who could easily have been lost in oblivion.

2trckrs drops its 3rd wax on da streetz.

SEVEN is proud to release their second Various Artists compilation on double 12" Clear Vinyl and Cassette. Again the label introduces 7 new artists to the label including a production debut by Carmen Electro who releases her first ever track plus music from Berghain / Panorama bar DJ's Zombies in Miami, Byron Yeates and Pink Concrete.

We present our second release, where you will find creations with sounds that will take us on a dance and journey combining electro with acid, sequences from a versatile release made with great dedication by our artists.

Regarded as one of London's "leading disco labels" The Disco Express is one of the most consistent and influential forces in the modern nu-disco scene.

A record label, international event series and DJ collective, TDE is dedicated to original, soul-infused house and disco music. With a global family of artists, the label blends vintage warmth with modern energy to honour the past whilst envisioning the future.

TDE100 is a 15 track compilation that distills the label's essence. Packed with fresh originals and hand-picked gems, the compilation blends funk, soul, nu-disco, house, and electronica. Crafted to move seamlessly from peak-time dance floors to laid-back Sunday listening, it's both timeless and forward-thinking.

Pressed across 2 X LP’s in a Gatefold Sleeve featuring John Morales / Derrick Carter & Inaya day.

This is original house & disco for 21st century dance floors and this train ain't slowing down anytime soon…

For its third installment, NEUMA presents As Above, So Below—a collaborative
release by Matteo Manfellotti and Jorge Gamarra. On the A-side, Waveratio’s
Distorted Analytics and Heart of Darkness set the tone with a fusion of techno,
electro, and trance-infused energy. The B-side features both producers working
together under their new project, Former Being, delivering tracks that maintain
the same intensity while shifting toward a more EBM-influenced sound, marked
by evolving structures and a mysterious atmospheres.

IARC108LP – black vinyl / IARC108LPI – indies exclusive grapefruit colour vinyl. All formats are extremely limited and orders may be subject to cutbacks.

Daniel Vangarde is the father of Daft Punk's Thomas Bangalter, and back in the 70s and 80s he was a musician who had great success writing and producing for the likes of Gibson Brothers and Ottawan on his Zagora label. He also worked solo as Who's Who and in 1979 produced a now cult favourite record of cosmic-euro disco. Two tracks from it get reworked from the original tapes here by The Reflex. He brings dubby, mid-tempo drums to 'Hypnodance' while retracing its Eastern melodic charms and sense of sophistication. His take on 'Palace Palace' is more funky and upbeat with leggy drums and elastic basslines smothered in cosmic arps.

Delsin invites you to submerge into the prismatic electronica of Xenia Reaper. Across nine tracks of exquisitely rendered sonics, the shadowy producer engages in the time-honoured craft of introspective sound manipulation, folding gaseous pads into dissected breaks and running heavyweight machine pulses through achingly beautiful synthesis. The sound is sharply realised, modernist music that revels in the finegrain detail afforded by technology, but never at the expense of warmth and charm. It's nuanced electronica for deep listening, but it also hits on an instinctive, physical level.

Seaford's Chewy Rubs heads up his own Bandolier Records and has impressed with collaborations with Fingerman before now. Here he lands on Wax Digits with an EP designed to join familiar moments of the past with fresh club energy. 'Another' has old school stabs and 90s vocals that get heart and body going, 'Freestyle' is a body-popping rhythm with vocoder vocals offering an 80s flex and 'Mobbed' is a suspenseful tech house groove before 'Underground' cuts loose on more big breaks and percussive flair. Useful, hard to date and harder to predict tools.

UnOwn deepen the intrigue of their debut record with a second clutch of shadowy edits, again courtesy of the elusive Fava Luva and Dr. Professor. First up is the airy, mystical 'Sent Ra' which drifts on a Balearic current with an aquatic pulse and low-slung groove. It's for late-night moments on intimate floors and is hella steamy. Flip it and 'Love Giver' is more extroverted but just as sensual with teasing spoken words opening up before a swaggering, gentle groove and deft keyboard flourishes awaken and coalesce into a boogie-tinged delight. Anonymous in name, perhaps, but unmistakable in taste.

Over the last half decade or so, Monsieur Von Pratt has marked himself out as one of the 21st century disco scene's most reliable re-editors, with a party-starting trademark sound built around blends of borrowed instrumentation and rolling, house-style beats. This signature sound is very much evident across the producer's tenth contribution to his own Illegal Disco series. He begins by polishing and tooling up a sparing, horn-heavy disco classic 'Don't Say Goodbye', before rearranging and lightly updating a squelchy synth-bass propelled chunk of disco-boogie goodness ('Gonna Getcha'). Rounding off a fine EP is 'Make Love To You', a more low-down and celebratory chunk of beefed-out disco-fink hedonism.

A year or two back, original Nottingham deep house don Gavin Belton (famed for being part of Smokescreen and Drop Music-adjacent duo The Littlemen) returned to the UK after living in New Zealand. One thing led to another and soon he was back in the studio alongside former creative partner Steve Lee for the first time in 15 years. Featuring heady spoken word vocals from Hector Moralez, the result is 'House For Change', a lightly electrofunk-fired slab of classic East Midlands deep house. Raising funds for homeless charity Help The Framework, this surprise EP also includes 2004 classic 'Tell Me' (a free party deep house classic) and two fresh reworks: a TB-303-bass-driven revision of 'House For Change' by their old pals Inland Knights, and a squelchy, spacey take on 'Tell Me' by Lee under his solo alias, Positive Divide.

The ENSOULED EDITS series begins by showcasing the work of Cee Alassad, a Moroccan producer famed for his previously digital-only reworks of historic cuts from his native country. It's these reworks Alassad offers up on his first vinyl outing for the freshly minted series. He begins with 'Tekere', a lightly house-style revision of a simply sublime workout - all bouncy, layered percussion, glistening guitars, righteous horns, heady vocals and chunky kick-drums. Over on side B, he tackles another cut from the same artist, joining the dots between 21st century Afro-house, synth-laden Afro-disco and far-sighted, tech-tinged grooves.

Fresh from a run of must-check EPs on Syncrophone Recordings, Black Jazz Consortium man Fred Peterkin inaugurates a new label, Base. The New York-based producer appears to be the man at the helm, since his next scheduled release also appears on the freshly minited imprint. He begins with 'There & Back (Long Player)', a languid, mid-tempo chunk of string-laden deep house classiness, before opting for a breezier, dreamier and sunnier sound on the impeccable 'Something For The Road'. Peterkin's ability to fuse looseness, heaviness and subtly soul-flecked instrumentation comes to the fore on EP highlight 'Rhythm & Movement', while 'BTA10711 (4am Mix)' tiptoes the fine line between dubby deep house and spacey, far-sighted futurism.

The Bait label is back with more stylish deep dubstep swagger, this time from various artists who know how to crank up the low end pressure. Eva Loveless opens up with 'Juniper red' which harks back to classic Techtonic sounds where techno and bass come together for front foot forward momentum. Slimy Ape's 'Guro' is a hefty stepper with dubby undertones and plenty of open space for the tape hiss to hiss and the conscious vocals to drift in. Furtive's 'Stormlight' is ice cold and minimal, with skeletal rhythms punctuated with clacking hits and doused in bass. Last of all, Buckley's 'Introspective' is a twitchy broken beat with classic dub techno chords and yelped vocals injecting some fragmented soul.

Bruno + Bruno = Dynamic Forces and are back on the Dolly TS series with their new EP Metal Space! Metal it is and in space we fly with these 4 sinister, visceral, floor-shaking smashers. Yet another great selection of stark rhythms and brooding atmospheres, designed for the nocturnal gravity of the warehouse straight from the Italian techno soil!!!

This is a special work by acclaimed composer and musician Adriaan de Roover, who has released records on Dauw, VIERNULVIER, PIAS, and Consouling Sounds. Chansons de trottoir / Stoepliedjes documents his relationship to sampling in the form of a radio play.

Originally created as a radio piece for Resonance FM in Manchester, the album is a sonic portrait of a walk through Brussels. It is constructed from two field recordings: one made during a walk from Metro Midi towards Adriaan’s home, and another recorded on a walk towards Flagey. Rather than foregrounding recognizable landmarks, the piece focuses on the pavement underfoot: the steady, repetitive rhythm of footsteps on sidewalk tiles.

The recordings are mixed with samples from the music of the Brussels hip-hop group STIKSTOF. Their music became the soundtrack to a period in which Adriaan’s desire to move from Antwerp to Brussels began to take shape. Through repeated listening, the city of Brussels gradually revealed itself to him. This experience echoes that of countless music fans who, while listening to The Beatles, imagine what Liverpool might be like: a city revealed through sound and myth, often crystallized in lukewarm Hard Rock Café–style projections.

Chansons de trottoir / Stoepliedjes is an exercise in sampling and an exploration of how one might find a personal place within the music of others. It frames appropriation as an attentive and considered act. Suspended between memory and imagination, the piece exists closer to a dream state than to reportage.

Julius Hemphill's debut record, 1972's Dogon A.D., was self-produced for his Mbari imprint, and it was issued with a beautiful black-and-white cover. Very DIY. The label's name writ large along the bottom edge, like it was the band's name. It's a quartet record featuring Hemphill on alto and flute, with Baikida Carroll on trumpet, Abdul Wadud on cello, and Phillip Wilson on drums – a classic jazz front line/rhythm section format, but nothing conventional about the way the music sounds.

The long track – from where the LP takes its title – is one of the key epic statements of new jazz in the era. Among its remarkable distinctions, it manages to draw on Wilson's schizoid experience having been a member of the Paul Butterfield Blues Band and the first drummer for the Art Ensemble of Chicago, in making an 11/8 rhythm into a staggeringly funky thing of joy. Over the course of fourteen and a half minutes, Hemphill builds a nearly continuous solo, his spiritual blood brother Wadud sawing the cello with a deep blues soulfulness that is raw and mantra-like in its repetitive incantation. It feels right and wrong in equal measure, the theme carrying its own piquancy with honked barnyard dissonances and some contrary motion between the horns and string. Most of all, it takes its own sweet time, in no hurry to get anywhere in particular, but out for a righteous stroll. – John Corbett (excerpt from the liner notes)

In the pantheon of classic free jazz, Noah Howard's The Black Ark looms large. Recorded at Bell Sound Studios in New York City in 1969 – just prior to the alto saxophonist's relocation to Europe – the album was eventually released in 1972.

The Black Ark exhibits not only the power and imagination of Howard's playing, but also his breadth as a composer and bandleader. Listeners expecting unrelenting blasts of "energy music" might be surprised to find a cohesion atypical of free jazz; amidst the wild, impassioned solos, Howard weaves in Latin rhythms and fat-bottomed grooves.

The first side, consisting of "Domiabra" and “Ole Negro,” sets the album's tone. Both tracks sound as if they could have appeared on some of Blue Note's proto-spiritual jazz, groove-heavy releases – evoking the likes of Lou Donaldson or Horace Silver – before ceding the floor to the horn players' anarchic firepower.

As John Corbett writes in the liner notes, "Two players stand out. Bassist Norris Jones – who would soon consolidate his name into a one-word reversed amalgamation/permutation of the two, Sirone – is given ample room, largely unaccompanied; his corporal approach foreshadows later work with the Revolutionary Ensemble. But the secret weapon on The Black Ark is Arthur Doyle. Straight from basement rehearsal sessions with Milford Graves, whose ensemble he had joined and who remained a favorite of the drummer for decades, Doyle is a human flamethrower."

Trumpeter Earl Cross' guttural, vocal effects complement Doyle's take-no-prisoners approach, while the estimable combination of Muhammad Ali (Rashied's brother) on drums and Juma Sultan on congas adds an ever-shifting propulsion. The septet is rounded out by the enigmatic pianist Leslie Waldron, who anchors the group with imaginative accompaniment and occasional boppish flourishes.

Every bit worthy of its reputation as an "out-jazz" holy grail, The Black Ark only sounds better with age. It remains the ideal record to convert the remaining free-jazz skeptics.

'Meditation Music Beyond The Unsleeping Psychopathic Mind' — a raw, deep free-jazz exploration where synth, voice, saxophone, and percussion dissolve into a single, unfiltered sound world. No boundaries, no polish — just presence and freedom for sonic expression.

Music spontaneously composed (improvised) by all members of the group. Recorded at Threshold Studios in Hamilton, Ontario, Canada. Produced by our good friend Devin Brahja Waldman and wrapped in hypnotic cover artwork specially crafted by renowned Vancouver-based artist Boone Naka.

Annie Shaw - keys/synth/vox
Sarah Good - keys/synth/vox
Nadah El Shazly - keys/synth/vox
Adam Kinner - tenor saxophone
Connor Bennett - soprano saxophone
Devin Brahja Waldman - synth, alto saxophone
Vicky Mettler - guitar
Alexei Orechin - guitar
Daniel Gélinas - drums, percussion
Philippe Melanson - drums, percussion

»Rosacea« sounds as strange and demented as all the previous albums by this Norwegian one-man project (on Feeding Tube and Ultra Eczema). But it sounds right. Just like he claimed in a recent interview about his untraditional approach to writing songs: »I just make stuff until it sounds right«. It sounds absolutely right in fact.

As puzzling and lunatic as he may seem, yet a sense of order emanates from the idiosyncrasies featured on this album. Ghédalia Tazartès is a cursory reference. Especially on »Carmelade«. However, the spectrum of sound and compositions on »Rosacea« manage to actually transcend the late French eccentric composer and singer.

Die Reise von MUNA war schon immer davon geprägt, Raum für die komplexen, chaotischen und ekstatischen Realitäten des Lebens zu schaffen, und mit ihrem vierten Album "Dancing On The Wall" sind sie so prägnant, düster und mitreißend wie nie zuvor. Ausgehend von den funkelnden, mit Konfetti übersäten Höhen ihres selbstbetitelten Albums aus dem Jahr 2022 kanalisieren sie nun die ängstliche, unsichere Energie des Lebens in einem Los Angeles, das von politischen Spannungen, Umweltzerstörung und dem stillen Druck der Prekarität der Millennials geprägt ist. Das Ergebnis ist ein Album, das sich sowohl intim als auch spektakulär anfühlt, eine Popwelt, die mit Biss, Witz und emotionaler Resonanz aufgebaut ist, ein Soundtrack für Herzen, die gleichzeitig in Flammen stehen und das Chaos um sie herum beobachten. Auf dem gesamten Album erkundet MUNA Sehnsucht, Intimität und Verbundenheit vor dem Hintergrund einer Welt im Wandel. Es gibt eine stille Auseinandersetzung damit, wie man weiterleben, lieben und sich gegenseitig erreichen kann, während man Zeuge politischer Brutalität und systemischer Gewalt wird, und wie Freude ohne Verleugnung überleben kann. Tracks wie "Wannabeher" fangen den schwindelerregenden Nervenkitzel ein, sich vollständig in die Fantasie eines anderen zu begeben, während "Why Do I Get A Good Feeling" noch lange nach dem Ende des Beats nachhallt, eine Meditation über flüchtige Freude und ausgesetzte Möglichkeiten. Das Album schließt mit "Buzzkiller", einer schonungslosen Auseinandersetzung mit Sehnsüchten und ihren Folgen, dem Schmerz, etwas erreicht zu haben, nur um festzustellen, dass neue Fragen, Zweifel und Sehnsüchte zurückbleiben. "Dancing On The Wall" wurde von Naomi McPherson produziert, wobei ihre charakteristische Liebe zum Detail mühelos mit der ausgefeilten Pop-Technik ihrer Bandkollegin Josette Maskin hinter den Kulissen verschmilzt, um lebendige, atmende Welten für die prägnanten Texte und die unverwechselbare Stimme der Leadsängerin Katie Gavin zu schaffen. "Dancing On The Wall" verbindet euphorische Klanglandschaften mit prägnanten, menschlichen Geschichten. Das Album spiegelt einen intensiven, selbstgesteuerten kreativen Prozess wider, der von Instinkt, Vertrauen und vollständiger künstlerischer Kontrolle geprägt ist. Es wirkt lebendig, eindringlich und filmisch und spiegelt eine Generation wider, die sich durch Unsicherheit navigiert und sich dennoch nicht von ihrer Freude abbringen lässt. Mit diesem Album beweisen MUNA erneut, dass Pop gewagt, intim und sozialbewusst zugleich sein kann: ein Album, das nicht nur den Moment einfängt, sondern ihn zu einer Welt destilliert, in der man leben möchte.

Broadcasting from the Portuguese interior, SARaMAGO returns to Carpet & Snares with four more cuts of deep and streamlined technoid house. ‘Flowing’ matches a jacking beat to addictive 90s organs and acidic accents, while the moody, metallic ‘Inner Peace’ evokes the classic UK techno of Stasis or Luke Slater. On the flip, the pulsing bassline and robot vocoders of ‘The Blackbox’ evoke Belgian body music, but housed in a contemporary groove. Saramago closes out the EP with the quirky electro-funk banger ‘Smile’, which is sure to raise exactly that on the dancefloor.

Next stop... Second reference in the PHASELAB catalog and twenty-third of our PHASE IMPRINT label! What a satisfaction to finally present this project (vinyl and digital) by Aizikovic, the yout from Madrid who is trying to bring an especially fresh, as well as profound, vision to our city. This EP transmits us; altered visions in music, many experiences linked to the dance floor and feelings of light in a dark space. And in case anyone wanted a little more, Comissar Lag aka Lag has prepared a melting remix for us.

Many thanks for the designs to the snowboarder of the strokes @judyisangry, to Mario Castillo for the Master and to Pedro O'Connor for the Mix.

2026 repress !

Zürich-based musician Angelo Repetto returns with his new album Between Worlds: Interference, released on Subject to Restrictions Discs. The record is the result of a unique collaboration with Argentinian visual artist Clara Grabowiecki, extending their immersive live project Between Worlds into a sonic and tangible form.

«This album is a continuation of the deep conversations Clara and I had about concepts of perception that led us to question silence, time, transcendence, and the future», says Repetto. «It’s not about finding answers, but about opening spaces where sound, image, and emotion can flow freely.»

Between Worlds: Interference oscillates between hypnotic rhythms, kraut-inspired synth layers, and psychedelic atmospheres – hallmarks of Repetto’s style that listeners may recognize from earlier releases such as Sundown Explosion and Kamiokande. At its core it is an invitation into an open dimension where disciplines, experiences, and realities dissolve into one another. It is both a deeply personal statement and a collective journey into new perceptual spaces.

Bangkok Impact - alias of Finnish producer Sami Liuski - helped define the early-2000s Italo-disco and electro revival. Missionary On Mars became an underground club hit across Europe with its spacey synths and retro-futuristic vibe, earning cult status among DJs. With Caro and La Musche his reputation for sleek, hypnotic grooves that bridged classic Italo influences with techno energy got cemented. Remastered repress for a new generation.

Following his remix of Youthman by Echo Inspectors & Subset, Biodub returns to Primary Colours with his first original release for the label, the Dialogue EP.
The title track, Dialogue, shows Biodub’s familiar warmth and attention to detail, built around deep basslines, subtle textures, with a calm and reflective flow. It’s understated yet full of presence, a fine example of Biodub’s ability to communicate emotion through minimal elements.
Pablo Bolivar steps in for the Dream Dub Remake, offering a refined reinterpretation that expands the original into wider, dreamlike space. His version brings a smooth, rolling energy with gentle synth layers, flowing delays, and a steady, hypnotic rhythm that carries both warmth and clarity. It’s a standout moment on the release, highlighting the shared sensibility between both artists.
Grassland continues with a natural, organic movement, a balance of deep groove and open atmosphere, while Ubiport closes the record in a more introspective tone, marked by subtle echoes and restrained rhythm.Dialogue is a cohesive and thoughtful release that reflects the core sound of Primary Colours: immersive, detailed, and rooted in the deep dub tradition.

All Nice Records returns with NICE005, the second release from label co-founder Bobby Dreams--a five-track excursion through deep, functional, and emotionally rich house music. Opening with The Signal, a peak-time piano workout laced with congas and classic Chicago house energy, the record sets an infectious tone right away. Let It Be Real follows with smooth, warm textures perfect for early or late hours. On the A3, Stranger Than Fiction delivers a pure 303 exercise--acid lines twisting and mutating over a tight, hypnotic groove. Flip the record for New Horizon, a hopeful, driving cut built for forward momentum, and Enter The Simulation, a deep, late-night closer with a touch of mystery and tension. Crafted for selectors, designed for the floor--NICE005 is house music for any hour of the night. All nice, all night!

Oldschool driven hardware gooves! Trippy and spaced out acid techno by italian duo Boston 168. Outstanding coverprint, shrinked and DJ friendly 140g pressing. Mastering and Cut by CGB at Dubplates and Mastering.

Calder City Development Corp. returns from Detroit with CCDC008 “Body Remembers EP” by Chicago Skyway, a raw, emotional slice of pure Detroit house energy. This is that unmistakable blend of swing, grit and soul: dusty drum programming, deep basslines and chords that feel both melancholic and hopeful at the same time. It’s music that taps directly into the body – the kind of grooves you feel in your chest before you even realise you’re moving. “Body Remembers EP” fits perfectly into the Calder City Development Corp. universe: deep but direct, underground but timeless. This is finest Detroit house designed for concrete basements, smoky backrooms and all those moments when the lights are low and the crowd is completely locked into the groove.

Veteran DJ, producer and Kyiv's K41 booker Christoph Faust showcases the diversity of House music across four tracks. From tech house to clicky minimal, mysterious deep house, and classic Chicago style, "The Window Upstairs" has it all.
On the B-side, there's a surprise remix by Berghain regular and Room Trax co-founder BLANKA, adding a dubby tech housetwist.

finally repressed Clone Classic Cuts continues to dig in the crates to bring back forgotten or obscure records from the past

After months of careful excavation and meticulous restoration, dj echotree finds his way to ZitStill with a singular artefact. Delving into lost remnants of the spirit world, a gapless collage of found footage, spoken word and otherworldly jazz slowly emerged. A mute yet eloquent testimony, held together by instinct and the steady pulse of the MPC.

Much remains to be uncovered about this entity and its teachings, rooted in beliefs that left no written trace. What is known is its devotion to the human touch, unafraid of imperfection. A form of worship rich in texture, best experienced on hazy afternoons and mist-laden mornings.

repress alert! kicking house tracks...

2025 EDITION / HEAVY BOXSET (BLACK) / CLEAR MARBLED TRANSPARENT VINYL
Emmanuel Top's Attack Records stands as a milestone in the 1990s techno-acid scene.
The French producer pioneered a unique sound that continues to resonate today. Tracks like "Turkish Bazar" and "Acid Phase" remain iconic, even considered among the best techno productions of the 90s.
Thirty years after their original release, all the key tracks by Emmanuel Top on his own Attack Records return to vinyl, remastered in a 5 x 12" boxset.

Far&High and pizzaaftersex open the Rabbit Hole for Unheard Music’s debut – heady, low-slung tech house slipping between deep haze and club pressure. Gorge and Sasha Carassi turn in heavyweight remix workouts, flipping the originals into pure late-night hypnosis for locked-in floors.

2024 repress

Part 1 of 2

A must-hear for dub lovers, beat heads, and adventurous ears alike - Gwaan is genre fusion done right. Catalan vocal powerhouse Sr. Wilson joins forces with producer Geliks for Gwaan - the bold debut of Cinta Gara Records. Rooted in dub but fearlessly genre-hopping, this EP delivers four distinct versions that blend hip-hop, roots reggae, techno, and trap with finesse. Sr. Wilsons dynamic performance commands the spotlight, while remixes from Krystian Shek, Quindactiv, and Sascha Reder push boundaries.

"Sudd WAX is the vinyl only label of Sudd Records. Legend from Chicago, Gene Hunt comes up with classic and basic roots from acid, house and deep sounds, original from Chi-town. Energetic and versatile EP, playable full set time."

Since launching in 2018, Innate has been synonymous with cultured techno and now, finally, we get to hear from co-founder Gilbert with his first full release on the label. overdue. The Bristol producer delivers three originals rooted in electro futurism, deep house emotion and Detroit lineage. 'Passage Of Time' rolls with acid detail and warm chords, while 'We Are All Made of Stars' leans into melancholic melody and gentle propulsion. 'Natural Dimension' pushes outward with driving rhythms and shimmering motifs. The remixes are on point too - Nuron reshapes 'Furthest Planet' into raw, emotive electro, while Apiento and Diego Herrera rework 'We Are All Made of Stars' into hazy, analogue proto-house.

DJ Feedback

Laurent Garnier:
"Ohhh wahouuu this is a brilliant release indeed. Loooove it!"

Lexx (Wavetest):
"Good stuff! Full support as usual. "

Sven Weisemann:
"perfecto =)"

Aroy Dee (MOS):
"Well, that sounds absolutely lovely! "

Cignol:
"That Nuron remix too, holy shit, amazing!"

Colin Dale (Abstract Dance):
"This Gilbert EP is killer! Will be rotating and supporting it for sure."

Gilbr (Versatile):
"Love what I hear..."

Jorge Caiado (Carpet & Snares):
"What a record!! Every track is beautiful and the remixes are sooooo good."

Marco Passarani:
"Some good stuff here mate! Will surely play this out."

Miles Atmospheric:
"Lovely package! Superb music!"

Thorgerdur:
"I really love this release! Amazing tunes :)"

Liferecorder :
"This sounds superb ! Solid productions by Gilbert for sure.."

Ivan Smagghe :
"Great originals and great Apiento/Diego Remix..."

Lovefingers :
"Sounds sick!"

Experimental musician Greg Stasiw presents his debut album of radiant, free-flowing electronics ‘Guesswork’. Music for psychoactive exploration made over a four year period, incorporating ambient, minimalism, intricate sound design & Japanese environmental music. An exceptional listening experience of wonder, tranquility, melancholy & discovery, contemplating the relationship between sound & space.

Greg Stasiw is an experimental musician, visual artist and writer from New England, Northeastern USA. An itinerant polymath, Stasiw has spent time living, working and traveling in New York, Tokyo, Toronto, Paris, Boston, and Bratislava. As well as studying anthropology, animation and illustration, Stasiw has always had a close connection with music.

His earliest musical involvements started with ambient music on Sunday drives, microcassettes, the Windows 98 Sound Recorder and free play with Casio keyboards. Then came a formative procession of piano lessons, orchestras, choirs, taiko, metal, indie rock, tinnitus, and ultimately; the acquisition of music production software.

With his debut album ‘Guesswork’, the aural and visual inspirations that underpin Stasiw's creative life intersect, in a pure, radiant soundworld of space, depth and immaculate clarity. Futuristic, pellucid soundscapes incorporating ambient, minimalism, intricate sound design, and Japanese environmental music are deftly arranged with evanescent chimes, serene tone float, suspended organ notes and curious sci-fi resonances.

Like stepping into some space age meditation garden, if soundtracked by the likes of Hiroshi Yoshimura, Harold Budd, Norman McLaren, and Pauline Anna Strom, the thirteen tracks of ‘Guesswork’ create an exceptional listening experience of wide-eyed wonder, sleek tranquility, gentle melancholy, and singular discovery.

Guests is the home recording project of Jessica Higgins and Matthew Walkerdine. Vaguely named as such to avoid any problems with the poster if they pull out of a gig (which has only happened once, about a year and half before any songs were actually written to be fair) but also to capture a sense of reverse hospitality. That is, arriving at your door with a bottle of good wine (can’t turn up empty handed) or a fist full of savoury or sweet snacks (time of day dependant); oversharing at the afters (and then passing out on your couch); reading to your toddler while you make their lunch or put everything back where it was meant to go (only to get torn apart again). So, something about what happens when private worlds meet each other, making or having been made a space for. But at times, it’s a different kind of intimacy, a temporal or material one, like the feeling of crisp fresh sheets, and abundant and soft, body-part appropriate towels in a hotel in a city you’ve been to before and love to go back to.

Their debut record, “I wish I was special”, was variously described as “a collage of concrète experiments and outerzone pop gestures, music that sounds as if it’s been written from the depths of a dream”; “music for people who love music but also hate it too”; “something like chasing ghosts or befriending a wild animal”; “pulling apart nervous sensations with haphazard ease and requisite humour”; and “a melody of refusal, of being all-in (…) finding the exact right WRONG sound to express the discontent”. Common Domestic Bird continues in this vein, layering synthesiser, keyboards and samples over rudimentary drum rhythms and field recordings, which are in turn sung or spoken with to create nine new songs.

Written and recorded between autumn 2024 and summer 2025 in Reading, Berkshire, the music has matured since its last outing, in a way, leaning less into collage and more toward structured composition and melodic depth, yet retains a healthy dose of indeterminacy and off-kilter rhythms for the forever-amateur. The songs on Common Domestic Bird hint at some “about”-ness through a series of discrete vignettes which sound a bit like architecture or end of year lists, gossip or over-thinking subjectivity, like disappearances and impressions, the support structure of the spine, letters and signs offs, things you could really do without and where they should go, hoping you’ll see something that isn’t there, pretences and performance. At times they feel kind of funny, others kind of sad or a bit angry and annoyed, a bit like you really.

2026 Repress

One of the leading names in contemporary underground music, Guy J, embarks on a new journey. As a dedicated futurist and sound enthusiast who pushes boundaries akin to science fiction, Guy delivers the first track on his new label with an abstract vision of the layered future of sound. This 15-minute preview of Guy J's forward-thinking, innovative work indicates a promising future for his label. Experience the birth and transformation of a new era in sound from day one!



Every beginning carries excitement and unpredictability, requiring something extraordinary. Whether rooted in creationism, biblical narratives, or the Big Bang Theory, both theological and scientific origin stories resonate with events echoing millions of years into the future. One of the leading names in contemporary underground music, Guy J, embarks on a new journey. As a dedicated futurist and sound enthusiast who pushes boundaries akin to science fiction, Guy delivers the first track on his new label with an abstract vision of the layered future of sound.

From the opening patterns till the end, A Million Years From Now offers an adventure, blending moments of free-flowing thought with a perfectly engineered audio collage that evokes a spectrum of abstract emotions-from melancholia and psychedelia to breathless excitement and, ultimately, pure euphoria.
The layered creativity transcends realism, leading listeners into a state of trance. The second piece, Just Rain, kicks off with a bass-heavy, pumping kick drum that vibrates speakers on any sound system.
However, Guy J transforms this from a rhythm-based track into a melodic epic. Its power lies in the seamless transitions and manipulation of effects and in the compositional structure that evolves over the eight-minute arrangement. Despite its subtle atmosphere, the melody culminates in an explosion of emotions that stimulate every frequency of the audible sound spectrum.

This 15-minute preview of Guy J's forward-thinking, innovative work indicates a promising future for his label. Experience the birth and transformation of a new era in sound from day one!

Jump Source is back with their 6th instalment: a collection of 4 tracks fine-tuned for the chaotic club. “Bleach” and “Condenser”cyclically build tension through their sneaky yet brazen tangents – no momentum lost from start to finish. The latter was born from a session with frequent collaborator Sabola, exploring the possibilities of the Roland sh- 05, which would become the backbone of the song. On the b side, the pair enrolled Martyn Bootyspoon and Frankie Teardrop to deliver vocals that break the fourth wall, sending you down an introspective dance-floor experience. “On” takes the foreground approach, while “Get It Done” comfortably hangs back, but the question remains : “What are you on?

Celebrate three decades of dance music history with 30 Years of Klubbhopping – the ultimate Best Of collection from the legendary Dutch DJ/producer team, Klubbheads. Known for their unstoppable beats and countless club anthems, Klubbheads have shaped the sound of global dancefloors with releases under many aliases, including Drunkenmunky, Da Klubb Kings, Itty-Bitty-Boozy-Woozy, DJ Disco and others. This anniversary release unites their most iconic tracks for the very first time, capturing the creativity, energy, and party spirit that defined generations.

From the club to eternity, 30 Years of Klubbhopping is more than a compilation—it’s a celebration of the sound that made the world move.
30 Years of Klubbhopping is available as a limited edition of 1000 individually numbered copies on crystal clear vinyl and includes an insert with track-by-track liner-notes written by the Klubbheads.

House as its best. House as we want House to be. New Cabinet Records by Knixx comes up with 3 perfect goodies for a perfect night n day.

Konsudd finds the hyperkinetic Konduku teaming up with close pal Aa Sudd as they match subtlety with intensity. Their high-definition production leads on these spacious works of art, with dynamic layers of atmospherics punctured by dense kick drums. They take care to address soundsystem physicality, loading their kicks with irresistible subs down low and finely chiselling the double-time rhythms up top for an extra boost of energy.

2024 Repress

One of the best house tracks in the last 10 years, and for sure one of the few, if not the only one, that can make a guy cry! Original, Instrumental and Jazz Cafe mix all on 1 high quality remastered 12. Essential!!

We have sourced a whole bunch of original stock from Charles Webster's very tidy Miso label. This is one of them from 20 years ago, but the sounds still have a future edge. It's deep, dubby, minimal, but with meaningful and intricately crafted melodies that bring astral energies. Lo Rise's 'Life Goes On' is the source material for a quartet of tasty remixes. Charles Webster & Martin Iveson mix it into a fleshy, techy dub with a jazzy vocal, Dean DeCosta brings more bump to the drum and glitch to the texture, and Markus Enochson strides into classic 00s tech house. Jimpster shuts down with a sparkling and jazz-inflected dub.

Sandfall Interactive, Kepler Interactive und Laced Records haben sich zusammengetan, um Lorien Testards bahnbrechenden Soundtrack zu Clair Obscur: Expedition 33 auf Vinyl und CD zu veröffentlichen.

Diese Doppel-LP wurde von Testard sorgfältig zusammengestellt und enthält eine Auswahl der wichtigsten Titel aus dem Soundtrack, darunter „Lumière“, „Une vie à peindre“ und die Hauptthemen der Charaktere.

Die Musik in Clair Obscur: Expedition 33 ist entscheidend für die emotionale Geschichte, in die sich die Spieler verliebt haben. Die meisten Titel wurden in Testards Heimstudio geschrieben und aufgenommen, einige wurden auch vom renommierten Curieux Orchestre in den Midilive Studios in Paris gespielt und aufgenommen.

Testards Debüt-Soundtrack ist ein musikalisches Gemälde, das die Belle-Époque-Kulisse des Spiels untermalt. Unter anderem sind die Leitmotive in „Alicia“ und „Lumière“ in das Spielerlebnis eingewoben und fangen die Trauer und Hoffnung der Charaktere sowie die Schönheit von Lumière ein.

Von zentraler Bedeutung für die Anziehungskraft und Wirksamkeit der Musik sind die Texte und Gesangsmelodien von Alice Duport-Percier – der Leadsängerin und emotionalen Seele der vielen Gesangstitel von Clair Obscur: Expedition 33. Neben Duport-Percier sind die Sänger Victor Borba (Sänger von „Bury the Light“ aus Devil May Cry 5) und die Mezzosopranistin Axelle Verner zu hören.

Der digitale Soundtrack, der sechs Wochen in Folge Platz 1 der Billboard Classical Chart und Classical Crossover Chart belegte, ist ein Beweis für die Kraft von Testards musikalischer Erzählkunst und macht diese physischen Soundtracks zu Clair Obscur: Expedition 33 zu einem unverzichtbaren musikalischen Begleiter für jeden Expeditionsteilnehmer, RPG-Fanatiker oder Videospielmusik-Kenner.

Mall Grab & False Persona's much-anticipated collaborative effort "Crazy" finally sees a release, packed with catchy vocal hooks and emotional synths, accompanied by two stunning garage-tinged club tracks.