DISCOVER THE BEST TRACKS FROM BARRY WHITE"S CULT PERIOD, FROM 1979 TO 1983, BROUGHT TOGETHER FOR THE FIRST TIME ON A UNIQUE DOUBLE VINYL. Including : "CHANGE" - "GHETTO LETTO" - "I FOUND LOVE" - "LADY, SWEET LADY" "ANY FOOL COULD SEE (YOU WERE MEANT FOR ME)" - "YOUR LOVE, YOUR LOVE" "SHE"S EVERYTHING TO ME" - "DON"T LET" EM BLOW YOUR MIND" - "LET"S MAKE TONIGHT (AN EVENING TO REMEMBER)" -"I"M ON FIRE"
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NOCTURNIA
An Enigmatic Collective of Sound
Step into the depths of sound with NOCTURNIA, a captivating deep techno project that brings together the unique talents of Kenny Dahl, Lakey, Salvatore Foglia, and PWCCA. This diverse collective combines distinct influences and styles to create an unforgettable auditory journey.
Kenny Dahl is recognized for his intricate soundscapes that blend organic textures with hypnotic beats, crafting immersive experiences on the dancefloor. Lakey delivers dark and deep tracks that resonate with haunting atmospheres, drawing listeners into an emotional abyss with every pulse and rhythm.
Salvatore Foglia infuses a raw, underground edge into the mix, pushing the boundaries of sound with innovative production techniques that capture the essence of techno culture.
Lastly, PWCCA contributes an experimental touch, creating avant-garde sounds that challenge perceptions and invite exploration
of the unknown.
Together, these artists form NOCTURNIA, a space where night
meets sound, and every track unfolds a story. Whether through driving rhythms or atmospheric builds, their music invites you to lose yourself in the night, exploring the depths of your mind and the thrill of the dancefloor.
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For the next Respect The Craft Enterprises release, the myth, the legend — Santos — joins forces with Tripmastaz for a powerful combo EP.
Showcasing what both artists do best, the release delivers raw house and garage beatz, driven by complex, detailed layers of production, and topped with crispy, loud, club-focused mastering.
Designed with the dancefloor in mind yet rich in character, this vinyl EP represents a true meeting of minds — uncompromising, high-energy, and rooted in craftsmanship.
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Mathias Kaden returns to Rekids with ‘Fyutr’, featuring Zoë Xenia and a remix from Dennis Ferrer. The single is a preview of Kaden’s upcoming album. Mathias Kaden returns to Rekids with ‘Fyutr’, following his previous four releases on the label and once again linking up with DJ, producer, and vocalist Zoë Xenia, who also featured on his 2022 ‘Blackbird’ EP on the label. Set for release on 27th February 2026, the single offers an early glimpse into Kaden’s forthcoming album on Radio Slave’s flagship imprint, and comes with a remix from New York House legend, Dennis Ferrer.
A slow-burner with real progression, Mathias Kaden’s ‘Fyutr’ unfolds as a mind-melting journey. Dub chords creep in gently before stretching and mutating, while Zoë Xenia’s spoken-word vocal drifts through the mix, and sweeping strings give it a deep, timeless feel. The single is complemented by a remix from Dennis Ferrer, who flips the original into a beefy, pared-back House cut, warping Xenia’s vocals and locking into a rolling groove before resolving in lush chord work.
Active since the mid-90s, Kaden first appeared on Rekids in 2019 and has since built a wide-ranging catalogue across labels such as Cocoon and Vakant, alongside remix work for DJ Koze, KiNK, Monika Kruse, and Trentemøller. ‘Fyutr’ marks his fifth release on the label, following last year’s ‘Freedom’ remix EP, which received support from Ben Sims, Anja Schneider, Kölsch, Honey Dijon, and more.
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Since first forming in 2016, London's High Vis have steadily polished their palette of progressive hardcore with shades of post-punk, Brit pop, neo-psychedelia, and even Madchester groove, mapping a middle ground between hooks and fury, melodies and mosh pits. Singer Graham Sayle describes their third album 'Guided Tour' as an axis of competing forces: "It's trying to be a hopeful record, while also being incensed." Rounded out by drummer Edward 'Ski' Harper, guitarists Martin MacNamara and Rob Hammaren, and bassist Jack Muncaster, the band's deep roots in the UK and Irish DIY hardcore scenes have kept them grounded but growing, inspired equally by restlessness and righteous anger. As Sayle puts it, "Everyone's scratching, everyone's working all the time, and their idea of relaxing is just getting fucked and avoiding reality. This album is an escape from that."From its opening seconds of a cab door slamming, a car revving away, and a baggy rhythm swinging to life, 'Guided Tour' sounds like a band reaching for new heights, bristling with energy. Recorded across a few weeks at Holy Mountain Studios in London with producer Jonah Falco and engineer Stanley Gravett, the results feel dynamic and dialed-in, like anthems burned into sense memory through sweat and repetition. Harper cuts to the chase: "We had a clear idea going in, every moment got used. Maybe when we're 60 we can sit around and get a drum sound right, but for now it's about getting things done."The album's 11 songs span the spectrum of contemporary guitar music, sharpened by experience, camaraderie, and societal frustrations. From swaggering street punk ("Drop Me Out," "Mob DLA") to jangling indie sneer ("Worth The Wait," "Deserve It") to heavy alt ("Feeling Bless," "Fill The Gap") to shoegazey spoken word ("Untethered"), the group's chemistry transmutes any style to their unique intensity. Sayle champions this evolving fusion: "For years coming from hardcore, we had pretty clear boundaries - other scenes were separate worlds. Now things are getting more blended, drawing from different places."Nowhere is this sentiment flexed more boldly than on "Mind's A Lie," a dance- punk anthem inspired by Harper's love of house, garage, and pirate radio. Stabs of sampled female vocals (by celebrated South London singer and DJ Ell Murphy) build into a razor wire rhythm of low-slung bass, tense drums, and sparkling guitar before Sayle's staunch voice starts barking harsh truths ("Face to face with all I've known / I can't call these thoughts my own"). After a sudden breakdown, the track regroups and takes off, cruising into the horizon in a haze of chiming guitars and Murphy's ascendant voice, from the streets to somewhere beyond.
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Neapolitan DJ and producer Lello Di Franco, aka L.D.F., presents World Beats — a project driven by the intention to carve out a new, deeper mood on the dancefloor. Rooted in rhythm, raw edits and sampling, the concept draws from forgotten and classic cuts pulled straight from his vinyl collection, reshaped with a contemporary, club-focused approach. This first volume brings together like-minded artists from different corners of the world — Jesse Bru, Chicago edit master Rahaan, and Berlin- based DJ Merci — each contributing their own unique musical perspective while helping define the project’s distinctive global sound.
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A light yet ominous atmospheric intro opens Pugilist’s account on Waveforms, quickly showcasing the Spatial family debutant’s shrewd prowess for mid 90’s breakbeats. An instantly familiar vocal sample gunning for your mind body and soul punctuates proceedings while solid breaks lead into a crunching amen throwdown - edited superbly with tricky arrangements and glorious melodic synthwork.
Straight into the breaks without delay, a DJ-friendly intro from Pugilist quickly escalates into a scintillating amen showcase with crisp, detailed edits taking you right back to a dirty basement dancefloor rippling with underground energy in 1994. Peppered with samples and light vocal hits - not to mention the doomsday basslines ready to tear holes in your sub - Pugilist has announced himself in style to the waveforms label.
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Irlam's dastardly duo are back with another bonza bucket of bass, breaks and badness as they fire up Studio Krust for another high octane session.
Sure to top the Fairground charts and further enrage the Hell's Angels, 'Synthetic Stupidity' sees the pair unleash their full force unabashed, as they hit a purple patch full of new found and frankly quite surprising productivity (rumours of a European-wide sputnik shortage are the likely catalyst).
Fractionally distilling their many collective years of dance music experience into 12 refined pieces of advanced club kinetics that skirt between the syncopated intricacies of breakbeat science and maxed-out 4/4 propulsion.
More hyped-up vox & frantic sampling, more tension, tons of one-finger keyboard melodies, and - as usual - moments of sonic tomfoolery to flummox the assumers.
With their drug debts paid off and a forced clarity of mind, 'Synthetic Stupidity' is a more expansive, deeper and unhurried project; allowing Bosco and Metrodome the space and time to truly deliver the zenith of their sound.
This, is DJ ABSOLUTELY SHIT!!!
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Dutch composer and pianist Xavier Boot, also known as XA4, joins Philip Glass for the second release on the New York-based record label Orange Mountain Music, owned by Philip Glass.
“Xavier is really a wonderful pianist, and I am thrilled by how he now tackles my compositions, with that elegant electronica touch.” – Philip Glass
The Sea Above features not only Glass compositions but also several original pieces by Xavier: “I recorded this album inspired by all the musical influences I’ve experienced in my life, including classical, electronic (club) music, ambient, minimal, and even Indonesian music. The title track of the album is inspired by Philip Glass’s composition Mad Rush. He told me that he wrote this piece for an event with the Dalai Lama, where it was unclear when the Dalai Lama would arrive. That’s why Mad Rush was composed to last either five minutes or an hour. I tried to convey this idea of timelessness in my music, embodying this endless portal of time and space, which was also scientifically described by Albert Einstein. Another track on the album, Train I, is a reworking from Philip Glass’s opera Einstein on the Beach. You can experience the music on this album as a kind of journey, a trip where you are energetically drawn in at the beginning and later enter more of a fantasy world where dreams and unconscious elements of your mind can emerge.”
Credits:
Tracks 1 & 3 are original compositions by Philip Glass remixed by XA4
Tracks 2 & 9 remixed by XA4 and Jaro.
Tracks 4, 5, 6, 8,10 are original compositions by XA4
Track 7 is composed by XA4 and Tenzin Choegyal.
Vocals track 1: Julia Rosenhart.
Remix, production and playing: XA4.
Piano arrangement track 3: Michael Riesman and XA4.
Remix, production track 2 & 9: XA4 and Jaro.
Production assistance track 3: Jaro.
Mixing: Studio Karakterbak.
Mastering: Laura de Rover.
Cover foto: Angelina Nikolayeva.
Graphic design: Yesser Khalefa
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Stepping up for Punctuality number 8 is the dynamic duo of Ciel and Matthis Ruffing. Needing little introduction, both artists are prolific producers and collaborators across tempos and genres. Toronto-based Ciel has released music on labels like NAFF, Peach Discs, and !K7, while Berliner Matthis Ruffing’s work can be found on International Chrome, Infinite Drift, and Strictly Strictly, to name just a few.
Bonding over a shared love for the techno stylings of Claude Young and early 2000s tech/prog house from labels like Future Groove and Slide, the duo’s collaboration began with a spontaneous jam in Ruffing’s Berlin studio during the summer of 2022. With an organic studio chemistry, the pair continued to jam over the following years. Hot Squid is the result of these studio experiments: five tracks of sleek, muscular, contemporary tech house that fluidly distill the creative visions of both artists—slick, shimmering grooves, heavily weighted for the dancefloor.
The title track, Hot Squid, weaves dubbed-out waves of FX and low-end sonics around metallic, staccato drum bursts, sci-fi pads, stuttered vocals, and syncopated snares that flit and flicker around a rolling bassline reminiscent of golden-era UK tech house from the late ’90s. Roza Terenzi’s remix flips the original into a modern, low-stepping tek roller—a mind-bending re-fix that puts more focus on the snaking vocal groove and a sparser percussion arrangement, filled out with lustrous textures and razor-precise sound design.
On Little Voice, glossy synths and spiraling atmospherics cascade around a mesmeric vocal line, while tightly wound, minimal drum loops give way to a swaggering bassline that barely relents throughout the track. The result is a satisfyingly boshy, groove-driven roller, fit for the dancefloor at any time of day.
Late Summer maintains the EP’s high-grade production standard in the form of a dreamy, electro-leaning tech house number, resplendent with deep, pummeling kick drums, woozy low-end, and organic sonics. Its plucked melody and introspective pads nod to halcyon-era IDM and the Detroit techno that inspired the duo in creating Hot Squid.
The release culminates in Bong Bong—a meditative dancefloor tool suffused with ASMR-like nature documentary samples that lend the track a psychedelic intimacy. Careening percussion lines and swooning chord stabs anchor the rhythm, while the title’s “Bong Bong” mantra hums beneath the surface, carried along by barely perceptible sub fills and ultra-processed percussion. A cohesive, unique, and enduring take on seminal tech house and Detroit techno from Ciel and Matthis Ruffing.
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Finally, finally, FINALLY! After many years of fruitless praying, a true collector grail can finally grace every turntable the world over. Bright And Shining is a miraculous leftfield library classic from the genius mind of Barbara Moore. It's Highly Addictive Happiness Music TM and one of the coolest records to come out of anywhere...ever! With originals almost impossible to find - and, when they do, going for over £300 - you already know how crucial this beautiful reissue is.
Recorded in 1981 for Sylvester Music Company, Bright And Shining is breezy, dreamy and funky in a perfectly smooth jazzy-soul-groove fashion, with Moore's patented celestial male-female vocal harmonies this time benefitting from the addition of Fender Rhodes and pumping bass lines.
As one particularly enthusiastic Discogs user put it: "If Eno is responsible for Music for Airports, Moore is responsible for Music for Holidays." Indeed, this is brilliantly unique, "maximum happiness music". If you miss the sun-dappled soft-psych soul of Koushik, the heavenly vocal arrangements of the great Library Music doyenne Barbara Moore - her depth, richness, sophistication and warmth - will see you just right.
The gigantic title track, "Bright And Shining", gallops out the gate, all sophisticated, jazzy leisure-soul with sax and guitars backing Moore's effortless vocal swag in this relaxed, mid-tempo head-nod strut. Worth the price of admission alone. Up next, the sunny, vibey "Fly Me High" features strolling, "unworded" vocals (aside from the refrain of the title) alongside breezy alto sax and electric guitar. Pastoral and perfect. The slow'n'sultry "Affluence" presents a moody elegance, a classical "downlifting" gem. Another crucial highlight is the breezy "Going On Holiday". It's happy. It's sunny. It's lively. It's cool and happy. Did we say happy? A mid-tempo, romantic sax workout, "Alto Sex"presents smooth jazzy funk before the first side closes out with the soaring, jazzy "Stay With Me". Seriously uplifting.
Side B opens with "Feel Fine", an excellent uptempo and bright jazz groove. Up next, "Canon" is wracked with refinement, a peaceful, smooth vocal harmony over repeating bass making for an elegant, late-night classic. It's followed by the laconic "Smooth And Soft", a laidback, casual sophisticated soul and easy-feeling jazz gem. The jazzy "Real Thing" is another exercise in strolling sophistication, complete with wordless vocal harmonies. The fairly self-explanatory "Voice Over Sax" sounds precisely how you would expect; a relaxed sax number with heavenly vocal support! To close, the carefree "Feeling Free" is a pleasant, light and breezy mid-tempo groove.
The audio for Bright And Shining has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. We'll grant the final word to MillionDollars. on discogs from about 10 years ago: "If you listen to the record on a sunny day you feel like going out surfing in a white linen suit with a blunt on your lips, catching a cool breeze."
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Sounds Over Seas is ready to release its very first LP by label founder Julian Bainbridge. The album covers aspects of the Deep House genre in its classic definition, pushing certain boundaries, whilst maintaining the spirit of the genre through feeling and utilising melodies and rhythm to evoke emotions which go beyond the dance floor. Keeping it raw throughout the nine tracks, each one incorporates different elements of the music spectrum. Implementing jazzy tweaks, minimalistic rhythms, haunting melodies as well as ambience and global sounds in a full dancing and listening experience.
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First & Last is the debut outing of MC D alongside his partner in rhyme Audio MC. Fresh-faced schoolboy scions of Hijack, The Demon Boyz and Silver Bullet, and peers of the likes of Gunshot, Hardnoise and The Criminal Minds, the pair were taken under the wing of The Powerlords as part of the Powerpack crew (alongside Construction and Trouble), and were given the moniker 2XDEF. Brought to the attention of South London’s fledgling dance label Mendoza Records by producer DJ Fusion, this release would mark the the beginning of a longterm creative partnership between him and MC D, with Mendoza label-mate CSP called in for remix duties. Gritty, explosive and raw, the record stalled at the white label stage with only a handful distributed to radio and club DJs, earning it the status of underground classic. First & Last became exactly that for the short-lived crew.
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“We know what jazz is when we hear standards or music that is close to the same source, to a recognized pattern. But what is jazz? Here, a starting point. "Blow" showcases an accumulated CITIZEN:KANE techno vocabulary but it quickly tones down the sensation by introducing frequent breaks in the rhythm, as in "Peiote". But even there we are able to "feel" techno by recalling Wolfgang Voigt's M:I:5 and its parallel yet contrasting rhythmic grids. Elsewhere, manifestations of opposite forces: the beat keeps a body firm on the floor, eminently physical but not commanding; and melodies, cosmic threads, suggest ascension as well as a drive towards the within, creating space for feelings and/or rationalization. "The Fence" or "Montreal" stand as good examples. One less evident aspect of beauty in this record is the apparent coldness of the music, almost rigid and devoid of passion, and thus we declare it more true. As the mind performs a synthesis of what was learned after a class, last track "Family" (expressively) gathers impressions of what went before, adding poetry to the moment. "Blow" may be a reference to the most familiar instruments used in jazz but it can also figuratively mean an explosion, an aesthetic liberation, even with (our) knowledge that for now, and theoretically, the artist chose to concentrate on this thing called jazz.”
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And another new volume of the Meeting Of The Minds series is here, with 4 new collaborations I've done with other producers in the jungle scene!
"Casual Loop" is a collaboration that me & Submerse started working on in 2023 but it was another one of the tracks that I had lost due to my computer being stolen in early 2024, & I hadn't fully backed up everything I had done for a few months, including this track. This meant I had to re-do a lot of the work I had done with what Submerse had started but I was lucky enough to get it near identical to how it was sounding and ready for release. Submerse has been on Future Retro London a few times, with his EP release (FR033) & a track featured on the atmospheric VA EP (FR049) that came out late last year, I'm a huge fan of his musicality & his melodies, which made this track really fun to work on, even with all the obstacles faced!
My first interaction with Quaad goes way back to 2013, when he asked me for a guest mix for a radio show called The After Party that was on C89.5FM in Seattle (which is still up on my SoundCloud for anyone curious) and then before he started his current label (Heavy Sounds), he had started a label with Wetman called Vivid Recordings, which he was sending me the releases on (but I think in standard fashion, I kept forgetting to check them!). But it wasn't until 2022 when me & Dwarde played in Seattle with him and I saw his live Amiga set where he was playing a lot of his own music, & from then on, I was better aware of what he was doing & I got to hang out with him & know him a bit better, which is when I then fully started following what he was doing. Then eventually, we ended up doing a track together (he also uses FL Studio, just like me) and "Judge Dredd" is the end result of that.
Samurai Breaks is also someone that I've known of for a long time but didn't really properly connect with until recent years where I saw what he was doing with his label Super Sonic Booty Bangers, which also does events in Sheffield which I played for in 2024. It was quite an interesting collab because I don't think many people would have necessarily expected our styles to really gel well together but I think we managed to hit a nice midpoint between his craziness & mine haha
Fixate is most likely another person that people would not have anticipated as someone that I would collaborate with, mainly because the style of tune people know him for is more tied with the footwork/halftime sound that became popular in the 2010s, as well as his output as 1/2 of dubstep duo Leftlow, but he has made some jungle in the past & I'm always down for the challenge of stepping outside of my comfort zone to work with people who are not mainly based in the newskool jungle scene but have an appreciation for it. I found out about him through the releases he had on Exit Records from 2015 onwards, plus he was also a part of Richie Brains (the project in 2016 involving many artists forming a loose collective) so I was aware of what he was doing but I properly got to know him from when I went bowling with him, Dwarde & LMajor back in 2022 and then he sent me something to work on early last year (another FL Studio producer btw!), which I took my sweet time in starting it but eventually got done & here we are! And for those wondering, the track title (May Contain Traces) alludes to me & Fixate's shared allergy towards nuts (although his is a lot more severe than mine), which was the only thing I could think of to name the track after when it came down to it!
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