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Re-Mastered and Re-Imagined for 2025 due to demand. Re-Mastered and presented in a dark format to match to original from 93. Black Vinyl, black sleeve, dark labels.
Sounding crisp with a re-master from the legend that is Beau.

LTD 300 - Printed Sleeve
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Barranquilla born multi-instrumentalist Pernett is undoubtedly a true pioneer in fusing Colombian folklore with electronic elements. Back in 2003, when he released his first album “Música Para Pick Up”, Humberto was immediately seen as genius by some, crazy and outrageous by others. How dare he incorporate synthesizers into traditional music? What would be called this avant-garde genre where gaitas, traditional drums and keyboards come together? To this date, Pernett has released 6 albums, worked with an impressive number of prestigious artists such as Phil Manzanera, Calle 13, Novalima, or Quantic, and is still influencing whole generations of forward-thinking musicians.

Originally released from is latest album, “Vamos A Hacer” and El Pajarito have been edited for the occasion, by talented recording engineer Benjamin Calais AKA Ben Matik,

A-side “Vamos A Hacer - Ben Matik Instrumental Edit” is a joint collaboration between Pernett and renown British producer Will Holland aka Quantic. A heavy blend of funky breaks and cumbia. A 7-minutes version, exclusive to this 10″, has been especially taken out from the masters vault, and edited by Ben Matik: the original short version takes a unexpected turn to a completely freaked-out “Puya” rhythm, where gaitas and synths perfectly merge together.

B-side “El Pajarito - Ben Matik Instrumental Edit” is a deep downtempo anthem, a perfect fusion of powerful electronic beats, 808 bass, analog synths and gaitas. special attention should be paid to the enchanting voice of Diana Pereira on this one.

Artwork by Mateo Rivano.

Coming correct with a heavily garnished follow-up to his first drop of neo-junglist delicacies, Skins is back with a second volume of Sauce Direct. The name tells you all you need to know about the school of breakbeat science he's coming from, but the learned craft of drum edits is offset by a mischievous thirst for disruption, presenting the matter on this platter as a stand-out serving on the plentiful menu of modern-day jungle.

'Strictly Hardcore' brings together the heavy weather of quintessential dub techno with deft, stepped breaks for a brooding heads down tear-out while 'Lost In The Sauce' revels in vintage synth melancholia as a unique backdrop to Skins' own brand of rabid Amen chops.

'Reaper's Kiss' switches stance with some heavy sub wobble and the teased flicker of Apaches in a patient half-time roll out of serious soundsystem reverence. There's space for some snappier breaks in the second half, but this cut is testament to Sauce Direct being a space for wider ideas beyond textbook jungle.

'Double Dose' keeps the stylistic dexterity on lock with a swerve towards trance-speckled lead lines, deployed with a necessary restraint to play nice on top of the nimble breaks. It's an approach which could be so easily overcooked - in Skins' hands the balance of flavours is on point, capping off another essential round in this must-check series of white label delicacies for heads with real taste.

The Beatles played two shows at the Montréal Forum on September 8th 1964, a matinee at 4pm and an evening performance at 8pm and at 6pm they held a press conference for Canadian Broadcasting Corporation from the Forum’s stage. A local newspaper had reported that somebody was going to kill Ringo, so instead of staying the night in Montréal, they flew out straight after the evening show and arrived at Key West at 3.30am where hundreds of fans were awaiting them. After a day off in Miami, the group performed at the Gator Bowl in Jacksonville, Florida the following night.
We have done the best we possibly could with these admittedly lo-fi yet important historical recordings. The source is AM radio and there is considerable distortion on the vocals. The broadcast was faded out halfway through A Hard Day's Night so the last two songs of the show, I Want To Hold Your Hand and Long Tall Sally were not transmitted.

Trevor Lucas and Gerry Conway were members of the folk-rock group Eclection, who released an album in August 1968 on Elektra Records. After the group disbanded in 1969, they formed Fotheringay with Lucas's girlfriend Sandy Denny, who had recently left Fairport Convention. The Fairports were recording mostly traditional folk material at this time and Denny left the group so that she could perform more of her own compositions.
The BBC session on Side One of this LP features songs from the first Fotheringay album and took place at the Playhouse Theatre on April 13th 1970. The songs on Side Two were recorded at BBC’s Maida Vale Studios in November 1970. They are ‘off-air’ recordings but the sound quality is still very good.

At the end of the project’s 20th anniversary celebrations, ROME tolls in the next era of the band with a fresh and visionary album: ‘The Tower’.  ROME’s new and ever more mature sound is informed by a radically minimalist folk approach, with nonetheless charmingly lush arrangements. ‘The Tower’ is an introspective and enigmatic work at whose centre stands nothing less than ROME’s raison d’etre: The Great Work and the sacrifices both necessary and essential on the demanding path to light. As an unreachable bulwark against the general decline of every value in life, the tower would have been erected long ago to defend the coast.

It would have been raised on a rocky platform resting on the sea floor. It would have been joined to the continent by a thin tongue of sand. It would have offered a heroic, magical point of view. A place for our claim to know and point out vaster horizons. It would have stood firm on the ramparts. This isolated tower would not have been just a refuge for more or less mystic escape, but also a post of resistance and combat.

A previously unissued post-bop document from 1970, Jyväskylä Workshop Band 1970 assembles American saxophonist Charlie Mariano, Norwegian bassist Arild Andersen and Finnish luminaries Heikki Sarmanto, Eero Koivistoinen, Paroni Paakkunainen, Seppo Ranniko, Pekka Pöyry, Edward Vesala and Matti Koskiala. Professionally captured in concert, the album delivers a vibrant set of groovy, exploratory and subtly exotic tunes that helped assert Finland’s place on the international jazz map.

The Temptations Get High on Psychedelic Soul: Cloud Nine Soars with Ambitious Arrangements and Production, Features Standout Vocal Performances and Instrumentation by the Funk Brothers

The Temptations’ Cloud Nine announced that Motown — and “The Sound of Young America” — would never be the same. Influenced by the emergence of cutting-edge rock and pop currents, as well as increasing sociopolitical turmoil, the album broke down barriers between rock, psychedelia, and soul while heralding the arrival of visionary arrangements and production techniques. Bookended by traditional R&B numbers, the 1969 record sent the Temptations in bold new directions and signaled the advent of psychedelic soul.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45PM 2LP set presents Cloud Nine in audiophile sound for the first time on a domestic pressing. This collectible reissue bestows Norman Whitfield’s extraordinary production with the grand-scale dynamics, natural tonality, expansive openness, and low-end weight it deserves. The timbre of each of the five members’ voices is readily identifiable — even within the group harmonies — bestowing a realism never experienced outside the recording studio.

Making its debut on 45RPM, the album further benefits from the wide groove space by playing with greater separation and more realistic presence than prior editions. Everything from the brassiness of the horns to the dry snap of the snare comes across with reference-grade clarity and positioning. And since Motown’s renowned Funk Brothers backing band plays on many of the cuts, you’ll want to savor every note. The imaging, soundstaging, and organic bloom-and-decay of the notes make that possible.

Amid Cloud Nine, the instrumentation and architecture stand out as much as any element. Never before had a Motown album contained such ambitious patterns and complex passages. Seemingly conscientious of the departure from their past methods, the Temptations and Whitfield bunched together the tracks that mark a deep dive into psychedelic territory and counterbalance them with seven sterling soul cuts that dovetail with Motown tradition drenched with heartfelt vocals, swelling strings, and finger-snapping beats.

On the original 33RPM release, traditional Motown soul — laden with heartfelt vocals, swelling strings, and finger-snapping beats — occupies Side Two. These songs reveal an ensemble still very much on top of delivering pristine pop-soul material graced with romantic sweetness, persuasive insistent, and soaring highs. Re-energized after the departure of lead singer David Ruffin, who was fired for a variety of reasons in June 1968, the Temptations seamlessly meld with his replacement, Dennis Edwards, on one melodic gem after another.

The collective tackles five songs co-written by the legendary Motown team of Barrett Strong and Whitfield. Not the least of which are the smooth, shuffling “Why Did She Have to Leave Me (Why Did She Have to Go)” and deceptively simple, horn-spiked “Gonna Keep on Tryin’ till I Win Your Love.” On these tracks, as well as on a lush rendition of the ballad “Love Is a Hurtin’ Thing” and pleading, tender send-up of the Gerry Goffin-Carole King classic “Hey Girl,” Edwards and Paul Williams take turns on the lead with the estimable Eddie Kendricks, Melvin Franklin, and Otis Williams providing backing support.

All five vocalists trade-off leads on the simmering title track, a groundbreaking composition shot through with wah-wah-pedal effects, liquid funk, deep bass lines, Cuban percussion, saturated reverb, and gang choruses. Whitfield mines each member’s natural vocal range with spectacular results, keeps time with cymbals, and channels both the heated temperatures and escapist desires of a society embroiled in war, conflict, and experimental drugs.

Amazingly, the Temptations top themselves on the similarly revealing “Run Away Child, Running Wild.” Nearly 10 minutes in length, the song explodes R&B parameters and harbors a cinematic scope. Urgent pianos, distorted guitars, stripped-down percussion, steamy Hammond organs, minimal bass motifs, five distinct voices narrating the tale of a boy who fled home and now finds himself amid the scary, unforgiving external world: They combine to give the urgent tune a walls-closing-in atmosphere where fear and desperation reign. Bolstered by an extended instrumental section that precedes a climactic return of the singers’ voices, “Run Away Child, Running Wild” equaled the success of the record’s title track, with both reaching No. 6 on the pop charts.

How enduring is the signature song from Harry Chapin’s Verities & Balderdash? So timeless that it became the subject of a 2025 documentary in which artists from multiple generations weigh in on its impact on their lives and craft. “Cat’s in the Cradle” doubtlessly remains the main event on the singer-songwriter’s 1974 album. The legendary opening track also serves as a guidepost for the bold personal and social material that follows — as well as the gorgeous folk-rock arrangements that underpin the New York native’s most commercially successful work.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, housed in a Stoughton jacket complete with a four-page insert, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Verities & Balderdash presents Chapin’s fourth full-length in audiophile quality for the first time on vinyl. Captured during a golden era for sonics and production, the Top 5 effort features remarkable tonal balance, instrumental separation, and organic naturalism. Those valued aspects come into supreme focus on this reissue, which plays with dead-quiet surfaces and a low noise floor.

The newfound clarity, openness, and imaging underscore the lasting appeal of Chapin’s tender deliveries, soulful timbre, and careful phrasing. Every word comes across with incredible realism, while his underrated guitar playing occupies its own distinctive space. Also notable: The extension of the tasteful string accents; airiness of the backing vocals; depth and shape of the spare bass lines; and width and depth of the soundstaging. When on “Six String Orchestra” Chapin calls out names of instruments, they appear like magic, the band performing feet from you. Chapin has never sounded so lifelike on record.

Certified double platinum, Verities & Balderdash resonated with the times and public. “Cat’s in the Cradle” reached No. 1 on the chart on its way to being inducted into the Grammy Hall of Fame. The romantic ballad “I Wanna Learn a Love Song” flirted with the Top 40 and wrapped listeners in the equivalent of a cozy blanket. The record’s other single, the mini-epic “What Made America Famous?,” helped establish Chapin as one of the country’s most incisive and insightful commentators.

Verities & Balderdash teems with situational devices and topical matters. Chapin observes everything from the polarization of the nation to changes in moral standards and cultural priorities. He investigates pressing themes without ever turning preachy or elevating himself above the matters at hand. On “Halfway to Heaven,” whose coda races to the finish and ranks as the most urgent moment on the record, Chapin inhabits the mind of his frustrated protagonist akin to an eagle-eyed novelist.

Conveying emotions that range from melancholic to carefree, Chapin is as much of a singer as a storyteller. He assumes the voice of multiple characters within a single narrative. During the quirky “30,000 Pounds of Bananas,” a tale based on a delivery-truck accident in 1965, Chapin alters his delivery, pronunciation, and diction to become an old man reflecting on the mishap and mess. The tempo, too, adjusts to match the speed of the vehicle Chapin describes.

Adorned with timely laugh tracks to reinforce the bittersweet humor, the stripped-down “Six String Orchestra” takes everything up another notch, with Chapin intentionally missing guitar notes or playing a broken passage to illustrate the failures of the hopeful protagonist who doesn’t have what’s required to make it as an artist.

Chapin, of course, did not have any such problem. The lynchpin of a career cut short by a tragic traffic incident, Verities & Balderdash is Exhibit A of the savvy craft, feeling, and perspective he lent to American music.

Carly Simon’s No. 1 smash “You’re So Vain” lingers as one of the most clever and famous songs ever recorded. The subject of mass speculation ever since its release, soon after which it occupied the top spot on multiple Billboard charts for weeks, the anthem kept a captive public guessing at the identity of its smug subject for decades. The question surrounding the protagonist’s identity remained perhaps the only mystery on the otherwise sexually open and autobiographically daring No Secrets, Simon’s commercial breakthrough and ‘70s singer-songwriter staple.

Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, strictly limited to 3,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set affords the platinum-certified 1972 effort the finest sonic treatment it’s received on vinyl. Helmed by Richard Perry and recorded at London’s Trident Studios — where Beatles, David Bowie, and Elton John captured landmark LPs — No Secrets touts exceptional production qualities highlighted by this restorative reissue.

Audiophiles and record collectors, take note: This is the first time No Secrets has been available on 45RPM. The wider grooves and dead-quiet surfaces pay instant dividends. Simple, elegant, and disarming, songs seemingly float amid wide, deep soundstages. Simon’s voice takes on a confident, assertive tenor that emerges with accurate imaging, balanced tonality, and palpable presence. String arrangements and backing vocals come through with similar realism.

Enhanced by an all-star cast — Simon’s then-husband James Taylor, Paul and Linda McCartney, Mick Jagger, Lowell George, Klaus Voorman, Bobby Keys, Jim Keltner, Nicky Hopkins, and Bonnie Bramlett are among the renowned musicians who lend a hand — No Secrets advances Simon’s themes of personal introspectiveness, no-holds-barred reflectiveness, and feminist-inspired boldness. She makes every moment of No Secrets worth savoring. Simon invests her all in the songs, handling beautiful ballads, sassy folk-rock numbers, and bluesy fare with calm, composure, and candor.

While acknowledging her own regrets (“You’re So Vain”) and loss (“The Carter Family”), Simon champions the highs (“The Right Thing to Do”) and pains (“His Friends Are More Than Fond of Robin”) of love in a sincere manner indicative of her maturity as both an artist and singer. The New York native distinguishes “When You Close Your Eyes” with deep-rooted spirituality, recalls childhood joys via charming sentimentality on “It Was So Easy,” and and takes ownership of her persona on a cover of Taylor’s “Night Owl.”

“We have no secrets
/We tell each other everything,” Simon sings at the record’s midpoint, encapsulating both the themes and bravura of an effort that was nominated for four Grammy Awards and saw her write or co-write every song but one. Combined with Perry’s savvy instrumental arrangements, her self-assured performances and forthright lyrics grant No Secrets an edginess and relevance immune to the ravages of time.

The mysterious Pirka Vinyl Cuts series continues, digging deeper into the crates to reframe the classics. This chapter presents four broken-beat interpretations, blending deep textures with familiar samples. Features sophisticated reconstructions of material by Telepopmusik, Depeche Mode, Chemical Brothers and Limp Bizkit.

2026 Repress

With his first full techno album ANFS returns to the label in full form.
Delivering a cohesive, introspective piece of work shaped by tight sound design and an intuitive sense of flow. The music is minimal yet expressive, exploring a detailed palette of textures, subtle groove manipulations and low end pressure that sits gently beneath the surface. A work of art that sounds like nothing else out there at the moment. It's a focused and forward- thinking piece of music creation that shows artistic maturity, profound inspiration and masterful execution.

The moment the instantly recognizable intertwined guitar passage on the title track to the Eagles' Hotel California begins, the record's genius becomes obvious all over again. Ranked the 118th Greatest Album of All Time by Rolling Stone, certified by RIAA as the third best-selling LP in history, and considered the foundation on which the Golden State's mid-‘70s music scene was built, the 1976 landmark is a music staple immune to shifts in trends, eras, and styles. Fearlessly addressing the chaos and consequences of American life, its songs remain strikingly prescient and gain creedence with each passing day.

Mastered from the original analogue master tapes, pressed on MoFi SuperVinyl, and limited to 17,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set ensures you will want to permanently check into and never leave this particular Hotel California. Up to the herculean task of standing head and shoulders above all prior reissues, this collectible edition plays with extreme clarity, organic richness, tube-like warmth, massive dynamics, and microscopic levels of detail. You'll be able to practically smell the colitas and feel the breeze in your hair. Songs come across with an epic sweep and feature immersive, front-to-back soundstages that allow the music unprecedented air, roominess, and separation. As for the noise floor? It's basically as invisible as the spirits that waft in the corridors of the unforgettable title song.

Aesthetically, the premium packaging and presentation of the UD1S Hotel California pressing befit its esteemed status. Housed in a deluxe box, it features gorgeous foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the renowned cover art to the meticulous finishes.

Indeed, the opportunity to zero in on all the particulars of the 26-million-selling Eagles record dubbed "a legitimate rock masterpiece" by vaunted Los Angeles Times scribe Robert Hilburn has never been better. A global phenomenon that marked the band debut of guitarist-singer Joe Walsh, Hotel California continues to resonate and connect with listeners of all generations taken by its narrative depth, stark directness, picturesque melodies, daring majesty, and ardent emotionalism. Adorned with a breathtaking exterior photograph of the Beverly Hills Hotel that serves as the simultaneously haunting and alluring cover art, and rounded out by a rear-cover shot of the Lido Hotel lobby that reinforces a notion that teeters between permanence and transience, Hotel California is brilliantly tied to a specific place that functions as a universally understood metaphor for the American Dream.

Confronting the darker undercurrents and oft-ignored constructs attached to that romantic notion, the record's songs revolve around a host of shared themes: excess, mobility, stability, illusion, fame, destruction, and idealism included. Notably, Hotel California appeared at a crucial junction in American history: During the country's bicentennial and amid escalating controversies related to the Vietnam War, energy crisis, and governmental corruption. That the Eagles manage to channel such cultural, social, and economical matters into a cohesive, stately, big-picture statement is alone a stupendous feat. That the album's reach, boldness, vitality, accessibility, and understated intensity have never waned make it a marvel.

Reflecting on Hotel California 40 years after its original release, and indirectly explaining its enduring appeal and increasing relevance, singer-songwriter Don Henley confirmed the record pertains to the "loss of innocence, the cost of naiveté...the difficulties of balancing loving relationships and work, trying to square the conflicting relationship between business and art; the corruption in politics, the fading away of the Sixties dream of ‘peace, love and understanding.'"

It can be argued that Henley and company squarely hit on and drove home those ideas in the surreal title track, chart-topping "Life in the Fast Lane," and grand "The Last Resort" alone. But that would miss the forest for the trees. Experienced as an unbroken whole, complete with the pristinely shot imagery and physical grooves, Hotel California unfolds like a geography-conscious saga by James Michener and plays like colour-saturated movie shot on 70mm film by Martin Scorsese. It's about our collective and individual decisions – and the shape of our past, present, and future. And, just like that conjured by our imaginations, Hotel California continues to take on a life of its own.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Carly Simon’s quietly intense sophomore album comes across like an assertive notice nailed to a telephone pole for all to see. Bold, personal, and autobiographical, Anticipation announces the arrival of an artist who won’t back down. While Simon stands her ground on her eponymous debut, she elevates her passion and persona to heightened levels throughout this gold-certified record, dealing in private matters related to love, relationships, and desire. At times, Simon is nothing short of primal. She reflects on the difficulties of retaining your own identity while also giving yourself to a partner. Simon’s connection to her folk roots would never be stronger.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set of Anticipation lays bare the rich tapestries afforded by the spare blend of soft guitars, mellow orchestration, and dreamy melodies. Audiophiles and record collectors, take note: This is the first time Anticipation has been available on 45RPM. The wider grooves and dead-quiet surfaces prove extremely rewarding.

The rhythmic framework anchored by session pro Andy Newmark’s drumming sounds dynamic and balanced, with songs benefiting from a focused midrange and taut low-end. Simon’s attachment to and investment in each lyric is made evident by way of the intimate, hushed atmospherics and expansive responsiveness. And just as Simon’s vocals feel more transparent and direct, so, too, do the supporting choral arrangements.

Released before the singer-songwriter movement reached full bloom, Anticipation remains remarkable for the high-quality songwriting and Simon’s gutsy stance. The album cover — depicting the vocalist holding the gates at Queen Mary’s Garden in Regent’s Park and seemingly defying anyone to take her on — serves as a metaphor for the content within.

Known for having relationships with high-profile partners, Simon was heavily involved with Cat Stevens leading up to the recording of Anticipation. She draws from her experiences to craft tunes that resonate because of their honesty, realism, and strength. Few of those moments are better known than the Top 20 title track, which Simon composed in just 15 minutes as she waited for Stevens to pick her up for a date. Imbued with the nervousness, tension, and excitement that accompany the moments when a romance could go either way, the Grammy-nominated song presages the feminist-minded vulnerability and burning longing that informs a majority of the record.

On the soulful “Legend in Your Own Time,” also inspired by Stevens, Simon harnesses yearning as a conduit to feel-good paradise. Deemed by Rolling Stone an “absolute clincher, an awesome description of the psychic ravages of gone-nuts, know-nothing love,” her cover of Kris Kristofferson’s “I’ve Got to Have You” moans with no-holds-barred desire and breathtaking sensuality.

For all the wanting Simon pursues on Anticipation, her way of staying in control — vocally and personally — make the record a courageous statement of contemporary femininity. For further evidence, look to the bossa nova of “Summer’s Coming Around Again,” somber “Share the End,” soothing “Three Days,” and sincere “Julie Through the Glass,” a tribute to her young niece.

Simon would achieve international fame with her next album, No Secrets. Yet as this definitive reissue shows, Anticipation suggests the rest of the world was just a little late catching up to her.

The Love symbol is universal for LOVE. Přistěhovalci is the Czech word for Immigrants.
The "Love Immigrants" EP was created partially from field recordings in 2025. It has 3 Grooving Deep House tracks with messages of Solidarity, Love and Long Life.

Polished and forward-looking even 40-odd years on from its initial release, Bourbon Suite captures Japanese female keyboard trio Cosmos at a time when fusion leaned into pop accessibility without losing technical finesse. Built around layered keys and crisp studio musicianship, the album moves with a sleek, late-night feel. 'Midnight Shuffle' stands out for reworking earlier material into a smoother, instrumental-led groove, while 'Cosmic Cosmos' drifts into more spacey territory and is driven by elastic bass and shimmering synth lines. There's a clarity to the arrangements that keeps things light on their feet and means this remains a refined example of early 80s crossover fusion.

The Jazzcodes and Michele Chiavarini kick off this fine survey of contemporary deep house with 'Wolf Dust (Saison Rework)' which draws on jazz-inflected motifs and feeds them into a steady groove with layered keys sitting over a controlled kick pattern. 'Friday' from DJ Romain works in a more direct frame driven by looping piano stabs and clipped drums with diva vocals injecting heat. 'In The Moment' has an air of cool jazz to it with deft horns and spoken word that muse on the great genre while Saison's 'This Is A House Record' sure is that: classic drums and knotted little synths bring a warming vibe for grown-up floors.

There was nothing in contemporary music like Chris Isaak’s Heart Shaped World when it hit shelves in June 1989. More than three decades later, the singer-songwriter’s third album still sounds unique — and claims a backstory nearly as fascinating as the retro-leaning material and standout performances that propelled it to sales of more than 2.5 million copies. Home to the Top 10 smash “Wicked Game,” the set remains a masterful mood piece that invites you to pour a late-night drink, sit in a dimmed room, and relish Isaak’s elegant albeit raw ruminations on love, relationships, and questionable decisions.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, strictly limited to 3,000 numbered copies, and featuring the bonus track “Diddley Daddy,” Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set of Heart Shaped World unearths the staggering inner details, saturated tones, and brilliant atmospherics of the crisp production. It brings you up close and personal with Isaak’s spectacular singing — impeccably controlled, tense, brooding, steamy, smoldering, haunted — situated amidst stripped-down backdrops that allow every note to fully bloom and decay.

While Isaak’s ever-steady baritone remains the anchor, the contributions of his trusty backing band, the aptly named Silvertone, come across with just as much cool, command, and realism. The indispensable playing of guitarist James Calvin Wilsey particularly emerges with superb clarity and dimensionality. The character of his 1965 Fender Stratocaster, shivering twang of his spring-coiled fills, and his signature use of reverb, delay, and vibrato seamlessly match Isaak's patient deliveries and the band’s unhurried rhythms. Experienced on UD1S with ultra-black backgrounds and a nearly invisible noise floor, Heart Shaped World is in every regard a demonstration disc.

The premium packaging of this UD1S pressing befits its elevated status. Housed in a deluxe slipcase, it features foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, this reissue is for discerning listeners who desire to immerse themselves in everything involved with the album, not the least of which is the cover art depicting a lost-in-thought Isaak staring ahead and sitting in what appears to be an efficiency apartment. The image epitomizes the record’s lonesome temperaments and pensive themes.

Of course, if not for director David Lynch hand-picking two cuts from Heart Shaped World for his 1990 film Wild at Heart, the record would’ve probably suffered the same fate as Isaak’s prior efforts and gone unnoticed by the mainstream. Despite receiving raves from outlets such as NME, Chicago Tribune, and Rolling Stone upon its original release, the album stalled in the lower quadrants of the Billboard charts and, after a few weeks, dropped off.

Cue the ear of Lee Chesnut. Then the music director for a large Atlanta radio station, Chesnut heard the instrumental version of “Wicked Game” on Lynch’s soundtrack and started airing the album rendition at all hours of the day. Aided by a sensual video featuring Isaak and supermodel Helena Christensen, the song found its way into the public consciousness by early ‘91 and helped make Isaak a most unlikely mainstream star in an era where his techniques had little to nothing in common with popular tastes.

Despite its vintage vibes and shared DNA with legends such as Roy Orbison, Chet Baker, and Glen Campbell, Heart Shaped World transcends nostalgia, rockabilly, and throwback tropes. For all the melodrama and sadness at hand, Isaak’s gorgeously transparent singing dives deep underneath emotional surfaces. He mines subtleties that indicate his feelings go beyond heartbreak and anguish, and occasionally suggest frustration, menace, and anger. You can hear it in his quivering falsetto, and the slow and methodical ways he allows delicate whispers to break into shadowy phrasing that crosses over to the darker sides of romance and desire.

That approach bolsters the title track, which suggests calm yet moves on ominous currents — its simmering pace and snare-drum snappiness foreshadowing Isaak raising the volume and urgency during the coda. The southwestern-tinged “Wrong to Love You” plays with similar concepts of hesitation, unease, and discord, Isaak careful never to fully erupt and give anything away. His poised deliveries offer a master class in the art of insinuation and hurt on “Nothing’s Changed,” sent up with a wordless backing chorus and crackling guitar lines straight out of a Memphis blues joint.

Heart Shaped World further boosts its merit via its abundant stylistic variations, from the upbeat country-and-western trot of “I’m Not Waiting” and Spanish acoustic shimmer of the jazz-based ballad “Blue Spanish Sky” to the swinging horn-accompanied grooves of “Don’t Make Me Love You” and desert smokiness of the understated “Kings of the Highway.” On the latter, Isaak comes across as resigned and absolute. His singing and pain worm their way into your soul, and echo akin to the way the music prepares to strike when you least expect.

“Trouble going 'round,” Isaak croons right as the album begins. “Trouble going down.” Damn straight.

After the last four EPs, RPX16035/006 presents his third various artists.
Track A1 is by @twoviartist , after hearing his live performance, we were impressed, and now we're pleased to release his bomb track.
In addition to him, there are our favorite young artists who have already released digital and vinyl releases on the label @giuseppe__angeloro @mathi_____v @audio.alchemy_duo we wanted to represent their style by choosing a track of theirs that we felt represented their style, in light of what we've already released in the past.
Pllus a ambient track from gianluca.pellerano

2026 Repress

Chami and DHAEUR step up for the first release on DIG Curated, the sub label of Dust in Grooves (DIG), a pioneering force in the world of vinyl techno, born in Berlin. This passion project, launched by Olivia Mendez and Chami, spotlights emerging artists who embody the essence of the imprint's signature style--sophisticated, timeless, and groovy. With each release, a new talent is endorsed by a seasoned digger from the scene, aiming to push forward undiscovered sounds and empower the community.

After years of refining his palette as a dedicated DJ and acoustics master, the Italian-born, Berlin-based DHAEUR
has developed his distinct creative vision rooted in sound quality and stylistic research. At the time of crossing
paths with Chami, DHAEUR had already produced a handful of immersive tracks, exploring unknown territories
while keeping things minimalistic, giving DJs the freedom to construct their preferred sonic environments. Four of these tracks are pressed on DIG Curated 001, marking the beginning of a chapter for the sub-label that brings forth the future sound of techno.

The opening track of the release SUBJECT ZERO is a cinematic, mental, elegant journey, playing with the
perception of built up anticipation. This boundless, loopy soundscape is designed to induce inner quests on the
dancefloor and is a grand point of departure to unknown adventures ahead. This interlude of primordial grooves sets the scene for a voyage through a not-so-distant world where dystopian visions and technology merge with hypnotic synths. Evoking human emotions and desires is the hot and groovy track MIN(E)D, with vocals that could be from a female replicant building her own sonic web3 through the soundsystem of a steamy dancefloor.

On the B side, things quickly gain power and intensity, with STEPS racing through pounding beats, enigmatic
pads, and unpredictable claps, only tamed by DHAEUR's impeccable acoustic design. The EP closes with the cryptic, mechanical sounds of HEX 1904d1, deconstructing old patterns and programming a new form of evolved consciousness--inspired by precision and a reverence for organic movements.

All tracks mastered by Nihad Tule.

Words: Lora Mateva, Orb Mag

ABOUT PHONE ME TONIGHT

Phone Me Tonight was recorded in 1981 at Studio Maïa in Bondy, just outside Paris - a creative hub where many artists of the African diaspora shaped their sound. On this track, Eko Roosevelt collaborates with producer Gabriel Nahas, known for his work with artists such as Pasteur Lappe, Marthe Zambo, Toto Guillaume, and Manu Dibango. The result is a shimmering blend of synth-driven groove and Eko’s signature ‘Funky Disco Music’ sound, capturing a moment where analogue warmth met futuristic ambition.

For this 2026 reissue, Phone Me Tonight has been carefully restored and remastered, breathing new life into Eko’s iconic Yamaha DX7 synth lines. The track has been subtly tightened to the grid, making it perfectly suited for contemporary dancefloors & dj’s while preserving its original spirit and charm.

This EP also offers a glimpse into Eko’s creative world: rare photographs of his home studio in Lobé, featuring the very DX7 synth used during the original recording. In addition, you’ll discover exclusive footage from the Phone Me Tonight video shoot, filmed at the breath-taking Lobé Waterfalls, documented together with Lobé’s community throughout 2025 and 2026.

ABOUT LOBE MON AMI

Lobé Mon Ami was written by Eko Roosevelt in 1981 as a heartfelt tribute to his home community of Lobé in Cameroon. Two versions of the song exist; this EP presents the rare and original version, restored and remastered here for the very first time. Using the download code, listeners can also access an exclusive alternate version of Lobé Mon Ami and the full EP in digital formats.

The song weaves together multiple languages, including Batanga and French, reflecting the rich cultural fabric of the region. Through its lyrics, Eko tells the story of his life - born and raised in Lobé, venturing abroad in pursuit of music, yet always drawn back home. Each return rekindles his deep connection to Lobé. In a poetic gesture, he names surrounding villages in various languages such as Batanga throughout the song, turning it into both a personal memoir and a cultural map.

ABOUT EKO ROOSEVELT

Born on November 13, 1946, to princess Kethy Mbenyo and William Roosevelt, Eko Roosevelt has led a life filled with mythical appeal and musical excellence. Local lore recalls how, at the age of ten, he bravely fought off and killed a serpent near the waterfalls of Lobé. An event that became part of his local legend prior to his enduring legacy as a musician and traditional chief.

Eko Roosevelt discovered his passion for music in church before furthering his studies in Dakar, where he met his wife, Nicole. Together they moved to France, where Eko launched his recording career - first with the Dikalo Group, and later as a solo artist. His discography includes standout releases such as Kilimandjaro My Home, Funky Disco Music, and the hit single Nalandi. In 2020 he renewed his status as hitmaker through his work with Disclosure on the revised version of his single ‘Tondoho Mba’, originally released in 1982. His enduring legacy and pioneership within Makossa and Funky Disco music helped shape the sound of many DJ’s and producers such as Gilles Peterson, Disclosure, Folamour, Diplo, ANOTR, Jax Jones, Sonny Fodera and Daphni.

Over the years, he shared stages and collaborations with renowned artists including Claude François, Nino Ferrer, Manu Dibango, and Miriam Makeba. As a producer and arranger, he became a respected figure across the African diaspora, working with talents such as Toto Guillaume, Marthe Zambo, M'Pongo Love, and experimenting in the studio with visionary artist Francis Bebey.

In 1998, Eko returned to Kribi, where he continues to live, create, and perform. Alongside his musical career, he has composed three albums of Catholic music, still awaiting release, and is currently working on new material. Today, he remains a beloved figure both locally and internationally.

Since 1996, he formally assumed his role as traditional chief of Lobé (usually reffered to as 'Chef Traditionnel'), following in the footsteps of his grandfather; his majesty ‘Bevigna Eko Louis’ - an enduring source of inspiration throughout Eko Roosevelt’s life. Despite his royal duties, he continues to perform regularly across Cameroon. When he takes the stage, entire crowds sing along to Lobé Mon Ami and classics like Nalandi and Attend-Moi, celebrating a legacy that bridges generations.

Balancing tradition and music, his majesty Eko Roosevelt Louis remains deeply committed to both his community and his art. This reissue of Phone Me Tonight / Lobé Mon Ami marks a renewed chapter in sharing his rich musical legacy, and his musical future with the world.

The Reloved series – Four Flies Records’ ongoing project where today’s producers reimagine select gems from the golden age of Italian library music and soundtracks – welcomes a new chapter from the formidable pairing of Nicola Conte and Nico Lahs.

The tracks reworked in this vinyl EP all originate from the first half of the 1970s, a period when a fascination with African imagery and sounds was so pervasive among Italian composers that it became a prominent cultural and aesthetic trend. Applying their refined touch, Conte and Lahs have expanded the rhythmic and atmospheric potential of the original recordings without the need for invasive overwriting. Instead, they have emphasized the unique identity of each piece, adding a contemporary club energy that remains entirely respectful of the original spirit, structure, and essence.

The EP opens with Piero Umiliani’s “Nel Villaggio” (originally found on the 1975 library album Continente Nero), which Conte and Lahs have filtered through a hypnotic, sensual tribal-house lens. Side A continues with “Orgiastic Ritual”, a reimagining of Gianfranco Reverberi’s main theme for Black Magic Rites (Renato Polselli’s 1973 erotic-horror film), which elevates the original percussive groove, amplifying its ritualistic dimension and drawing the listener into a mesmeric sonic spiral.

On side B, “Oasi nella Giungla” – from Giuliano Sorgini’s Africa Oscura (recorded in 1974) – takes a more minimalist, electronic approach: the original material remains front and centre, enveloped in delays and subtle rhythmic touches. Closing the EP is Romolo Grano and Gianni Oddi’s “Kilimangiaro”, originally composed for the 1974 documentary Le Montagne della Luce; through the use of sampling and loops, Conte and Lahs transform it into an elegant afro-house cut, at once sleekly restrained and irresistibly magnetic.

This is undoubtedly the most club-oriented instalment of the Reloved series to date, propelling Italy’s library music heritage from the flickering screens and analogue airwaves of the past onto the dancefloors of the present.

LIMITED 300 ONLY CRYSTAL CLEAR VINYL WITH PURPLE BLOB AND BLACK SPLATTER. HOUSED IN FULL COLOUR MATT SLEEVE WITH POLYLINED INNER BAG AND DOWNLOAD CODE. NON-RETURNABLE.
Following his two sold out releases ‘Vertigo’ & ‘Water Music’ on Riot Season last year, the ever prolific Ivan The Tolerable returns with ‘An Orphan Form’
A beautifully strange and immersive suite that feels both otherworldly and rooted in something organic. Drawing on kosmische drift, loose-limbed jazz, and warped psychedelic textures, the record moves like a half-remembered dream.
Field recordings and nature sounds weave in and out, grounding the swirling synths and off-kilter rhythms in real earth and air. It's a record that doesn’t follow a straight line, but instead wanders, curious, alive, and quietly spellbinding.
Recorded in winter 2024 in Middlesbrough, UK and Utrecht, Netherlands
Oli Heffernan: bass/guitars/synths/drones/field recordings/electric piano
Mees Siderius: drums/percussion/vibraphone
Elsa Van Der Linden: saxophones/flutes

“Chapter Georgia” is a various artists compilation showcasing the diversity of Georgia’s electronic underground.

Rather than following a single stylistic direction, the release was conceived as a platform for individual expression. Each artist brings their own sound, vision and energy, creating a collection of distinct tracks that reflect the richness and variety of the scene.

Details marks SCHiLLiNG's return after years of research, above all on himself. It brings together the practices that have become essential to him: composition, sampling, sonic patchworks, and a palette that mirrors the full spectrum of his musical identity, from Rock'n'Roll to Trip-Hop and Ambient. Details is rich in small edits, hidden layers, fragile textures, and fragments that reveal themselves slowly. Yet the word carries a deeper meaning: what truly matters is often the smallest element, what doesn't appear clearly at first glance or on first listen, yet quietly holds the core of everything. The detail as the very pulse of one's inner world. Across 14 tracks, the album unfolds as a diverse journey, carefully shaped yet open enough to allow unexpected elements and subtle imperfections to remain part of its flow. The structure is not binding, you can begin from any track and embark on your own path through it. Each piece contributes to a wider arc without overpowering the others. The album includes collaborations with several artists who lent their talent to the project; their names appear in the credits of the physical release. In many ways, they embody the very idea behind the title: individual presences, each bringing their own nuance, forming a whole together. After all, fragments, in their union, shape the larger totality. Details doesn't ask to be consumed in a specific way, fast or slow, close or distant. It simply is what it is

He's back once again is Monsieur Van Pratt with more of his so-wrong-they're-right disco edits. This fight volume has two edits reshaping source material with the usual deft touch. His opener 'Linda' runs on clipped drums, tight bass loops and bright string stabs then 'Oye Un Momento' keeps its original vocal but reinforces the groove with heavier kicks and 'El Ritmo Que Te Atrap' has a kitsch Europe feel. On the flip, Disco 86 shifts towards something classier with 'Crees Que Soy Sexy' riding lush chords and plenty of glistening melodies drawn from the Rod Stewart original and 'Tu Amor' is packed with electric vocals and retro future keys for a full send finish.

Following the success of the first volume, "BOY Records - Timeless Technology 2 (1989-1993)" delves even deeper into the catalogue of one of Germany's most influential independent techno labels.

While the first volume focused primarily on the label's formative years and its pioneering tekkno traxx, this second chapter explores a broader spectrum of the BOY Records sound. Alongside overlooked classics from the 1989-1991 period, it extends the scope up to 1993, years in which the label embraced the rapidly evolving electronic music landscape.

As the sound matured, the raw energy of early German techno began to merge with harder techno rhythms, acid-infused productions, and the first waves of European trance. Featuring 24 carefully selected tracks, many of them long-forgotten gems, "Timeless Technology 2" captures both the diversity and forward-thinking spirit that made BOY Records a key player during the golden age of underground dance music, while documenting the label's continued evolution and lasting contribution to the scene.

This deluxe 4LP set is housed in a reverse-board printed gatefold sleeve and includes one BOY Records logo sticker.

International superstar Pitbull presents his 'Greatest Hits' album. The compilation features his chart-topping singles from 2009 to 2014, alongside electrifying tracks like 'Jungle' (feat. E-40 and Abraham Mateo) and 'Locas' (feat. Lil Jon). 'Greatest Hits' serves as a powerful testament to Pitbull's prowess in crafting infectious, energetic, and celebratory anthems. The album features monumental hits such as 'Give Me Everything' (feat. Ne-Yo, Afrojack and Nayer), 'Timber' (feat. Kesha), 'Time of Our Lives' (feat. Ne-Yo), 'Fireball' (feat. John Ryan), and many more.

Tripper returns for the imprint's third outing with another pair of 45 RPM cuts.
Both jams take shape from stripped-back 909 patterns before being summed through a
vintage analog mixer, keeping the grit, warmth and swing firmly intact.
Expect raw '90s house aesthetics, evolving and progressive synth lines, warm pads and
finely carved filters and LFOs.
The A side delivers a wide rolling groove, while the flip takes a sharper, more hard-hitting
approach. Two club-ready shakers, each with its own distinct character, keeping the
pressure on and preserving the label’s signature.

Dub techno runs on ghosts and twins. The ghost is the echo that outlives the hit – the reverb tail, the delay feeding back into empty space. The twin is the dub itself: every sound shadowed by its own double, the original and its darker reflection locked into the same groove. Ghosts & Twins gathers four cuts that work that space.

This is BLACKINSTOCK's Black Gold Dub Techno with both feet on the floor – measured but muscular, weighted, no filler and no drift. The groove stays locked, the low end does the talking, and every echo earns its keep. Music for a dark room and a loud system, not a candle and a beanbag.

Curated by Kirill Matveev, who called in friends and long-time collaborators from across the MixCult circle, the record plays as four takes on one idea. Spectral Model opens with "Distancial" – a new name here, making a first outing on the MixCult family, and a fitting one to raise the ghosts. Djalo follows with "Model Dub," dubbing minimal and techno the way he has across MixCult, Souplex and Apnea: economical, hypnotic, built for the low end. On the flip, Schime – Hungarian producer Sanyi Egyed, working dub techno, deep and minimal since 2013 across Phonoda, Welter and the MixCult ranks – turns in "Phased." Closing the record, The Don Of Dubhouse is the new alias of TM Shuffle, Finnish producer and head of Vuo Records, no stranger to MixCult.

BLACKINSTOCK is a division of MixCult Records

Ja:ck is an artist who moves beyond fast-paced trends, focusing instead on a clear, driving vision. His releases on the renowned label Cocoon Recordings represent an uncompromising sound that balances hypnotic techno and energetic club dynamics. With a keen sense of tension and atmosphere, he has developed a signature style over the years that works as effectively on large floors as it does in intimate sets.
His new track, Dinamo, perfectly encapsulates this energy: pulsating, powerful, and precisely crafted. The track builds with subtle intensity before erupting into a forceful, captivating movement designed for the peak time.
Notably, Ja:ck has been supported for years by techno icon Sven Väth, who consistently integrates Ja:ck's sound into his sets. This ongoing backing underscores not only the quality of his productions but also his relevance within the international scene. With Dinamo, Ja:ck delivers another clear statement: raw, direct, and absolute club material.
The Oliver Keim remix of Ja:ck’s Dinamo translates the original track into a clean, stripped-back club aesthetic with a steadfast focus on groove and energy. From the start, a driving flow emerges: precise, dry drums meet a deep, rolling bassline that constantly pushes forward. The arrangement remains intentionally minimalist, yet leaves enough room for subtle details to unfold and build tension. Finely placed breaks provide dynamics without losing momentum, leading back into powerful, controlled drops.
The remix eschews clutter, relying instead on clarity, punch, and timing. This makes it versatile enough for both intimate club settings and larger floors, fitting seamlessly into Tech House, Melodic Techno, or driving House sets. It is a modern, functional remix—minimalist in sound, powerful in impact, and strictly geared toward the dancefloor.

Ja:ck ist ein Künstler, der sich jenseits schneller Trends bewegt und stattdessen auf eine klare, treibende Vision setzt. Seine Releases auf dem renommierten Label Cocoon Recordings stehen für kompromisslosen Sound zwischen hypnotischem Techno und energetischer Club-Dynamik. Mit einem feinen Gespür für Spannung und Atmosphäre hat er sich über die Jahre eine eigene Handschrift erarbeitet, die sowohl auf großen Floors als auch in intimen Sets funktioniert.
Sein neuer Track Dinamo bringt genau diese Energie auf den Punkt: pulsierend, druckvoll und gleichzeitig präzise ausgearbeitet. Der Track baut sich mit subtiler Intensität auf, bevor er sich in eine kraftvolle, mitreißende Bewegung entlädt, gemacht für die Peak-Time.
Besonders bemerkenswert: Ja:ck wird bereits seit Jahren von Techno Ikone Sven Väth unterstützt, der seinen Sound immer wieder in seine Sets integriert. Diese kontinuierliche Rückendeckung unterstreicht nicht nur die Qualität seiner Produktionen, sondern auch seine Relevanz in der internationalen Szene.
Mit Dinamo setzt Ja:ck ein weiteres klares Statement : roh, direkt und absolut clubtauglich.

German Text:
Der Oliver Keim Remix von „Dinamo“ von Ja:ck übersetzt den Original-Track in eine klare, reduzierte Club-Ästhetik mit konsequentem Fokus auf Groove und Energie.
Von Beginn an entsteht ein treibender Flow: präzise, trockene Drums treffen auf eine tiefe, rollende Bassline, die sich konstant nach vorne bewegt. Der Aufbau bleibt bewusst minimalistisch, lässt aber genug Raum für subtile Details, die sich im Verlauf entfalten und Spannung erzeugen. Fein eingesetzte Breaks sorgen für Dynamik, ohne den Drive zu verlieren, und führen kontrolliert zurück in kraftvolle Drops.
Der Remix verzichtet auf Überladung und setzt stattdessen auf Klarheit, Druck und Timing. Dadurch funktioniert er sowohl in intimen Clubsettings als auch auf größeren Floors und lässt sich vielseitig zwischen Tech House, Melodic Techno und treibenden House-Sets einsetzen.
Ein moderner, funktionaler Remix, reduziert im Sound, stark in der Wirkung und konsequent auf den Dancefloor ausgerichtet.

PLAYED BY SVEN VÄTH

REBORN — Chapter I: The Big Bang is a conceptual double-vinyl album created to be experienced in sequence, with each track flowing into the next as one continuous journey. Moving through house, techno and electro house, the record gradually increases in energy while connecting cosmic creation to G. Felix’s own artistic rebirth. The physical edition contains the first 12 tracks of the chapter, but the story does not end with the vinyl. The sequence continues digitally through track 16.0, including a hidden composition positioned between 12.0 and 13.0. Inside the vinyl insert, listeners will find a QR code that opens access to exclusive material, visual content, behind-the-scenes information, the continuation of the narrative and Chapter II — The Dark Matter. Designed as both a record and a portal, REBORN combines music, visual art, symbolism and storytelling into a larger expanding universe. The album is intended to be heard from beginning to end, allowing every transition, message and sonic detail to become part of the complete experience.

Chris Scott, the latest addition to the Endell Street family, returns to his back catalogue with another highly sought after treasure this time under The Dominican, alongside Lee Melrose.

Originally released in 1999, this deep and hypnotic house cut has a deep, shuffling groove and an understated charm. It captures a style of house that would only become popular in the years that followed.

Now, Endell Street bring this cult secret weapon back with a fully remastered reissue, breathing new life into a timeless production. Nearly 28 years on, the production still sounds as fresh and captivating as ever, a deep house cut that feels right at home today. A timeless deep house classic and an essential reissue.

In continuation with the “Untitled” series, it is time to unveil the fifth chapter. 9-tracker with the talented artists which have gathered to make this disc come to life with the broad spectre of dancefloor ready frequencies that it contains. With some familiar faces and some new comers this is ready to be presented to the world of us music lovers that have big lust to non-standard beats. This LP is destined to land in the right persons hands who will treat the speakers rough and loud just how they should be treated with the material presented on it. The “Untitled” series continue thanks to the professional audio trips creators the spaceship sets space sails for the new edition soon.

Obelix is the brainchild of UK producers Richard George and Corine Trembath, whose timeless take on house and techno has long been cherished by underground heads and vinyl collectors alike.

With releases on Pacific Records, Mosaic and Stickman, their music occupies a distinctive space between early house and techno, raw, hypnotic and deeply musical, built around rolling 909 rhythms, expertly programmed 303 acid lines and the unmistakable character of analogue hardware.

Following an extensive dive into their DAT archives, Pariter presents The Lost Tapes, a collection of previously unreleased recordings made in the mid-1990s. Carefully restored and curated by Yossi Amoyal, the material retains all the rawness, warmth and analogue
character of the original tapes, offering a rare glimpse into a particularly fertile period of UK underground dance music.

The two part release is completed by Whatever, their sought after classic originally released on Offshoot, a timeless slice that stands alongside the unreleased recordings as an essential piece of the Obelix story.

The Lost Tapes documents a sound that has lost none of its power, raw, hypnotic and unmistakably timeless.