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After Neue Grafik , the S3A Records team releases another great new blooded talent from Germany : Henry L ! The 'Gemini' track, clearly for the MCDE lovers, is a smashing hit. It goes forward a sexy downtempo interlude: Dust it off. To finish the side, 'Dice game' is a great deep house track done in collaboration with Matt Flores and contains live played 'MK1 Rhodes, drums, percussions...'The B side comes with two great remixes from S3A and Cuthead of the A side tracks with a Henry L hiphop badass skit between! A great release from the S3A RECORDS team for sure!

Early support from Objekt & Truss.

Truss - Lag and Vacated tracks are both great. Very strong EP overall.
Objekt - Yeah man! I like the A1 and A2 a lot.

Bringing together the razor edged glitch stomp 'RM2' of Essex's Vacated with the Serbian and Bosnian tag team might of Lag and Forest People's deep and hard rumbler - 'The Anvil'.

On the flip, the heavy atmospheric paranoia of 'Industry by Rotterdam's Matt TDK sits with London new blood Ruins, and his Brixton meets Brum tuff cut roller.

'Mechanistic Overlap' is the first multi artist EP from London's Darkfloor Sound imprint, adding to their catalogue of deep electro, industrial rhythmic; hard, acidic tribal and noise infused technoid from the likes of Phat Chex, Ontal, David Meiser and Savagen.

first release of endless flight in 2015 is new artist in berlin.

our one of the most favorite new artist "matt karmil" intoroduced him to us and suggested to release
his music with the remix of himself.

we really love his unique house music and matt karmil remix is first class.

enjoy!!

Founded by Matthias Schildger & Carlo Ietri in 2013, Repeat is finally ready to conquer the world and bring it's sound to all music lovers out there.
The first imprint of the new label was made by Wigbert // Matt Star & Marvin (incl. Dorian Paic, Dragosh Rmxs) and is called - Play, Stop, Repeat'. It will be out very soon on vinyl and digital.
With the label comes a new booking agency which contains a nice mixture of already well known artists and a few fresh and talented ones.

Here a little overview what you can expect from the first release - Play, Stop, Repeat':


Wigbert - Destroy me:

Wigbert unleashes a monster of a track with - Destroy me' on the dancefloors worldwide. Powerful beats combined with hypnotic rhytmic and some dark vocals will shake your body for sure! This tune will destroy some speakers if you are not careful with the volume... :)

Dorian Paic Remix:

Dorian Paic transforms Wigberts tune into a more happy and melodic but not less uplifting setting with the addition of some nice piano chords. It will put some sunshine into your hearts!

Matt Star and Marvin - In the Trees:

Matt Stars long experience in production combined with the freshness of the very talented Marvin resulted in this deep and groovy track driven by some nice drums and a fat bassline. Dark Athmospheres meets broken beat dubbish minimalism is the best way to describe it.
This track will go straight to your bones!

Dragosh Remix:

Dragosh's interpretation of - In the Trees' is a more percussion orientated track wich will put a lot of smiles on the faces of dancers. Crispy, rhytmic and simply good.

And now, Play, Stop and REPEAT!!!

in the past ten years lots of little and big stories happened in the music culture. house literally disappeared almost from the scene in order to come back as strong as never before. 

minimal morphed back into techno while leaving the question mark why the term minimal ever got invented. some originators like frankie knuckles or romanthony passed away, while others like larry heard just stopped to perform. 

in-between countless new artists appeared, twisted dance music with new perspectives on the old, and released their fresh ideas on even more countless labels out there in the void called music market. 

one of the rare platforms that stayed solid as a rock in all these years is mule musiq, the tokyo based label that spreads miscellaneous sound vibes that long from jazz to disco, house, and unobtrusive ambient since 2004. 

with a versatile artist roster consisting of producers such as henrik schwarz, lawrence, dj sprinkles, dj jus-ed, kuniyuki, eddie c, roedelius, or new kids on the blog like barnt or lord of the isles the japan based record company developed a status of her own for being one of the most free spirited organisations in contemporary music. 

'if the music is good, any kind of music is welcome. i don't like labels which release one style music.' 

mule musiq's mastermind toshiya kawasaki once said in a rare interview. now he celebrates a ten years of freedom jubilee with the sixth instalment of his famed 'i'm starting to feel ok' compilation serial.  a real massive international anniversary celebration that is ventilating all what happened in the past ten years in order to form something that travels right into the future. and that is where mule musiq tries to be since a decade to tell some unheard musical stories that stay for good even when the future is long past.

Popnoname`s Change is the perfect Pop Song to sing along to and soundtrack a change in you. David Hasert creates Pop for the dancefloor, his remix is like a Dreamliner in the balearic sea, which goes ashore with the drums of Bertil Mark. David Hasert curates the NICE parties in Cologne and runs the Label LIKE.When Matt Karmil`s Remix starts, you know this is a hit. Sensitive and cool he captures the essence of the track while
leaving out all Pop Themes. The solitary beat splattered with white noise creates an eternal space to drift away to in the club

Limited to 300 Hand stamped Copy s " Be Fast !!! Its Time for the next Mainakustik Stamp-Series. After the successful first VA Series, main akustik present some new hot tracks.

Joining the Klectik family are two of Argentina's finest young producers, Juan Franco Di Lorenzo and Gonzalo Urtizberea.

Dilo and Gurtz are respected around the world for pushing the distinct sound of South American techno-music, that is cerebral and experimental, sexy and organic - all at onceSupport from Elon, Jorge Savoreti, Mazi, Taimur, Andrew Grant, Bryan Zentz, Dan Berkson, James What, Stefny, Brothers Vibe, Bloody Mary, Mirco Violi, Kate Simko, Chris Fortier, Paco Osuna, Danny Teneglia, Kane Roth, and Lady D.

Locke also known as Dermaptera presents his first album. All tracks written and produced between 2006 - 2008 by Christian Schildger except D1written and produced by Matthias Schildger aka Matt Star

THREE DRIVES released GREECE 2000 in 1997 and this huge trance bomb became an instant classic which was & is supported by just about anyone & everyone, ask any trance jock for
his or hers all time top 10 and you defeinitely find GREECE 2000 in it.....no the mention the immense pile of compilations featuring GREECE 2000..... literarily millions of compilations










worldwide incorporates this timeless gem...

The anonymous Only Music Matters crew serve up another EP of smoking sounds for discerning crowds. It's the smart sampling of a classic motif from jazz-house great Saint Germain that makes the opener 'AAA001A' so enchanting as a bluesy vocal drifts in and out of a dry, dubby, minimal tech beat. 'BBB001B' is more driving and gritty, a clipped tech cut to keep things moving in the dead of night, then 'BBB002B' brings another supple groove, this time with rays of synth rising out of the mix like the morning sun. Quirky sound designs and a skipping rhythm make it irresistible.

Drumcode returns with the ever popular A-Sides series, kicking off with tracks from big names HI-LO, Nicole Moudaber, and Mark Reeve.

HI-LO’s ‘NYC to Amsterdam’ has inflections of New York house fused with driving techno elements. Nicole Moudaber returns to DC in cahoots with the rising ZLATA for the super-charged ‘Report to the Dancefloor’

Mark Reeve is in trademark strong form with hypnotic ‘My Mind’, which comes to life via a massive synth led stomper. Showcasing new talent we have Mattia Saviola, whose ‘Parallel Dimension’ is a powerful cut with fantastic sound design.

The Dubplate series comes to the label’s spiritual home of Hackney, the stomping ground of the Douglas “Dougie” Waldrop and his Conscious Sounds label with the spin off Dub meets Funk project. The music of the Dub Specialists is presented with extended re-edits by label owners Piers Harrison and Stuart “Chuggy” Leath, alongside rising selector star Millie McKee and studio master extraordinaire Matt Bruce (Vanity Project).

Formed in 1989, Conscious Sounds and the Conscious Music studio have been mainstays on the UK Digital Roots scene to this day, working with the likes Bush Chemists, Johan Dan, Kenny Knots and Pablo Gad. The Dub Specialists was a project created by Dougie to put aside studio sessions and explore a new interest in samplers, working with friend Chris Petter (Love Grocer) and his interest in Jazz and Funk.

Using the Atari 1040 running Cubase, with a Soundcraft mixer, drum loops and Reggae basslines were played over Funk samples and layered with Petter’s chords to create a series of short tracks for DJ play. Releasing 3 albums between 1995 and 1999 on the sub label Crispy Music, they have more recently been gaining cult status.

The tracks chosen all come from the first and increasingly sought after LP, Dub To Dub Break To Break and have been extended, stretched, looped and dubbed by the label family to form a club friendly EP. From the dance floor jams of Dub De Funk and Funkin’ Dub to the deeper Movin Ya (with additional flute by Millie) and Murderous Style, this is a unique fusion of Funk and Digidub that fits perfectly the ideals of the Dubplate Series.

Break The Mystery.

A guitar stands alone in Wedding, that metropolitan biotope in the western center of Berlin, caught in constant transformation between idyll and abyss. It lets its gaze wander, unsettled, almost shy, until it encounters a trumpet, with which it begins a cautious, then ever more intimate pas de deux.
Welcome to the second studio album by the Berlin-based band Conic Rose.
The album title Wedding is no coincidence. The story of Conic Rose is closely intertwined with the Berlin neighborhood that gives the record its name. The band's studio is located here, and both studio albums were created in the immediate vicinity of the small river Panke. This place settles over the music like a warming patina. The album feels as though the musicians and the neighborhood have invited one another to get to know each other. Not least because Wedding also means marriage. These marriages between a band and an urban landscape, a fading past and an emerging future, fear and hope - unfold in every single song on Wedding.
For their second album, Conic Rose repositioned themselves completely. Not in terms of personnel, but in the question of how to move forward. Conic Rose still sound like Conic Rose; their distinctive blend of cinematic jazz, ambient textures and guitar-led contemporary music remains untouched. And yet Wedding is, in many ways, the conceptual counterpart to their debut album Heller Tag. Where the debut documented movement within an urban setting, Wedding describes a state of being. Behind every piece seems to hover a large question mark.The group opens up its palette, allowing more influences, becoming at once more subtle, more profound, more filigree. It is less about definition than about the spaces in between. The most immediately striking difference from the previous album is the strong presence of the guitar. In Bertram Burkert's playing, many voices seem to converge. His yearning openness forms an equal counterpoint to Döben's trumpet and flugelhorn. Blurred and layered sounds occasionally make the ground seem to slip away beneath one's feet, while Döben's gliding lines create both closeness and distance. Together, the band express in a deeply subtle way a sense of life that corresponds precisely to our time. Something lurks in the background, omnipresent yet still unnameable. Conic Rose need no words to convey this feeling of uncertainty with remarkable eloquence. Perhaps this has something to do with Wedding being a place of confrontational introspection, but Conic Rose confront the escape from escape itself. With the recording and release of Wedding, this process is far from complete. The seed only begins to grow in the listener's ear. With every listen and the echo it leaves behind in memory, the studio bud continues to bloom. The album is merely the point of departure. What ultimately matters is what it sets in motion within those who encounter it.

Mysticisms’ returns to the music of the Conscious Sounds label and their short-lived but highly prized Dub meets Funk project, Dub Specialists. Created by label head Dougie Waldrop and Chris Petter (Love Grocer) to explore their interest in samplers and a love of Funk and Jazz.

A hugely respected “Digital” and “Roots Reggae” label, Conscious Sounds has been a mainstay of the East London digidub sound for over 30 years. Dub Specialists released 3 albums on the Crispy Music sub label, they have recently gained considerable interest in digger circles, with rising prices to match.

As with their first Dubplate outing, the release features extended re-edits by the label and friends, this time featuring versions by Lexx, Miles J Paralysis, Chuggy and Vanity Project. Working with the simplicity and skill of his studio craft, Dougie utilised the Atari 1040, Cubase and Soundcraft mixer to effect. Petters’ chords sit atop reggae basslines, funk samples, loops and this time, a heavy dose of cut up vocals in to the mix.

While the first EP came from their debut album, Breat To Break, here the source material for the re-edits comes, in the main, from their second outing “Dub To Dub Beat To Beat”. A more expansive album that also dipped in to 4/4 rhythms and touches of House / Techno.

Opening track Dynamic Duo is a 4/4 stepper bomb – with samples from Adam West’s iconic interpretation of Batman – expertly extended by long-standing DJ, producer and edit master, Zurich’s own Alex Storrer aka Lexx, who dials things to max for a club stop. A new name on many lips, Miles J Paralysis takes it all back down with a beautifully drawn out, acid-tinged tripper. Bumpin’, the mid-tempo groove sucks you in, psychedelic and mind expanding.

The flip returns to the more traditional Dub Specialist vibes of Breaks’n’Funk’ cut ups, first with (co-)label head Chuggy’s faithful extension of Heavy Dub. Featuring the classic Ijahman Levi’s vocal, the breaks flow and piano / horns stab, a dance floor shaker for the discerning. To close, secret studio fixer to many, Matt Bruce again dons his Vanity Project moniker to perfectly tease and live dub (out) the half-stepper, Reality Dub and close this latest in the Dubplate series.

Beat The Mystery.

After more than a year of road-testing and building anticipation on dance floors worldwide, this eagerly awaited 12" release has finally arrived. Championed heavily by producer and DJ Vick Lavender himself, and supported by legendary selector Joaquin Joe Claussell, demand for this record has reached a fever pitch. With requests pouring in and excitement growing by the day, label head Carl Dupri knew the time was right.

"Girl" manifests as a masterful musical composition, crafted in the distinct deep, soulful style that only Vick Lavender can deliver. Rich textures, warm grooves, and elevated arrangements create an immersive soundscape that speaks directly to the heart and the dance floor alike.

Topping it off is the stunning vocal performance from the incomparable Angel A., whose soulful delivery adds depth, emotion, and timeless elegance to the production.

Pressed and housed in a beautifully designed 12" artwork jacket, this release is the total package-music, message, and presentation. Judging by the overwhelming demand and DJ support, it's only a matter of time before this one disappears from shelves and crates.



Enjoy the Journey

Italy via Atlanta, say hello to Titino and “Sun Splicer”, the latest release on The Comfort. Three separate ideas connect this EP across 4 tracks. It toys with the expectations of its listener — core features morph as tracks progress, stable kick patterns turn to breaks and in reverse, simple stabs progress to melodic junctions. Acid permeates this record, not as a clear motif but a tinged essence. And it’s sincere, both to the setting of these pieces and where they’ll be listened to and what it honors.

“Shblasted” — a back-and-forth groove machine filled with dub sirens and stepped up acid. Clubby introduction meant for sacred dance floors.

“Ouachita” on the A2 is controlled chaos, snares fly around, synth lines seem to want to escape their own confines and it just bursts onto the listener. Then the keys come in, the groove stabilizes, pads become bigger and new life is given.

The B-side is playful. “Sun Splicer” is perhaps most aptly categorized by a now notorious idea of ‘electro house’, and the pure aggressive euphoria this track carries just might be that, but as we all know the Italians do it differently — it’s a heady dark excursion. “Existenz” is all-smiles no matter how menacing its first contact, a hook of a track that reimagines the weirder side of Italian trance — think Interactive Test at its most wonderful. The dusty snares feel like a balancing tool instead of an homage.

Scruniversal never misses, no matter what he takes aim at, be it disco, jazz, funk or whatever else. Here, label head Scru's friends are assembled to edit and remix a fine pair of jams. The first is a curious one that marries clary 80s electro and hip-hop with a hint of Latin percussion and jungle bird calls, filtered spoken word and a taught bass twang. It's body popping bait at a slow, inviting tempo. Martem & Ferdi Ferreira then step up with 'Chumba Lala,' which has muscular analogue drums and grinding bass, snappy hits and old school house chords that all add up to a colourful wedge of playful, rigid proto-breaks funk.

Detroit meets the West Coast! DJ Maaco (Detroit in Effect) and Alden Tyrell moving people the old way, part 2. Resistance is futile against the Grays...

The experiment aboard orbital station Sequoia-4 began as a routine test of the acoustic array. The team attempted to synchronize an analogue resonator with a quantum audio synthesizer. The two incompatible frequencies were expected to cancel each other out. Instead, the instruments registered a stable wave. It didn’t fade, on the contrary, it did respond to every sound, every movement around it.

At first, they assumed a coding error, but the wave began adapting to the researchers’ voices, shifting its amplitude and rhythm. Within hours, its spectrum started to resemble a heartbeat. The recording was forwarded to the Analysis Division, where it was named Hybrid Dub — a hybrid resonance formed between the machine and the human senses. The phenomenon proved unpredictable: each listener described different effects, from gentle euphoria to vivid recollections of memories that had never occurred.

Even after the system was powered down, a faint signal persisted in the ether — as if the mechanism had learned to breathe on its own. Some claimed that, when replayed, traces of the ocean, rustling leaves, and distant voices could be heard — as though the signal had passed through layers of living matter and remembered them.

The project was shut down, and the archive sealed. Only one line remained in the final report: “The signal wasn’t created — it discovered us.”

Welcome to THE VAULT for 1985. A collection that digs deeper into the year’s musical landscape – uncovering singles that may not have always reached the highest chart positions but remain essential to the rich and diverse pop story of 1985. Some were overshadowed at the time, some were highlights from albums that had already sold huge amounts, some found greater success internationally – but all deserve their place in this continued celebration of 80s pop.

45 tracks across 3-LPs – pressed in gorgeous green vinyl – NOW Yearbook – The Vault: 1985.

LP1 opens with a trio of tracks from huge-selling albums:- Bruce Springsteen’s ‘My Hometown’, the sixth single in the UK from ‘Born in the U.S.A’ - one of the best-selling albums of the decade, followed by Bryan Ferry with the stunning ‘Windswept’ from ‘Boys And Girls’ and Sting’s ‘Love Is The Seventh Wave’, taken from his solo debut ‘The Dream Of The Blue Turtles’. Next up, Go West with a U.S single release ‘Eye To Eye’, Scritti Politti with ‘Perfect Way’ – their biggest hit in America, and ABC with ‘Be Near Me’. The first side closes with two established bands; Heaven 17 and Orchestral Manoeuvres In The Dark… Flip the LP over for Adam Ant with ‘Vive Le Rock’, Midge Ure, Blancmange and the second collaboration between Philip Oakey & Giorgio Moroder with ‘Good-Bye Bad Times’. The Style Council’s ‘Welcome To Milton Keynes’ leads to LP1’s closer’s from Simply Red and Fine Young Cannibals who followed their debut ‘Johnny Come Home’ with ‘Blue’.

LP2 opens with Cocteau Twins and the dream-pop atmospherics of ‘Aikea-Guinea’, ahead of The Jesus And Mary Chain with ‘Just Like Honey’, and The Dream Academy with ‘The Love Parade’.

Brilliant with their cover of James Brown’s ‘It’s A Man’s Man’s Man’s World’ and jazz-influenced pop from Matt Bianco are up next ahead of the sublime ‘Castles In The Air’ from The Colourfield and Elvis Costello & The Attractions, who released the 1979 track ‘Green Shirt’ to promote their ‘Best Of’ collection … and the side closes with The Clash’s ‘This Is England’ which would become their last originally released hit…whilst on the other side…celebrate the dancefloor, with a vibrant mix of Hi-NRG, soul, electro and club-influenced pop:- Opening with Sheryl Lee Ralph’s ‘In The Evening’ and Barbara Pennington’s equally superb ‘On A Crowded Street’, the hi-energy continues with Miquel Brown and Hazell Dean ahead of a US hit from Laura Branigan (‘Spanish Eddie’) and Divine’s cover of ‘Twistin’ The Night Away’. LP2 finishes with a massive U.S. dancefloor smash for Eddie Murphy with ‘Party All The Time’.

The final LP kicks off with a bunch of singles that achieved bigger hit status in the US than here and opens with Billy Joel’s ‘You’re Only Human (Second Wind)’, a track written exclusively for his ‘Greatest Hits – Volume I & II’ compilation, ahead of pop-rock from John Mellencamp plus an anthemic smash from Bon Jovi. Pat Benatar’s ‘Invincible’ features ahead of The Power Station’s third US Top 40 hit…whilst back in the UK Chris Rea enjoyed his biggest chart hit to date with ‘Stainsby Girls’ and the side is completed by Marillion with ‘Heart Of Lothian’ the third hit from their huge ‘Misplaced Childhood’ album… Flip to the final side for the stellar vocals on ‘Act Of War’, the huge collaboration between Elton John & Millie Jackson ahead of dancefloor smash ‘New Attitude’ from Patti Labelle and ‘Show Some Respect’ a U.S. single from Tina Turner. Sophisticated pop-R&B from Michael McDonald and Daryl Hall & John Oates come ahead of the collection’s closers- and two outstanding vocal performances: Chaka Khan’s ‘Through The Fire’ and the U.S. breakthrough hit from Whitney Houston with ‘You Give Good Love’ – signalling the arrival of one of the decade’s brightest new stars.

NOW Yearbook – The Vault: 1985 – A deeper dive into an unforgettable year in pop.

They Call Us The Lucky Ones is a road-worn portrait of modern Americana — songs about movement, memory, love, and survival, exploring the space between freedom and consequence where highways replace homes and connection becomes the true measure of success. The album tells stories of outsiders and drifters, chosen family and lost friends, broken systems and restless ambition — and the ghosts we carry no matter how far we run. Yet for all its hard-earned perspective, the record carries an undeniable sense of hope: a clarity that comes from a life lived in motion, the humor found along the way, and the simple joy of playing music with people you trust. It’s a record that knows how to have a good time without losing its soul. This collection of ten songs finds Ryan Bingham at his best — where life isn’t always about perfection or redemption, but about connection. Because no matter how far you go, how fast you run, or how loud the music gets, all that matters is the people and stories you carry with you along the way.

They Call Us The Lucky Ones is a road-worn portrait of modern Americana — songs about movement, memory, love, and survival, exploring the space between freedom and consequence where highways replace homes and connection becomes the true measure of success. The album tells stories of outsiders and drifters, chosen family and lost friends, broken systems and restless ambition — and the ghosts we carry no matter how far we run. Yet for all its hard-earned perspective, the record carries an undeniable sense of hope: a clarity that comes from a life lived in motion, the humor found along the way, and the simple joy of playing music with people you trust. It’s a record that knows how to have a good time without losing its soul. This collection of ten songs finds Ryan Bingham at his best — where life isn’t always about perfection or redemption, but about connection. Because no matter how far you go, how fast you run, or how loud the music gets, all that matters is the people and stories you carry with you along the way.

More unknown artist business from the Only Music Matters crew and it's a case of more essential minimal across three fresh cuts. The first manages to pair the sort of drive you need to keep you locked with some swirling, heady pads that encourage letting your mind wander. After that full-sided odyssey, 'BBB001B' stars the flip with tighter, more rubbery drums and bass and alien sounds weaving in and out. 'BBB002B' shuts down with some tech-y loops and a little more menace and mischief in the clipped vocals and wispy synth modulations.

In September of 2019, Deliluh took flight with sights set on new horizons.
A long plotted scheme to uproot the group from their Toronto home and
airlift them into the touring bastion of Europe seemed like a pot worth
gambling their stack on.
Their future in the old world was read with wide-eyed optimism, emboldened
by two albums newly waxed and tour dates rolling in. Greener pastures with
foreign allure, a promised land chalk full of experimental art and sound, and a
plethora of unconventional venues ripe for the picking... it’s open season, what
could possibly go wrong?
Well, the best laid plans... ‘Amulet’ is the first release since Deliluh’s departure
from Toronto, an opening document of the group’s transition to Europe. Mirrored images of the same composition occupy each side; ‘A’ performed by their
previous four-piece lineup (Kyle Knapp, Julius Pederson, Erika Wharton, Erik
Jude) and ‘B’ by the current active two-piece (Knapp and Pederson). ‘Amulet’
is set to be released July 30th on 10” via Tin Angel Records.
The lyrics depict a jewel thief committing crimes with the conviction of a merciless zealot, and justifying them with a spite for the status quo. The protagonist
amuses with the threat of being “caught”, a fate seemingly imminent and yet
laughable in the crooked context of societal greed. Knapp delivers sharp criticisms with a swagger liberated of fear, imploring us all to root for the anti-hero
in a time when danger is craved en masse.
The tonal contrasts between both versions testify to the group’s versatility.
The A side pulls tension by way of minimalism, leaning into a sinister synth
sequence that navigates a pitch dark sonic terrain. Swooning guitar, plucking
violin, whispering synths and darting tape effects peek in and out of the periphery, circling with unsettled starkness around Jude’s gloomy bass drone, through
until Wharton-Shukster’s string soaring climax.
Flip to the B side, and the immediate motorik groove turns the sequence on its
head, snapping to a gritty dance track for nights long yearned for. Pedersen’s
modular synth takes on a fresh persona of dusted drums and otherworldly high
hats, cracking on the beat while guitar scratches, processed sax, and string
synths build with harmonic euphoria, all until the tape slips and pulls the rug
from under the DIY dance floor.
‘Amulet’ demonstrates Deliluh’s potential growing fearlessly in the face of a
tight game. They promise a plentiful stash of recordings soon to be unearthed,
giving the sense that their recently tested process of creation has been far from
hindered. What comes next is anyone’s guess, though Amulet at the very least
reassures that we’re still, as always, in trusted hands.
Knapp: “It’s ‘adapt or parish’ these days.. We’re fortunate to be safe and
healthy, and thankfully, we’re not afraid of taking risks or evolving.”
Pedersen: “It isn’t the end goal that matters, but what you learn while exploring the paths that lead into unexplored terrain.”

‘Black Butterfly’ is Brooklyn Funk Essentials eighth studio album and includes the bands recent hits ‘Never Give Up’, ‘Bust The Bus Stop’ and ‘Life During Wartime’. Playlisted on BBC Radio 2 and Jazz FM and supported by Craig Charles and Cerys Matthews at 6 Music as well as many stations across Europe and the Americas. The album was produced and co-written by bassist Lati Kronlund and features Alison Limerick, Ebba Åsman and Desmond Foster on vocals.

Kronlund and Limerick have been enjoying the recent renewed interest in ‘Where Love Lives’. Kronlund wrote and produced it for Limerick in 1990, it was remixed by Frankie Knuckles and David Morales and became a club classic and was featured in this year’s John Lewis Christmas TV Ad. Arthur Baker heard the original in a club in 1991 that he contacted Kronlund about working together and they then formed Brooklyn Funk Essentials.

Since then, Brooklyn Funk Essentials have built a devoted international following and notched up over 100 million streams. Fusing Soul, Hip Hop, Spoken Word, Jazz, Latin, and, of course,
Funk, the band’s journey began experimenting with drum machines and loops in Baker’s Shakedown Sound Studio in Jersey City—hunting for that perfect beat. The early recordings featured greats such as Maceo Parker, Lenny Pickett, Tower of Power Horns, Michigan & Smiley, and Dizzy Gillespie, leading to the acclaimed debut ‘Cool & Steady & Easy’ (1994). Fast-forward to April 2024, when Kronlund reunited with Baker in Miami, rediscovering recordings featuring percussion prodigy Bashiri Johnson, which inspired new creative sparks for the next chapter of Brooklyn Funk Essentials.

With her third album, composer and bandleader Jasmine Myra has stepped confidently into the next stage of her unique musical explorations. Where Light Settles is a cohesive artistic statement from a distinctive and confident voice in UK music, and a significant evolution from the critically acclaimed Horizons (2022) and Rising (2024). Nine beautiful and powerfully grounded compositions express an accumulation of the artist"s ruminations on life, growth, and progression, powered by her vision of duality. "It"s those bittersweet moments which are heart-breaking but so important. Looking forward and trying to make sense of life," she says. "Pain is unavoidable, and you"ll have hardship no matter what, but you don"t grow or learn about yourself or the world around you without it. The duality is the growth and coming out the other side. I had the concept from the start."

LP Transparent Purple Vinyl in Picture Sleeve

The essential debut album from Chicago’s disco-funk pioneers, featuring the timeless “Free Man,” returns fully remastered from the tapes of Tom Moulton for RSD 2026. Produced by Philly soul legends Bunny Sigler and Bruce Hawes, this record bridges Chicago’s raw energy with Philly’s orchestral elegance. Essential for any collector serious about the roots of disco and dancefloor culture — an all-killer, no-filler LP that sounds fresher than ever today. Remastered and Redesigned labels and sleeve, Transparent Purple Vinyl.

Drumcode returns with its flagship A-Sides series, led by a huge new Adam Beyer single that highlights the 20-track compilation.

If you want a snapshot of techno in any given year, look no further than Drumcode’s annual A-Sides compilation. The release broadly charts the evolution of the genre, while giving a platform to standout demo’s Adam Beyer has received across the course of the year with many emerging artists finding their music on Drumcode for the first time. Case in point – Wehbba, Charles D and Raxon who all debuted on the label via a track on the A-Sides series and have gone on to become regular contributors to Beyer’s influential labels.

This year’s compilation features an exciting mix of established heavy-hitters, alongside a slew of new faces set to make their mark on the genre. ‘We Don’t Say Please’ – is emblematic of Adam Beyer’s sound in 2025 – fresh, experimental and thriving on cross-genre pollinations, as elements of bass music, rap and techno collide, underpinned by a distinctive UK vocal. The results are inspiring.

Elsewhere, the 20-track compilation brims with highlights. HI-LO’s ‘NYC to Amsterdam’ has inflections of New York house fused with driving techno elements. Nicole Moudaber returns to DC in cahoots with the rising ZLATA for the super-charged ‘Report to the Dancefloor’. Oscar L & Charles D mint a new collaborative partnership with the immersive, spacey cut ‘Lift Me Up’. LUSU continue their red-hot run following the recent ‘Move 2 the Groove’ EP, and craft a straight-up mind-mashing single ‘LIKE THIS’. Mark Reeve is in trademark strong form with hypnotic ‘My Mind’, which comes to life via a massive synth led. The fantastic Kaufmann shares her ‘People are Strange’, a nod to a classic vox, re-contextualised for a modern techno audience.

As is tradition, a troupe of ascendant producers land on Drumcode for the first time. They include Uruguay’s Enzo Monza, who delivers the crisp ‘Late Night’ – a favourite of Beyer’s; Mattia Saviola, whose ‘Parallel Dimension’ is a powerful cut with fantastic sound design; Romanian artist Tao Andra, who shares the celestial ‘Unity’; and long-time industry stalwart AdamK, who makes a richly deserved Drumcode debut in partnership with Vikthor feat. MC Stretch on the stunning ‘Silence + The Sound’.

The first release of Sub Culture, Puzzle by Gregory Shiff, is a tech house masterpiece with both delicacy and an innate strength. The original release came out in 2003 on the American label Matter/:Form Records and immediately caught the attention of lovers of the genre. The release features four versions of Puzzle, including an “Unreleased mix” produced in 2003. A highly respectable repress for record bags, not only for those who love tech house.

Berlin-based producer and DJ KaioBarssalos returns to Smile Sessions with his most visceral statement yet. 'Whale' is a six-track EP built for bodies in motion : obsidian grooves that pull you under, primal percussion that speaks directly to the hips, and a low-end surge that turns a dancefloor into a ritual.

Old-school in its bones, stripped back to what matters: the kick, the groove, the trance of it all. Repetitive, hypnotic, communal. The bark of a drum that doesn't ask permission. No distractions, just tools honed for the floor, weapons a DJ can reach for at peak time and trust completely.

PeelingFlesh - The G Code Since their 2021 inception, Peeling Flesh have quickly emerged from the underground amidst a flurry of electrifying live shows. A reputation for utter carnage and a rabid fanbase created real hype. With a genuine crossover appeal rarely seen in the genre, PF seem to entice fans from all spectrums of extreme music fandom. After the band released a string of EPs leading to their signing by Unique Leader Records, tours with Devourment, Jesus Piece, Sanguisugabogg and many more paved the way for their latest offering…. The fastest rising band in modern slam return with their eagerly awaited new album ‘The G Code’. Featuring guest appearances from Despised Icon’s Alex Erian & Steve Marois, Cold Hard Truth’s Tim Louth, Matti Way (Ex - Disgorge/Liturgy/ Abominable Putridity) and more, ‘The G Code’ is a mixtape style record that invokes both nostalgia and forward thinking. A modern classic,

Originally released on CD in Japan in 2003, as a love letter & thank you to his Japanese fans. Recorded at home, produced, engineered & mixed by Matthew Sweet (bass, guirars & vocals) with the classic ‘Girlfriend’ era lineup of Ric Menck (drums), Greg Leisz (guitars) and the genius electric lead guitar of Television’s Richard Lloyd. The sleeve art is by renowned artist Yoshimoto Nara. In the liner notes, Sweet describes the album's title as an attempt at reverse English: "If I did it correctly, the title should seem a little strange or wrong, but still meaningful! The true definition is supposed to be a 'love you' life, one devoted to loving someone or something, even life itself!"

“an excellent modern guitar pop album, filled with great hooks and harmonies and irresistible ringing six-strings”
Allmusic

“Kimi crackles with Girlfriend‘s energy, as Lloyd and Sweet’s guitars provide antagonistic foils as they did more than a decade before on cuts like “Tonight We Ride.”
Rolling Stone

Logistics makes a highly anticipated return after a three-year hiatus, with a whopping 24-track album.

Released across four 12 inch records, housed in spined sleeves, and presented in a premium two-piece lift-off box with scratch resistant matt laminate, matt varnish, and with fully printed packaging throughout. It is a beautiful presentation of this new LP from a Hospital Records legend.

Dropping almost out of the blue, the current reception from fans, artists & industry heads off the back of the 'ambush' announcement has been incredible. The album campaign is illusive, but rewarding to fans who have been waiting so long for brand new music from Logistics, they've now got 24 brand new tracks to get stuck into!