Cerca:mak

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)

Vincenzo De Bull follows up his initial 4 Kicks EP with a truly fitting set of 4 smooth grooves on Kicks 4 Life EP.

Kicking off the A Side is the energetic bass workout of The Jaunt. Driving mix of filtered loops and persistent bass carry this along with accented punctuation courtesy of trippy oscillating vocals, pianos before it’s all brought home post-break with a lovely pad driving more tension to add to the effortless progression. B2, Make It Smooth will contain some recognizable elements for most of the selectors out there, before the cut develops into a new context which will immediately remove your previous associations and make way for a fun, new groove – we don’t have to tell you, but Vincenzo does a superb job of ‘Making it smooth.’

Flip to the B Side for smooth R&B style house vibes courtesy of Move Your Body, an ethereal workout grounded by a solid low and a tugging looped groove, interspersed with enough energy via vocals to keep the floor engaged and moving, but at a lower energy level. Perfect to move into later nights. Tatsuro Lovers rounds out the EP with a midtempo chugger perfect for starting the evening, groovy pool parties or just sitting at home, enveloped in the heady, swirling vibes underpinned by crisp drums and deep low end.

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)

Anthony Hüseyin presents their new album O Geliyor (Making O), in which they return to the rediscovery of their gender, their childhood, and their attachment to Zeki Müren.

Müren is widely regarded as the most important queer exponent in the history of Turkish Art Music (Türk Sanat Müzigi). This genre of music was open to musical hybridism, and Müren himself also included elements of jazz and pop music.
Stylistically, O Geliyor (Making O) is a combination of contemporary discoid electro-pop music, based on Turkish Art Music by Zeki Müren. After successful current re-interpretations of Turkish music styles like neo-Anatolian pop and neo-Arabesk, this album provides a first take on neo-Turkish Art Music.

The album title is referring to the third genderless person pronoun in Turkish called "O", which encompasses all gender possibilities in one word. The album reflects on the memories that haunt us and the indescribable wounds of displacement. Set against the backdrop of Berlin, home to many immigrants and political and queer refugees, it exposes the profound emptiness in a metropolis wishing to imagine itself as a safe haven for the free-spirited, yet always reminding the Other that they don't belong. At the same time, it delivers anthems for the displaced, for the queer migrants who traverse internal and external landscapes in search of a place called home.

Anthony Hüseyin is a non-binary musician and performance artist of Kurdish-Turkish and Arabic descent who works with voice, text, film, dance, and installation. Raised in Urfa in Southeastern Turkey, where they learned traditional local music, they went on to study both classical and jazz singing in Istanbul and Rotterdam. Their works combine the personal and political to explore memory, identity, community, collective consciousness, and the body.

Vier Jahre nach ihrem gefeierten Debüt ,International Love Affair" kehrt Tigerbalm (Rose Robinson) mit dem aufregend kaleidoskopischen Album ,Bubblegum Discos" zu Ubiquity Records zurück. Als mutige Weiterentwicklung ihres global geprägten Nu-Disco-Sounds spiegelt das Album ein neu gewonnenes Selbstbewusstsein wider sowie den Wunsch, mit handverlesenen Musikern und Sängern aus aller Welt zusammenzuarbeiten. In lebhaften Klangfarben gehalten, präsentiert ,Bubblegum Discos" Tigerbalms zwei große musikalische Leidenschaften: die brasilianische Musikkultur und Vintage-Dancefloor-Hits vom afrikanischen Kontinent, angereichert mit Anspielungen auf Italo-Disco, Proto-House und Soca. Die erste Hälfte des Albums ist stark von südamerikanischen Einflüssen geprägt. ,Nayar", entstanden in Zusammenarbeit mit Giorgio Lopez aus Neapel, macht den Anfang mit leicht vom Reggaeton inspiriertem Nu-Disco, gefolgt vom brasilianischen Disco-Rausch von ,Diga Me" und dem luftigen Samba-Disco von ,Vera En Paraty". Robinson liefert ihren allerersten Leadgesang auf dem teilweise improvisierten Neo-Boogie-Track ,Coco Makoko". Das Album wendet sich dann Afrika zu, mit herausragenden Beiträgen von Andre Espeut, der in Montreal lebenden haitianischen Sängerin Waahli auf dem hornlastigen ,Do Da Soca" und dem Afrobeats-Sänger Idd Aziz auf dem körperbetonten ,Afro-Disco". Der Abschluss ,Conga" rundet das Ganze mit schweren, afrozentrischen Disco-Rhythmen und tiefem Dub-Bass ab. Actiongeladen und makellos produziert: ,Bubblegum Discos" ist der Sound einer Künstlerin, die ihr frühes Versprechen mehr als nur einhält.

This 7" record by Agogo Records features two remixes by Mo' Horizons. Track one is a cover of Nat King Cole's "Calypso Blues", performed by percussionist and singer Nené Vasquez, who is part of the Mo' Horizons family and used to play in Shakira's band in a former life. Super Oud is a musical project from Bremen, Germany, combining traditional Middle Eastern sounds with modern electronic grooves.

a. Nené Vasquez - Calypso Blues (Mo' Horizons Remix)
Written by Nat King Cole & Don George. Published by Crestview Music.
Original production by Nené Vasquez. Remix production by Ralf Droesemeyer.
Lead Vocals by Inna Vizotska. Additional Remix Vocals by Frankie Figueroa.

b. Super Oud - Zala (Mo' Horizons Remix)
Written by Claas Bösling & David Niedermayer.
Original production by Claas Bösling. Remix production by Ralf Droesemeyer.
Oud by David Niedermayer. Remix Vocals by Marriam.

Berlin lo-fi crooner Der Assistent returns with "Ultramarin", a sun-faded suite of soft-focus pop, Balearic grooves and late-night yacht moods drifting between languages, moods and references – slightly surreal, and quietly melancholic.
Following the tropical haze of its predecessor "Amnesie am Amazonas", his third album makes a slightly bigger splash: classic late-80s digital pianos, downbeat grooves and flashes of dub-reggae intertwine with subtle soprano and alto saxophone lines that drift between lounge melancholy and nocturnal jazz.
Laid-back opening cut “Wenn der Scirocco weht” pays homage to Japanese lovers rock, while the dubby downbeat title track celebrates the color blue in French, English, Italian and German, echoing situationist slogans and painter Yves Klein’s idea of “the invisible becoming visible.” Lead single “Mann am Telefon” dives into hazy yacht-pop and lo-fi soul, gradually unfolding into an instrumental outro that recalls the early synth romanticism of Vangelis.
Across the album, Der Assistent traces a playful tale of split personalities – with subtle nods to Fight Club and Blade Runner – culminating in the lush closing 80s R&B ballad “Total Confusion”.

Written, recorded, produced and mixed entirely by Der Assistent, Ultramarin also inaugurates his new imprint of the same name.
RIYL: Fishmans, Eddie Chacon, The Zenmenn.

Highly collectable and sort after reissue from Discrete Records currently getting plays from Paula Tape, Make A Dance and Sean OD. Early Progressive House from 1992. Special Yellow vinyl edition.

Early DJ Support: Massimiliano Pagliara, Paranoid London, Logan Fisher, Terry Farley, James Holroyd, Rocky (X Press 2), Francois K, Marcel Vogel, Sean Johnston, Austin Ato, Ron Basejam, Richard Rogers, Oliver Dollar, Crazy P and many more

Creating an international name for itself over the past decade as a sample pack label, Samples From Mars made its inevitable venture into the music world originally as a home for founder Teddy Stuart’s work. Long before making samples, Stuart garnered credits working as a grammy-nominated recording engineer in the hip hop world, and DJing / producing with Justin Strauss as A/JUS/TED, for labels such as DFA, Domino Records and Southern Fried Records. Now the label is set to release a variety of genres - house, disco, techno, ambient, all with a vintage tinge and a focus on high quality, analog production.

Enter Salt Queen. Visual artist and musician Magali van Caloen together with Samples From Mars founder, Teddy Stuart. Based in New York, the duo combine hardware dance aesthetics with dry, salty takes on familiar club moments into music that sits somewhere between funny, raw and unpredictable.

Salt Queen’s debut ‘ARE U OK’ is an acid-laced, deadpan spoken word track with an opening line that snaps any room to attention. A disorienting club encounter unfolds over Italo-inflected 808s and a relentless 303 bassline. There are no chords and no melodies - just a skeletal groove and an intimate voice circling the dancefloor. Drifting between concern and provocation, the vocal runs through cliché club conversations before destabilizing completely into a siren-laden crash out. The ‘Freak Nasty Club Mix’ ditches the plot and lets the hardware breathe, with a thick SH-101 bassline anchoring the first half before a sudden switch into an unrelenting acid pattern that refuses to settle. Two versions of the same wild night out.

The Diary by Scarface returns to vinyl for the first time since 2014, now expanded to a 2xLP and featuring the never-before-released bonus track “Ease Up Now.” Newly remastered, this definitive edition includes the original 1994 artwork, carefully restored for vinyl by acclaimed designer Mr. Krum. Featuring fan favorites like “No Tears” and “I Seen a Man Die,” this platinum-certified classic is presented with upgraded audio and an expanded format, making it the most comprehensive edition to date.

The Diary by Scarface returns to vinyl for the first time since 2014, now expanded to a 2xLP for the very first time, including a previously unreleased B-Side!
Newly remastered, this definitive edition features the original 1994 artwork, carefully restored for vinyl by acclaimed designer Mr. Krum
Originally released October 18, 1994, The Diary debuted at No. 2 on the Billboard 200 albums chart, marking one of Scarface’s most commercially successful releases.

The Diary by Scarface returns to vinyl for the first time since 2014, now expanded to a 2xLP and featuring the never-before-released bonus track “Ease Up Now.” Newly remastered, this definitive edition includes the original 1994 artwork, carefully restored for vinyl by acclaimed designer Mr. Krum. Featuring fan favorites like “No Tears” and “I Seen a Man Die,” this platinum-certified classic is presented with upgraded audio and an expanded format, making it the most comprehensive edition to date.

The Diary by Scarface returns to vinyl for the first time since 2014, now expanded to a 2xLP for the very first time, including a previously unreleased B-Side!
Newly remastered, this definitive edition features the original 1994 artwork, carefully restored for vinyl by acclaimed designer Mr. Krum
Originally released October 18, 1994, The Diary debuted at No. 2 on the Billboard 200 albums chart, marking one of Scarface’s most commercially successful releases.

Indie Exclusive 2xLP on Opaque Red Vinyl with 8x10 Glossy Insert. Contains Bonus Track "Ease Up Now"

Dewa Alit, master of radical Balinese gamelan, returns to Black Truffle with Baur Bentur. Genetic (2020, BT063) introduced international listeners to the magical sound-world of Alit’s Gamelan Salukat, who perform on instruments tuned to a unique scale derived from modified versions of two traditional Balinese scales. The two pieces heard on Chasing the Phantom (2022, BT093) further demonstrated his radical fusion of tradition and experimentation, with passages where unorthodox techniques make the acoustic ensemble resemble glitching electronics. Baur Bentur now highlights another aspect of Alit’s work, presenting pieces composed in 2024 and 2025 where Gamelan Salukat performs alongside virtuoso pianist Sri Hanuraga. Alit’s music is grounded in deep reflection on the tradition of Balinese gamelan and its place in the contemporary world. His title, ‘Baur Bentur’, which translates as ‘mixing and smashing’, points to his embrace of the intercultural mixture of Eastern and Western elements in the search for innovation. Against the calcification of Balinese music into tourist entertainment, Alit poses his searching, experimental work, which celebrates the communal values and performance practices of traditional gamelan while pushing into startling new directions.

‘Sukat Tacara’ is a study in layered tempos, meters, and polyrhythms, a constantly shifting dialogue between piano and the instruments of Gamelan Salukat. It begins close to a traditional concerto, pairing a brisk sequence of melodic variations from the piano with a spare but propulsive accompaniment of drums and hanging metallophone tones, punctuated by low gong strikes. The piano builds in volume and density across a rapid succession of fragments, at points recalling George Antheil’s ticking wind-up machinery, though Hanuraga’s jazz background shines through in the fluidity with which he navigates the complexities of the score, where chromatic movement co-exists with bluesy phrases. An abrupt change in the piano to patterns of dense clusters introduces a new episode, during which the metallic instruments of the gamelan enter the foreground. The piece dazzles with its inventive rhythms and dynamics, building to a stunning passage featuring the signature heavy muting technique of the Gamelan Salukat metallophones in kinetic patterns that would be at home on a Príncipe release.

The title piece begins at high intensity and rarely lets up, working through bracing unison ensemble melodies and punctuation points where piano and gamelan together seem to become a single, thudding drum. For much of the piece the piano is tightly integrated into the ensemble, the harmonic extensions of the melodic line subsumed into a moving cloud of complex overtones generated by the gamelan instruments. Wildly kinetic on the rhythmic level, the piece swarms with microscopic movements of beating patterns generated by the ‘blend and crush’ of three simultaneous tuning systems: the equal temperament of the piano and the saih cenik (small scale) and saih gede (big scale) used by the gamelan instruments. Accompanied by the composer’s thoughtful liner notes and images of the musicians, Baur Bentur is a stunning next step in Alit’s radical combination of tradition and innovation.

2026 Repress

The ongoing importance of this album is indisputable, essential both to techno and to Tresor. It is a history intertwined. This work elevates its maker as master, and remain a cherished moment in the Tresor story, sharing an irrefutable singular magic, sounding as present and indispensable as when first created. To understand this work fully is to stand back and celebrate its impact.
Originally released in 1994, 'Internal Empire' marks a point of transition for Robert Hood moving on from his previous collaborations within Underground Resistance. Robert Hood advanced uncovering the power of true minimalism. Deep soul through a simplicity that showed how much could be done with so little. The devastating rhythms of this album forge the unmatched spirit of this sound, influencing generations to come.

2026 Repress
Twenty five years after its initial release, and accompanying the re-release of 'Internal Empire' Tresor Records is proud to present a new cut and pressing (180gm) of Robert Hood's essential 'Master Builder'.
The ongoing importance of this single and its adjacent album is indisputable, essential both to techno and to Tresor. It is a history intertwined.

This work elevates its maker as master, and remain a cherished moment in the Tresor story, sharing an irrefutable singular magic, sounding as present and indispensable as when first created. To understand this work fully is to stand back and celebrate its impact.
Originally released in 1994, 'Internal Empire' marks a point of transition for Robert Hood moving on from his previous collaborations within Underground Resistance. Robert Hood advanced uncovering the power of true minimalism. Deep soul through a simplicity that showed how much could be done with so little. The devastating rhythms of this album forge the unmatched spirit of this sound, influencing generations to come.

"25 years ago, I was faced with the challenge of following up on 'Minimal Nation'. I cancelled all my tour dates for that summer, setup my studio in the living room and began to work on 'Internal Empire'. My intention was to create something distinctively di erent. Looking out my living room window in Detroit watching people go by gave me a new perspective. It made me look at the world within myself. 25 years later I am still discovering.' - Robert Hood

The Austrian imprint Fortunea Records took a little break to fill up their batteries and comes back now this summer with a release by the Bavarian duo Decent Rides. They are around for a couple of years and are also the masterminds behind the label Interloot Records.

On the ‚Like We Do‘ EP they are your guides for a versatile house infiltrated tour. The title-track is an energetic floorfiller with modulated synth sequences and heart stomping drum patterns. Definitely the killer app on this wax.

The second track on the A-side features the tune ‚Mind Maze‘. A funky bouncing bassline, reverberant almost siren sounding tones, staccato vocal samples and high accentuated hats make you blister your feet from your high intensively dance moves.

On track B2, the duo adds further "Colours" to the record. This melancholic deep house tune exudes a beautiful, somber, and yet captivating atmosphere that is impossible to resist. This track could be very effective when played during sunrise or sundown.

And finally, they round off this release with cosmic dub sounds and shimmering chords. "Lembo" invigorates the senses. Every beat on this tech house track is an invitation to let go and feels you the pulse of the underground scene.

Go check this out!

Limited to 200 records. There will be no repress!
Mastering by Patrick Pulsinger.

EU/UK Exclusive

Japanese pressing

From Universal Music's vast catalogue, the essence of Japanese AOR, all tracks are selected and played in Muro's mix cd 'Diggin' Japanese AOR' released in 2017 and now released on 2LP.

This includes some of hidden gems such as Maki Asakawa's 'American Night', Yoshio Harada and more from the late 80's to early 90's - the golden time of Japanese AOR.

2026 Repress!!

Slabs, if you didn't know yet, is the new label from Dungeon Meat duo Brawther and Tristan da Cunha that wants only to serve up music to make you sweat. This is another red-hot one that comes from Horsemen and has already been slammed down to great reactions at places like BRET in Amsterdam. 'Work It Out' is a stripped-down but chunky and rugged house monster, and 'The Strip Down' is a more lively and elastic cut with rubbery kicks, jumbled hits and irresistibly kinetic rhythms. Hugely effective yet hugely characterful, this is another doozy from Slabs.

Yanuka is the solo project of acclaimed keyboardist, composer and producer Tomer Zuk and here he makes his debut on Ma Ze Music with Hashrika and No Tomorrow. Known for his cinematic touch and eclectic style, Zuk blends Middle Eastern motifs, hypnotic grooves, and meditative atmospheres into what feels like a modern-day Morricone from the desert. There are psyched out 60s elements, Library music overtones, funk, soul and jazz instrumentals and great sound designs all bringing these two mysterious and enchanting sounds alive. The first is a late-night wander that echoes Khrangbuin and the second is all wah-wah magic and slick, rolling rhythms.

Since establishing his Stereo:type imprint, former Papa Records contributor Risk Assessment (real name Glyne Braithwaite) has released a dizzying amount of material, both digitally and on vinyl. His latest wax outing boasts four superb, tried-and-tested cuts. He gets straight to the point on opener 'Get Up', a chunky, emotive and life-affirming affair that appears to make liberal use of orchestral and vocal samples from what sounds like a luscious, maximalist Philly Soul workout of the mid 1970s, before going percussion crazy on 'Circus' (which also boasts samples from a much-loved disco record). 'I Had Enuff' is a colourful and piano-rich classic house number boasting fine vocals from Kathy Brown, while 'Man Like Mike Delgrado' is a swirling, filter-heavy chunk of swirling disco-house hedonism.

Frenchman Franck Roger is as consistent as any of the deep house greats we have all loved and appreciated for many years. He returns to Seasons Limited with another EP of perfectly timeless sounds to back that up. Opening up this latest gem is 'Don't Make Me Wait', which is shimmering and candlelit, with wispy pads and aching vocal cries occasionally bursting out of the mix. 'The Number Track' has a more pronounced groove with lumpy kicks and this time neon chords bubble through nicely for zoned-out late-night hypnosis. 'Fast Lane' closes with a more insular and dark feel that takes you back to the early days of Chicago house with a devastating synth conveying great loneliness

Pure world magic brims from every groove of this new set of pearlers from the Beauty & The Beat label. We know nothing about Loopico, who is behind the originals, but they blend plenty of Latin, cumbia and expressive percussive sounds into ass-wiggling grooves. Cow bells litter 'Curimbobata', which has stringy rhythms and external synths weaving in and out. 'Maquio' has busy, relentless handicaps and acoustic strings with shamanic spoken words, then 'Upaon-acu' and 'Calma-cara' bring sunny spiritualism to another pair of urgent rhythms. Leonidas lays down hefty, bass-driven rhythms that make these suited to club deployment and open-air dancing this summer.

Big heart US deep house figurehead Chez Damier has opened his studio up to new school collaborators once again, with Italy's Nico Lahs and Adeen chief Camille getting back to work on a new series of tunes inspired by jazz-fusion and the sounds broadcast on legendary radio station WJZZ. 'Dragon Breath' opens with tense rhythmic interplay and expressive horns and vibraphones, while 'Tunita' offers shimmering rhythms. 'Third World Wave' is a busy broken beat with weighty kicks and brilliantly loose percussion all run through with off-kilter horns. The 12" expands the palette, from the lighter touch of 'Haiku' to the driving force of 'Bullet Train'. Another majestic collaboration.

Anywhere, Anyway captures a selection of club tools that Makèz and their close circle have tested, refined and played across dance floors worldwide. Each track carries that familiar equilibrium the duo keeps guard over, a steady pull between raw club energy and moments meant for intimate listening.

Much like their recent album on No Art, the EP took shape while traveling, moving from session to session with artists from different musical worlds. Those encounters left their marks, subtle shifts in rhythm, harmony and texture, shaping the edges of the EP. The Amsterdam duo keeps seeking creative impulses from unexpected angles, letting ideas find them wherever they are. Anywhere, anyway.

RareTwo Inc. aka DJ Sneak and Tripmastaz are back together for 33 chambers EP, the next Respect The Craft release.

Words by Sneak:
"On a hot Ibizan summer the Rare Two fellas spent a period of 33 days on the island making tracks in a house garage with a couple of pieces of affordable gear and a whole lot of talent. We managed to create 33 tracks often burning them on CD to take to djs like Ricardo Villalobos at Amnesia and seeing the instant reaction of the crowd. We are a mega team of same mentality dudes who create from the heart breaking all rules and getting music done for a purpose. The Tripmastaz and Sneak Team is one to expect many great dance floor killers. As we call them Guttah Styles!

Words by Tripmastaz:
Recently I found these projects and since they were done on just a laptop and cheap small speakers, I gave them proper analog mixing and mastering.

All tracks remain exactly the same form and arrangement as they were originally done, including track Aww Lawd, that was featured on R. Villalobos BBC Radio 1 Pete Tongs mix back in 2018.

Mike Grinser at Mandmade Mastering did the lacquer cut and made it sound very crisp and loud a lot like it would've been cut in the 90s.

Justus Köhncke is a unique voice in the history of Kompakt – and far beyond. He has contributed so many unforgettable tracks to our catalogue that it was difficult for us to make a selection. His sound has often been copied, but remains incomparable. From his deep knowledge and understanding of the history of pop, schlager and disco, he distilled not only official club hits such as ‘2 After 909’ and “Timecode”, but also countless poetic gems. Both sides of Justus Köhncke’s work are united here on this record. Justus’ music knows no boundaries, only ‘​weiche Zäune (soft fences​)’.

Special attention should be paid to the included bonus 10‘. Here you will find two of his most enchanting, hard-to-find cover versions. His immortal version of Jürgen Paape’s evergreen ’So weit wie noch nie‘ and the monumental adaptation of Round One’s ’New Day”, originally released under the nom de guerre Kinky Justice.

Justus Köhncke ist eine einzigartige Stimme in der Geschichte von Kompakt – und weit darüber hinaus. Er hat so viele unvergessliche Tracks zu unserem Katalog beigesteuert, dass es uns schwerfiel, eine Auswahl zu treffen. Sein Sound wurde oft kopiert, ist aber nach wie vor unvergleichlich. Aus seinem tiefen Wissen über und Verständnis der Geschichte von Pop, Schlager und Disco destillierte er nicht nur amtliche Clubhits wie „2 After 909” oder „Timecode”, sondern auch unzählige poetische Kleinode . Beide Seiten von Justus Köhncke's Schaffen sind hier auf dieser Platte vereint. Justus’ Musik kennt keine Grenzen, nur „weiche Zäune”.

Ein besonderes Augenmerk sei auf die enthaltene Bonus-10” gerichtet. Hier finden sich zwei seiner bezauberndsten, schwer zu findenden Coverversionen. Seine unsterbliche Version von Jürgen Paape's Evergreen “So weit wie noch nie” und die monumentale Bearbeitung von Round One’s “New Day”, die ursprünglich unter dem nom de guerre Kinky Justice veröffentlicht wurde.

Transmitting from deep in the Finnish underground, Nazar sends out a signal of mysterious, synthetic auras and shadowy, skittering sequences. From smoky outsider techno to rainy-day electro abstraction, the label’s emphasis is on expression and intrigue as each release reaches across the energetic spectrum of moody machine music.

The first release on Nazar presents a cast of protagonists from the Helsinki scene who share precisely the kind of nocturnal tendencies the label is seeking out. Seasoned duo General Electrix open up the A side with ‘Redshifter’, a silken web of 606-powered electro and warmly haunted synth work that nods to the early years of Autechre. Making an early step out into the public domain, Asyx follows up swiftly with the exquisitely detailed machine funk of ‘kVelorum ‘, where a vivid tapestry of noise, squelch and bleep techno gets smartly woven between airy pad tones and a rock-solid rhythm section.

On the B side, Helsinki mainstay Kaiunta brings a dramatic flourish to mid tempo creeper ‘Phantasm’, matching a densely packed rumble of live drums with sweeps of nervy atmospherics and a murky inversion of the classic gated trance lead. 53X rounds out the Nazar mission towards broad BPMs and fresh ideas with a crunchy swerve towards sample-heavy downtempo laced with a generous dose of psychedelics and angular noise.

NAZAR001 is the kind of record that yields surprises and slots into unexpected moments depending on when and where the needle drops, providing versatile moments for adventurous selectors and continuing the fine tradition of outsider electro and techno from Finland.

After the well-received Kreme de la Kreme EP, D3 Classic Edition returns with another essential vinyl release. This time, they present four rare and highly sought-after tracks from the talented Toyin Agbetu—all newly re-mastered from the original DAT tapes. Showcasing some of his finest work as The Dark Knights, this collection is a treasure trove for fans of deep, soulful grooves and classic, old-school rhythms. Featured are four must-have tracks: I Do Believe, Party Time, Piece of Time, and U Gotta Slow Down—the latter released under Agbetu’s other alias, Nemesis, and making its debut on vinyl.

But there’s more: the release also includes a brilliant reinterpretation of Piece of Mind by London producer K15, who adds his signature spacious, broken-beat style to the original, breathing new life into a classic track. For vinyl collectors and true aficionados, this is an absolute must- own.

Black Truffle is pleased to present Radis, the first recording by the Oslo-based trio of Andrea Giordano (voice and organetto), Kalle Moberg (accordion) and Jo David Meyer Lysne (guitar and snare drum). Now based in Norway, Giordano is a native of Cuneo, in the Piedmont region in the north-west of Italy and her exploration of the Piedmontese language provides the starting point and conceptual anchor of the trio improvisations heard on Radis, which make use of the words of 20th century Piedmontese poets Nino Costa, Bianca Dorato and Oreste Gallina. As the musicians explain, the project is an attempt to preserve the beauty and singularity of a language at risk of extinction.

Fittingly, the first sound we hear on the opening piece ‘Fiorìa’ is Giordano’s unaccompanied voice. She sings a poem from Oreste Gallina as a kind of floating cadenza, the accompanying silence sensitizing the listener to the pellucid quality of Giordano’s voice and the unique sound of the Piedmontese language. The voice dies away and into the silence swells a single tone, sounded by Moberg’s accordion and—special guest on this opening piece—the alto saxophone of Mario Gabola. Extended techniques and preparations create unexpected timbres from the acoustic instruments: Gabola’s saxophone is augmented with tin cans and springs and Moberg’s unorthodox techniques allow the accordion to generate wheezing, buzzing textures and patterns of microtonal beating. Giordano’s voice returns, picking up the thread of the languorous opening melody, coexisting for a while with the shifting drone before the piece takes an unexpected yet organic left-turn into a delicate saxophone solo of sorts.

Recorded in several locations across Italy and Norway over the course of three years, Radis documents an ensemble who have developed both a distinctive sound-world and a remarkably sensitive group dynamic. Moving from folkish duets between accordion and Giordano’s organetto (the small accordion used in Italian folk music) to episodes of metallic guitar scraping from Meyer Lysne, the music is both quietly contemplative and gently chaotic. Ensemble roles shift with disarming ease. If on ‘Profij dëspers’ Meyer Lysne’s prepared guitar adds a haywire noise element to a lyrical episode of organetto and accordion, the next piece, ‘D’antorn a lor’, is grounded in chiming guitar chords of stunning beauty; once Giordano’s joins, the result calls up the most spacious moments of Maria Monti’s Il Bestiario. Throughout the seven pieces, the trio explore countless possibilities of group interaction and the margin between conventional euphony and pure abstraction: at times the voice floats against silence or seems almost disconnected from the gentle clatter of the instruments (sometimes reminiscent of Nikiforas Rotas’ haunting settings of Cavafy), while at other points the instruments touch on conventional harmonic accompaniment. What is perhaps most striking of all is the way that voice and instruments relate to each other, the extended technique reframing the voice as a kind of abstract sound object, while the melodic beauty of Giordano’s voice lends a contemplative, almost melancholic air to the wheezing and scraping of accordion and guitar.

Captured in gorgeously intimate recordings, Jim O’Rourke’s careful and beautifully spacious mix highlights the wealth of textural detail in each element. Accompanied by notes, session photos and the text of the Piedmontese poems, Radis is a work of stunning beauty that demonstrates the vitality of exploratory music in Norway today.

Blue Hour distills over a decade of artistry into his debut album Selva, unearthing eight tracks inspired by ancient wisdom and forgotten worlds.
Blue Hour is the moniker of Luke Standing, a multifaceted artist, producer, and label owner navigating between past and present electronic dance music. Over more than a decade, Standing has built a career balancing transformative craft with a sharp curatorial approach, earning him respect across the global scene. After years of sonic experimentation, he now releases his debut LP Selva. “I never set out to make an LP – it just wrote itself,” he says. “I followed my intuition, and the music found its own path.”
Born and raised in the UK, Standing grew up in parallel with club culture, moving between Brighton, Bristol and Berlin while running club nights and establishing himself under former aliases Furesshu and Esoteric.
He launched his Blue Hour project in late 2013, shortly after relocating to Berlin. Initially a platform for his own music, Blue Hour quickly became a collaborative hub, blurring the lines between personal output and curation. Over time, Standing has cultivated an international ecosystem of like-minded artists while continuously expanding his own sonic horizons.
Selva marks his first full-length studio album, weaving a lifetime of influences into a cohesive narrative inspired by ancient wisdom and forgotten worlds. The eight-track double LP transforms his inner dialogue into a subconscious story pulling inspiration from a labyrinthine network of influence and experience. “I followed the music obsessively, reflecting and refining until the story revealed itself,” Standing explains.
“To me, the LP evokes Amazonian or Mayan jungles, themes of exploration, the mysteries of the natural world, wisdom passed down through generations. I didn't set out to write about these things consciously,
they just emerged on their own.” he adds.The album was shaped through intensive work in his studio and periods spent in subtropical locations.
Listening closely, Selva unfolds like a modern ceremony: the opening tracks channel his early UK dance influences, shifting into blends of traditional and contemporary techno, then expanding into melodic soundscapes before concluding with transcendental textures and atmospheres. The result is an introspective journey where functionality and emotive storytelling coexist, revealing a depth in Blue Hour we haven’t heard before.
Whether performing, curating, or producing, Standing operates with a deep commitment to sound, culture, and collaboration. More than an artist, he is an architectural thinker of what electronic music could become. “Every release is my own metamorphosis,” he says. “This LP reflects my current form, and I’m curious to see what the next chapter brings.” Few artists can unify a lifetime of genre-spanning influences into a sound as sharp and focused. On Selva, Blue Hour does exactly that, opening a new era of deeper
immersion from his Berlin-based label.

Luke Alessi launches Coffee Cola with ‘Yes Empress EP’, a crispy first pour that sets the tone for the label’s mischievous, high-energy ethos. Channelling late night momentum with razor-sharp percussion driven grooves, Luke balances playful experimentation with driving, club intent! Built for the peak-time moments and after-hours alike, Yes Empress makes it clear his label isn’t here to play it safe. Coffee Cola is for people who like their music caffeinated and their decisions questionable.

Pick a Piper is a Toronto-based electronica duo featuring Caribou drummer Brad Weber and vocalist–songwriter Sophia Alexandra. Their music pairs catchy, ethereal vocals with warm synths, upbeat percussion, and a distinctive sense of sound design that feels both grounded and vulnerable.
The duo’s live show is an intoxicating blend of vibrant physicality and immersive lights and visuals, creating an experience that is both danceable and hypnotic. Pulsing with momentum, vocally driven and haunting, it radiates a charisma that unites the band and audience in cathartic release.
Their new album "Dandelion", explores how we exist in the space between opposing feelings while calling for resilience and the courage to recognize that growth is possible and inherently beautiful, even in life’s most difficult experiences. The record employs skippy beats, bass-heavy kicks, warm subs, hyperactive percussion, woozy synths and organic textures, delivered with a lovingly human-curated feel.
Pick a Piper has toured across Europe, the US, Canada, Guatemala, and Colombia, and has shared the bill with Bonobo, Gold Panda, Blue Hawaii, Do Make Say Think and Ghetto Kumbe.

She studied classical music on viola from the age of 3 through into college where she was on a path to be a performer in a large ensemble, but eventually left after feeling frustrated and limited in a world that did not provide much of an outlet for individual creativity. But the doors of perception really opened when she moved to British Columbia and was exposed to the raw beauty of the wilderness there.

She began recording at home using a basic audio setup along with a cello, viola, violin and double bass, and spent time making field recordings of natural sounds in BC. Her next idea was to actually move into nature to record, curious as to “how it would sound if I recorded outside entirely, with the natural reverb and sounds of the environment in the recording from the very beginning. The rustling of the leaves or a raven’s beating wings were as integral to the music as whatever I played.”

Fables is a mix of pieces that were recorded in the fall of 2024, in a small, remote cabin and outside, primarily using stringed instruments. The result is a series of stunning vignettes, meditations patiently unfurling like gentle waves, slowly advancing and retreating.4, in a small, remote cabin and outside, primarily using stringed instruments. The result is a series of stunning vignettes, meditations patiently unfurling like gentle waves, slowly advancing and retreating.

2026 Repress

Maltese talent Human Safari debuts on Mutual Rytm with jazz-influenced techno EP, 'Culture Shock'.

Human Safari is a key player in his native scene in Malta. He's a resident at Glitch Festival, has played cult spots, and has a dynamic sound that brings jazz improvisation to techno, often featuring live instrumental elements. His music has found its place on top labels like R&S Records, and most of this new EP for SHDW's Mutual Rytm imprint was produced during his Colombian summer tour last year - written and recorded amongst inspiring and unusual settings with just a laptop and headphones.

"This EP represents embracing new beginnings that, though might bring uncertainty and fear, the
light always guides you to where you were always meant to be." - Human Safari.

Opener 'Mouse on Keys' has been a key cut for the label boss across the past year, a unique track that peaks curiosity from dancers to DJs whenever it's played. Its cantering techno rhythm is overlaid with delicate, heartfelt piano keys straight from a smoky jazz bar, making for a great counter to the physical drums. 'Fragments' is a deeply personal track dedicated to the artist's late grandfather. It's a funky, soulful techno roller with blissed-out and sunny chords full of hope.

Next, 'Classique' gets more gritty with loopy drums and bass and glitchy percussion that fizzes with energy, while 'The Labyrinth' features piano motifs recorded in just one take. It brings a dark paranoia in the uneasy, off-grid keys which dart about with nervous energy over the booming low ends. There is just as much intensity and edge to the unresolved keys that loop over the raw drums on 'A Rainy Day in Bogota', before digital bonus cuts 'Dorian' and 'Phantom' bring more jazzed out techno madness with warped keys and expressive elements bringing great invention.

Kenshi Yonezu’s cinematic new chapter comes to life on vinyl.

This special single features Kenshi Yonezu’s latest hit IRIS OUT, the evocative theme from CHAINSAW MAN – THE MOVIE: REZE ARC, Top 5 of the Billboard Global 200 charted song,

becoming the highest-ever charting position for a Japanese language song, alongside JANE DOE, a powerful collaboration with J-pop icon Hikaru Utada. Blending Yonezu’s inventive

production with Utada’s signature vocals, the track marks a landmark meeting of two of Japan’s most visionary artists.

The release also includes Yonezu’s global platinum hit KICK BACK, together with fresh remixes by Frost Children and 2 more, each reimagining the song through a distinctive creative lens.

Pressed on single black 45 RPM vinyl, IRIS OUT/JANE DOE is housed in a sleek single-pocket jacket with a fold-out 12”x24” insert including an Illustration by Kenshi Yonezu, making it a

must-have for collectors and fans of Kenshi Yonezu’s bold, genre-defying sound.

Written and produced by Andu Simion in Ploieşti, Romania, Crucial Sonus EP is the second release on Rotation imprint. This B-side project of Wave Makers pushes further into a sound shaped by powerful grooves and dark vibrations. The EP explores a raw, focused energy, where deep rhythms and shadowy textures converge to create an intense and immersive listening experience.

A joke that doesn’t make you laugh is just a sentence. Music that doesn’t make you dance and feel is just noise aimed in your direction. To make a circuit where energy flows freely, you must have feedback. Without feedback, connection is absent. As Limousine Dream enters the Age of Aquarius, we open up. Instead of trying to grow, we let it grow. Instead of building a pyramid, we see a constellation where we are all stars, and every star can equally stand out and fit in. We invite you to join us, just like we want to join you. This is where we begin our Life Spiral.

‘Cécile McLorin Salvant ... sings standards, show tunes and old novelties in a taut, flinty, elusively beautiful voice, erring toward material with difficult lyrics and tough places in history. Salvant wins over her audiences by tweaking them slightly: daring them to go there with her—not just into the archive, but toward the darkness of the past.’ – New York Times

‘Although Salvant is known as a jazz musician, her approach to music is defined by her instinct for experimentation ... Her music is beloved for ... embracing theatre and subverting classics with playful renditions.’ – Guardian

Salvant, who has performed with orchestras regularly over the last decade-and-a-half and intended to make an album with one sooner in her career, but logistics and her abundant creative ideas led to other new projects intervening. Having finally found time to make this album, With Every Breath I Take is a different sort of record than it might have been even ten years ago.

“It is a rare opportunity to be able to make an album at this scale, which has been a dream of mine for many years,” Salvant says. “Darcy James Argue wrote stunning arrangements and the Metropole Orkest, conducted by the extraordinary Jules Buckley, gave these stories a cinematic dimension. We overcame quite a few obstacles to even get into the recording studio for this project; it took almost four years for us to do so, and I am so incredibly proud to share it.

“I did not choose these songs because they are beautiful, but because they are crucial to me,” she adds.

Cécile McLorin Salvant, a 2020 MacArthur Fellow and three-time Grammy Award winner, is a singer and composer bringing historical perspective, a renewed sense of drama, and an enlightened musical understanding to both jazz standards and her own original compositions. Classically trained, steeped in jazz, blues, and folk, and drawing from musical theater and vaudeville, Salvant embraces a wide-ranging repertoire that broadens the possibilities for live performance.

Salvant’s performances range from spare duets for voice and piano to instrumental trios to orchestral ensembles. Her unreleased work Ogresse is an ambitious long-form musical fairy tale that is being made into a feature length animated film. She has performed at national and international venues and festivals such as the Newport Jazz Festival, the Monterey Jazz Festival, the Village Vanguard, and the North Sea Jazz Festival. Her previous Nonesuch albums, Ghost Song (2022) Mélusine (2023), and Oh Snap (2025) received critical accolades; the former two were both nominated for Grammy Awards. Salvant is also a visual artist, and Oh Snap was named a best album of 2025 by the Guardian, Jazzwise, JazzTimes, and the Francis Davis Jazz Critics Poll.

Laid Back in Top Form: New Music Flowing After 47 Years
After 47 years together, the iconic Danish duo Laid Back continue to defy expectations, entering a new and remarkably productive creative phase.
Their upcoming album, Born to Fly, captures their unmistakable sound while showcasing a renewed sense of energy and inspiration

“We feel like we are meant to make music. And when we play music, it feels like we’re flying,” says John Guldberg, reflecting on the album’s title and spirit.

Long known for their unhurried approach to releasing music, Laid Back now find themselves in unfamiliar territory. Guldberg describes a surge in creativity that has
turned their process on its head.
“It’s kind of funny — Laid Back has always taken its time making records. We’ve been behind schedule for most of our career. Now it’s the opposite:
I’m actually starting to worry about whether I’ll have time to release everything I’ve got in me,” he says.

Their current workflow reflects this momentum. Guldberg develops initial ideas,which he shares with Tim Stahl, who then brings them to life with vocals and instrumentation.
“When he sends me something and I start singing and playing on it, that’s when it really becomes Laid Back,” says Stahl.

The duo’s creative output has accelerated to such an extent that even ahead of the release of Born to Fly, they already have enough material prepared for more than a double album for their next project.

“It’s about making the most of the time you have left. I used to feel there was plenty of time and no need to rush. Now time feels much more valuable,” Guldberg adds
.
Alongside their creative resurgence, Laid Back are also seeing a shift in their audience demographics. Streaming data and live performances indicate a growing younger fanbase — a development that has taken the duo by surprise.
“I’m really looking forward to getting back out on stage. We still have the urge to perform, and we love making people happy. That’s what our music is for,” says Stahl.
Born to Fly is set for release across CD, vinyl, and digital formats. Laid Back will also perform in selected cities across Europe later this year 2026.

“We hope people can hear that we’ve grown — and that it still makes sense for us to make new music,” says Guldberg.