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2025 Repress

Dubs for basements.

Second release in the doddub series.

Only 150 copies available, vinyl only, hand-stamped, all black.

DODDUB2 by Dävid

The world needs more dub.

Collecting Orders For 2025 Repress

Emotional Response's 10th-anniversary celebration are brought to a superb close with Benedikt Frey. He serves up a magnificently dubbed out and psychedelic cover version of Joy Division's 'She's Love Control across four different versions. The vocal version might be the best for us - it retinas that compelling dark drum funk you expect from the band with eerie synth additions and hefty bass. The instrumental is more slow and dubbed out in a traditional sense with the Lucas Croon dub doused in endless reverb. Last of all is a dub by Frey himself that is full of open space and bass bin distorting headiness.

2026 Repress

Due to high demand, MEU has revisited two of Mr. K’s classics, previously only available as 12-inch extended mixes, and asked the master editor to pare them down to 7-inch size.

A true top-five peak record at the Garage, Thelma Houston’s “I’m Here Again” was “a highlight whenever Larry played it,” Danny Krivit recalls, “and he played it a lot!” Danny’s edit is a homage to Larry and Frankie Knuckles – in particular a similar private edit that Frankie did back in the day and shared with Krivit. “It was on reel to reel and I didn’t copy it correctly and lost it,” Danny remembers. “Reels were problematic! When I tried to get it again from him, unfortunately he had lost it too.” The song (likely an attempt by Motown to capitalize on the previous year’s monster hit “Don’t Leave Me This Way”) is, in its original form, a virtual retake of Thelma Houston’s breakout single, from the subdued, schmaltzy intro to the “oooh BABY!” leading to the chorus. What sets “I’m Here Again” apart though, is the incredible second half of the song. Naturally, it is here that Mr. K’s edit focuses. Over a vicious groove reminiscent of the Originals’ “Down To Love Town” breakdown (Michael Sutton wrote and produced both “Love Town” and “I’m Here Again”) Houston delivers soul-stirring ad libs as the band crackles with electricity behind her, the piano chasing a descending string riff so eagerly. Pure dancefloor peak energy! And the very first time having all these parts on a 7"!

For our flip, Danny has reached deep into the earliest foundations of his voluminous collection, and come out with a psychedelic pop classic rearranged for today’s sound systems and setlists. Recorded in the Beatles’ Abbey Road studio at the height of the Summer Of Love, the Zombies’ “Time Of The Season” is firmly linked in pop culture to the late ‘60s and the Vietnam era, breaking big in the summer of 1969. Krivit’s edit highlights the parade of lush sonic textures that ornament the hip composition, from the iconic, exquisitely echoed bass-clap-exhale riff that opens the song to the cascading Hammond organ solos of Rod Argent. “It’s a song from my childhood that really struck a chord,” Danny says. “Over the years I often played a rough edit which always seemed to go over great. The song seemed to get better and better, and age like fine wine.” We agree!

These two songs have both appeared on previous (separate) MEU 12-inches, but are presented here in custom new edits for the 7-inch format.

Collecting Orders For Repress

PCLUB019 serves as a reminder to always check demos. An instagram DM from AR:MG in Mexico City has proved to be one of the most vibrant records we've ever released.

Includes expert remixing courtesy of Radioactive Man and Sansibar.

¿Dónde está la fiesta?

Step into the emotional landscapes of Saudade’s new EP Expensive Noise, a multi-textured journey where analog machines speak louder than words. Each track captures a different state of mind, blending depth and groove with raw, honest sound design. The EP opens with “Expensive Noise” — direct, grounded, and hypnotic. No detours, no hesitation — just raw analog power locking into a loop with magnetic tension. The groove builds steadily, shifting your state of mind as the rhythm takes hold. “Anyway” brings a dreamy, bittersweet touch. Exclusive to vinyl, this extended version unfolds like a teenage memory you never shared — warm, nostalgic, somewhere between electro and pop, glowing softly from within. “Colored Life” dives into detailed minimal deep house territory. Rounded and generous, its sound design sculpts soft clouds of melodies against crisp, syncopated snares — floating between dream and presence, like a cushion made of rhythm and light. “Porte de la Villette 45” echoes the EP’s birthplace — a raw area near the Parisian périphérique, where engines roar, people hustle, and concrete weighs heavy. Yet within this urban friction stands Studio Villette 45 — a funky, soulful shelter where the machines find their groove. The record closes on “Cœur” (heart in French) — a stripped-down, heartfelt outro. Just a Prophet 5 pad, no tricks. A moment of vulnerability, stillness, and truth — as if the music had finally dropped its armor. Between analog heat and emotional honesty, Expensive Noise is Saudade at his most sincere — building bridges between power and softness, body and soul, sound and silence.

BLIS701 by Chain Selector is a carefully honed two-track release from BLACKINSTOCK Records, a division of MixCult Records, showcasing Chain Selector’s mastery in blending emotional depth with atmospheric finesse. Designed for those who appreciate subtlety and sonic craft, this release moves between introspective melodies and immersive dub textures with remarkable control.

On Side A, School Days is a tender and timeless composition—melodic, cinematic, and evocative. It gently stirs memory and emotion, creating a world where every sound breathes with intent. On the flip, Autumn Guide opens a more shadowed dimension. Built on layered tension and low-end pulses, it introduces a restrained, dub-heavy soundscape ideal for setting the tone of a deeper set.
With BLIS701, Chain Selector delivers a refined double-sided vinyl, one to reflect, one to explore. Both tracks stand as elegant tools for shaping atmosphere with poise and intention.

Limited 7" Edition

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.

2026 Repress

Mr. G, aka Colin McBean, presents a remastered, 23-track compilation entitled 'OG Retrospective'

'The day I found my original studio masters and got my rights back was the starting point, and then I realised it's 25 years on and it's time to recode, remaster and reevaluate because I've never looked back properly. I've always been like a bat out of hell, never quite thinking I'm good enough or great at what I do, but it's important to celebrate, because there's nota lot of people still here, still doing it after this length of time'.

With new masters provided by Simon at the renowned London mastering house The Exchange London, a direct link to the original mastering done by the late-Nilz (Nilesh Patel) from The Exchange, Mr. G's 'OG Retrospective' marks a reflective period in McBean's life.

'All I've ever done is write and move forward, but more and more, I get the new generation sending me videos of my old tracks and sometimes I don't even recognise them, so finally I thought, 'ok, you're comfortable in your own skin, let's really see how you sounded at the beginning, how you've changed, how have the techniques changed'?

It was quite raw going back over these; some of the memories are riddled with pain and angst - friends dying, where I was in my life at the time, having a heart attack and so on. Having a sound, too, can be a cross to bear. You're only ever competing with yourself, your only game is being better than your last game, so if you dwell on the past too much you can't move forward. Getting to the point where I can look back and feel happy, feels good.

Invariably, what will come from this is 'more', because, with my own label I have endless possibilities and will continue telling my story.'

Mit "Tourist History" veröffentlicht die britisch-irische Indieband Two Door Cinema Club eines der einflussreichsten Debütalben der 2010er Jahre in einer besonderen 15th Anniversary Edition. Das Album, das 2010 erschien, gewann den Choice Music Prize als Irish Album of the Year und markierte den Start einer Weltkarriere, die von Festival-Headliner-Shows bis zu über 1 Milliarde Streams von "What You Know" führte.

Zur Feier des Jubiläums erscheint Tourist History in drei liebevoll gestalteten Formaten - inklusive bisher unveröffentlichter Remixe und Raritäten.

Seit dem Garageprojekt in Bangor haben Alex Trimble, Sam Halliday und Kevin Baird eine beeindruckende Karriere hingelegt - mit Top-10-Alben wie Beacon, Gameshow, False Alarm und Keep On Smiling und ausverkauften Touren weltweit. Diese Jubiläumsausgabe ist ein Muss für Indie-Fans und Sammler - ein Meilenstein moderner Gitarrenmusik.

Released in 1972 as the follow-up to the previous year's classic CTI album with Stanley Turrentine, Now is Astrud Gilberto's tenth studio album and her only recording on Perception, and wow does she make the most of the musicians available to her on this recording. Produced by Astrud herself and with all songs arranged by fellow Brazilian Eumar Deodato, the all-star line-up on Now includes Deodato on acoustic guitar, more Brazilian flavours from Airto Moreira on percussion, label vice-President and production genius Patrick Adams on Bass duties (along with Bob Cranshaw and Ron Carter), Dizzy Gillespie Quintet and Jazzberry Patch band member Mike Longo on keyboards and the mighty Billy Cobham on drums.

Back by popular demand, the limited-edition repress of one of Joe Claussell's most cherished compositions has returned. Originally released in 1999 and created in collaboration with Afro-dance innovator Jephte Guillaume and the late music legend Boyd Jarvis, Agora É Seu Tempo first appeared on the Trip do Brazil compilation in France. It was later issued as a highly sought-after promotional 12" on Spiritual Life Music-quickly becoming a defining release in the rise of Brazilian-influenced dance music from the late '90s onward.
In 2018, Joe Claussell revisited the piece, crafting two entirely new versions inspired by the musical spirit of New York City's barrios. Released as a limited 7", these remixes sold out within weeks. Now, answering the overwhelming demand, we're pleased to announce a new limited repress of this timeless and deeply soulful classic. Warm music for the heart and soul.

'A Senegalese Griot singer, an Amsterdam improviser and a Puerto Rican jazz drummer find each other on an open playground, a stage built for improvisation, an old cinema now used for minute made story telling.
'Equipped with an m'bira, a xalam, a drum kit, a voice, percussion, house hold tools and an electric clavichord on 220 volt, they sit down and take off: Wrrrrrraaang!
'Singer and percussionist Mola Sylla is in many ways a musical explorer. Born and raised in Dakar, Senegal, he grew up in the tradition of the griots. Griots play conveying stories – sometimes decorated with music, theater and dance – which all play an important role in West African culture. His rhythm and melodic compositions differ from the western agreed schedules and provide surprising twists.
'Puerto Rican drummer Frank Rosaly has been involved in the improvised and experimental music scenes since 2001 when he became an integral part of Chicago's musical fabric, navigating a fine line between the vibrant improvised music, experimental, rock and jazz communities.
'Oscar Jan Hoogland is the sound of Amsterdam in person. He is an instant composer and inventor of his own instrument by joining a clavichord, a keyboard instrument from the 17th century, to 220 Volt electricity. As the last student of the late pianist, composer and improvisor Misha Mengelberg he tears like a tornado through the Amsterdam jazz and impro scene.
'Together they are Mother Tongue.'

Unlike the main Magic Wand label, the imprint's offshoot 'Special Editions' series is a little more fluid about what it releases, with some EPs sporting original productions - many of which are admittedly sample-heavy - as well as re-edits. That's the case for this second missive from Matsoaka (real name Matt Lundgren). So, while the EP begins with a genuinely gorgeous and Balearic original cut (the dreamy and slow-motion folk-rock of 'Butterflies', featuring the emotive and harmonic vocals of Butterflies), much of the rest falls into the "Balearic re-arrangement" category. In this camp you'll find the immersive, trip-hop style dreaminess of 'Faith', the mid-80s Yellow Magic Orchestra-style Fairlight-sporting electro of 'Gin Yuzu', and the dollar bin brilliance of 'Sheriff' (a take on a Japanese city-pop cover of a reggae favourite).

Following the chart success of their debut album Survival Mode (#3 UK Official Rock & Metal Chart) and explosive appearances at Reading & Leeds, Download, TRNSMT and 2000Trees, THE HARA return with their most ambitious record to date. Backed by their signing to Mascot Records, the trio deliver a fearless, genre-bending album that fuses stadium-sized riffs, cinematic electronics and raw, unflinching lyricism. Having shared stages with Sum 41, Nothing More and Ice Nine Kills, THE HARA are ready to break through to the next level – and this album proves they’re one of the UK’s most vital rising rock acts.

Can’t go over it. Can’t go under it. Gotta go through it. And somewhere out there in the Pitch black beyond all darkness lies Peace & Purpose. The horizon you never quite crest until the inevitable end. Breathe deep — this fearful moment is the most alive you’re ever gonna feel. For the last decade, Crack Cloud’s vision has grown ever more expansive, more cinematic. Last go around, they dropped from The Heavens and then performed with their bare backs to an endless darkening desert. Now they’ve crammed all that life into some metallic and strange object called Peace & Purpose. All the terror of living. All the helplessness. All the raw human will. All glued and screwed and locked into this impossible tactile shape of dungeon dub; sour milk vox; Avant-protest music. Music arm wrestling itself to the ground. Far afield of beauty. The discordant symphony of factory farming and grim timber of the meat processing plant. The grinding din of the cogs. And yet, never giving up in spite of all good sense. Even in death, we are a coterie of survivors. Look now: There’s Terry Fox on his one-legged Marathon of Hope across The Great White North while cancer spreads through his lungs. A self-annihilating drive to feel alive. Rage against the dying of the light, they say. Well, how ‘bout it then!??! Peace & Purpose is not in any way some art project meditation on Punk Rock. It is Punk Rock. Terrifying, inspiring, vital, invigorating and most importantly, utterly unexpected. Every goddamn stupid day is a sublime slice of fresh hell. That’s the point. Gotta go through it. Wishing you Peace & Purpose — if only in that last big breath.

Given the Balearic life that Leeds ex-pat Nightmares on Wax now leads in Ibiza, we have to admit we did not see this coming: the downtempo Warp legend returning to his early 90s electronic roots. He does so with a new series of collaborations with young talents on 20/20 Vision, starting with Marlon Lopez. 'Patang' is slow, snaking dub with glitchy synth patches and melodic bass. 'Cancel Dat!' has a crunchy feel next to the bleepy synths with a leggy, loopy low end and tech house snap. Wulf's Jam 4 Jamie is a deeper, more twisted version and label head RL's Get It Together remix cuts up the groove and brings a spoken word that reframes the cut as soulful I:Cube style jam.

...Three years ago, we had our first contact with this mysterious being from another galaxy, and since then it has been spreading its AURA and relentless sound to everyone it has encountered. We don't really know where this is all heading, but a strange force pushes us to keep moving forward, spreading the sonic message of ALIEN RAVE in plastic format until it decides otherwise. We have no choice; the expansion continues...

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.

2026 Repress

Thirteen years after their landmark debut, Italian duo Voices From The Lake (Donato Dozzy & Neel) return with their much-anticipated second album, 'II' (two) on their own Spazio Disponibile.The record marks a new chapter in one of electronic music's most revered projects. Born from a friendship and a singular musical vision, Voices From The Lake first emerged as a one-off live performance in the Japanese Alps, later distilled into their self-titled 2012 album. That record has since become a touchstone in ambient techno, reshaping the global landscape of hypnotic and atmospheric electronic music. In the years since, the duo have performed worldwide, released a handful of EPs, worked on installations, and founded record labels, all while continuing to refine the project's unique identity. Yet the core of Voices From The Lake has always been its deep, aqueous approach to sound, a sensibility that returns in full force on II. "The project was never meant to become what it did," the duo reflect. "At one point, we even paused it. Only to later embrace it in all its forms. II is both a continuation and a reinvention." True to that spirit, Voices From The Lake have explored extremes in recent years, from high-tempo live sets to seated listening concerts, while remaining anchored in the meditative pulse of ambient techno. II extends this lineage, carrying forward the immersive sound design and boundary-pushing vision that has defined their work from the beginning.

Recut & Represed!

As always Kling Klong gives space for new artists and supports upcoming talents. This time Martin Eyerer & Rainer Weichhold had no doubts signing this debut release from Stuttgart's dj/producer Ninetoes as 'Finder' is obviously a massive stand-out track which has the words 'summer hit' written all over it. So it was just easy to convince Leon and Re-UP from Italy to do the remixes and help to make this release even more oustanding.

Support from:

Matthias Tanzmann, Loco Dice, Adam Beyer, Nick Curly, Butch, Riva Starr, Popof, Kaiserdisco

DJ Feedbacks:
Adam Beyer: like the leon mix!
Loco Dice: Will try. Please send me the WAV. Thanks
Nick Curly: schöner release....leon remix gefällt mir am besten, danke!
Matthias Tanzmann: woher kenne ich denn die Melodie Coole Tracks auf jeden Fall.
Davide Squillace: Nice one..
Monika Kruse: der leon remix rockt.
Tiefschwarz (Ali): nice nice :) re-up rmx is my favorite.
Butch: leon rocks
Riva Starr: leon rmx for me thx
Claptone: supersonniger tune das original
Ramon Tapia: Leon mix is cewl !
Gregor Tresher: Leon mix sounds cool.
Chus: Leon and Re-Up mixes for me.
Popof: Great remix from re up ! love it
Kaiserdisco: Original mix is nice, will try it out.
Wally Lopez: Leon remix are huge!! Support
Shinedoe: I'll try it out.

Limited, 500 copies black gatefold 2LP...

Originally released in 2013, the long-awaited second album from Lulu Rouge finally returns to vinyl in its first-ever limited repress — revived after years of growing demand.

The Song Is In The Drum captures the duo at their most fearless and immersive. Known for their deep melancholia and anti-traditional pop structures, Lulu Rouge blur the lines between dark dub, cinematic electronica, and left-field songwriting. Intense, soul-cutting vocal pieces unfold alongside towering instrumentals — brooding, beautiful, and unapologetically atmospheric.

The album features standout appearances from Danish indie pop visionary Asbjørn and Icelandic-born vocalist Fanney Osk, adding further depth to an already richly textured sonic landscape.

Across 11 meticulously crafted tracks, producers Torsten “Buda” Jacobsen and Thomas “T.O.M” Bertelsen shape a world that feels both intimate and vast. Every beat is deliberate, every space intentional. This is music that doesn’t simply play — it envelops.

Fifty-three minutes that grip you by the heart and refuse to let go.

Welcome to the brightest dark place you’ve ever been.

Look out for a much anticipated new album coming later this year from Lulu Rouge - making this re-issue a timely reminder of the power of their work.

2026 Repress

The Gallery launch is upon us, and what Art Masterpieces they are!

Causing shock waves across Trafalgar Square at the recent People’s Vote March this ludicrously large, galactic gem finally sees the light of day on 12”, backed with a rapturous disco roof raiser.

The crescendo to a protest and a track that many have been scouring the internet for ever since, ‘Baby Baby Please’ couples a huge ‘70s vocal with a perfectly accompanied stomping ‘80s arp-laden beat to create a record that will light the fire of revolution in even the most indifferent of souls.

Flip it over for a cosmic-tinged, disco powerhouse in the form of ‘True Destiny’. Think glitz, glam and downright unadulterated ecstasy, channelled from disco’s glory days to the modern dancefloor at the drop of a needle.

Like the track, support the movement - donations will be made to the cause.

Early support from… one or two of the best DJs in the world as no other **** has it.

We've got two brand spanking new exclusives for the latest Z Records 7 inch record. First up is 'Reach For It' Afrom The Sunburst Band with it's uplifting Mtume/Lucas feel, glorious vocals from New Jersey singer Tiffany T'zelle (fans will know her from Dave Lee's 'Produced With Love II' album) and all the usual star players of The Sunburst Band. Then making her debut on ZR is Queen B Unlimited with '27 Sided', an ultra smooth dose of modern disco-soul. It's and expertly produced love song about us all being different shapes, trying to find our match, we suggest turning the lights down low for this one.

Terry Francis stands as one of the original architects of acid tech house, a genuine pioneer whose influence shaped the sound and spirit of London’s underground scene in the 90s. From the seminal projects with Housey Doingz to his enduring tenure as a core resident at fabric, Terry has remained a constant and uncompromising force at the heart of the scene.

His contribution is impossible to overstate. Across three decades, Terry’s unmistakable sound, forward thinking approach and steadfast dedication have inspired artists across the globe. His work helped define an era and continues to resonate today.

Following a widely acclaimed run of reissues from the golden age of the early 2000s London underground, where the label was born, Sushitech Records now joins forces with Terry for a landmark moment, his first Sushitech LP, featuring various tracks from over the years alongside unreleased session recorded at Strange Weather Studios in 1999.

This special collection brings together eleven tracks, officially remastered from the original tapes and source material for the very first time. These are timeless productions, restored to reveal new depth, clarity and detail while preserving the raw energy that made them so vital and sought after, pressed on 180g vinyl. The release also features standout collaborations with Ricardo Afonso, Gideon Jackson and Haris, further cementing its status as an essential document of an era. A landmark collection, restored with precision and reintroduced in its fullest form.

Active in London’s electronic underground since the late 80s, Paul Hierophant has long worked in the space between techno, ambient, and dub, preferring atmosphere, tone, and slow-burn tension to obvious dancefloor tricks.

The Elder Gods finds him further out on the fringes of electro, where the synths loom large and the delay and reverb units are given a proper workout. The result is widescreen, ominous, and immersive.

The title track is a monolithic slab of rhythm where corroded synth pressure and ritualistic percussion feel less like a groove than some ancient machine grinding slowly back into life.

Titans stalks forward on a cavernous half-step pulse, all foggy bass weight and fractured metallic vocal echos, like dub techno that has wandered into darker mythological territory and decided to stay there.

The Hydra coils around a lurching low-end spine, its tentacular FX flickering and mutating while the groove stubbornly regenerates.

Works and Days rounds things off with a standout alien vocal loop drifting through pulsing bass and drums, lending the track a meditative feel that works just as well for late-night headphone sessions as it does in the deeper end of a DJ set.

This is an EP for selectors who like their electro expansive, slightly strange, and built for proper sound systems.

The "TRACK TRAX EP" is the new vinyl of the "Computer Controlled Minds"
The yellow vinyl clearly indicates the direction – ACID!
As the name suggests, it will be a fast-paced race.
On the A side, our track days start with a driving track, it quickly becomes clear that this will not be a leisurely Sunday ride. It's going to be a tough race. When approaching the apex, it is always important to remain seated and open the tap slowly.
The second track is a confession of love to Kerb, he wants to be loved and touched. But this love also harbors great dangers. If you drive too hard over the limit, the Kerb will pay back mercilessly.
With B1, the DOWNSIDER brings ecstatic acid acceleration to the slopes. If the braking point is exceeded, it can fall massively to the ground. The experienced technoracer has everything under control and brings the necessary momentum to the next straight.
As the race goes on, the strength dwindles and a clean line becomes more and more difficult, but at the same time it is the key to the thrill. The struggle with body and machine becomes clear, every action makes the body burn. Giving up is out of the question, the race is only over with the chequered flag. But now off to the bar!
Last but not least on the B-side, two short bonus sounds for all mix DJs

The Computer Controlled Minds show their clear roots, ACID and hard RACE.
TCCM can be booked as a live act via insta: __NEXT_DOOR__. You will never forget the race!

o

Memory Remains unveils a deeply emotional and intimate Unknown Artist release, a record driven by feeling rather than form.
Shaped and refined through careful dancefloor testing across 2025, these tracks revealed a rare sensitivity: minimalist structures wrapped in warm grooves, gentle tension, and soulful, intimate vocals that connect on a subconscious level.

This is music that doesn’t demand attention. It breathes, resonates, and stays.
Free from names and narratives, the release invites the listener into a private emotional space, where sound speaks louder than identity.
The journey is visually completed by an original artwork from Alisa Kirik, capturing the same fragile beauty and timeless mood that defines this release on Memory Remains.

Eight years after his last solo EP on NORD LTD, Shkedul makes a formidable return with four absolute dancefloor killers. This release does more than just fill a silence; it reasserts his position as a producer with a fiercely distinctive character and an unmistakable sonic signature.

Terry Francis stands as one of the original architects of acid tech house, a genuine pioneer whose influence shaped the sound and spirit of London’s underground scene in the 90s. From the seminal projects with Housey Doingz to his enduring tenure as a core resident at fabric, Terry has remained a constant and uncompromising force at the heart of the scene.

His contribution is impossible to overstate. Across three decades, Terry’s unmistakable sound, forward thinking approach and steadfast dedication have inspired artists across the globe. His work helped define an era and continues to resonate today.

Following a widely acclaimed run of reissues from the golden age of the early 2000s London underground, where the label was born, Sushitech Records now joins forces with Terry for a landmark moment, his first Sushitech LP, featuring various tracks from over the years alongside unreleased session recorded at Strange Weather Studios in 1999.

This special collection brings together eleven tracks, officially remastered from the original tapes and source material for the very first time. These are timeless productions, restored to reveal new depth, clarity and detail while preserving the raw energy that made them so vital and sought after, pressed on 180g vinyl. The release also features standout collaborations with Ricardo Afonso, Gideon Jackson and Haris, further cementing its status as an essential document of an era. A landmark collection, restored with precision and reintroduced in its fullest form.

BOO WILLIAMS dons his MOONMAN moniker to explore the outer limits of his sound. Title track "GET LOOSE" pushes the BPM way past BOOs typical speeds well into 130s techno territory. "LOS SERVICE" features a vocal sample that pushes it into spaced-out psychedelic afro house.

Designed for her 5 Hour extended sets and refined on dancefloors worldwide, "Can't Stop Loving You" - out today on slash - captures KI/KI's signature nostalgia-meets-future sound. Self-written and produced, it's an emotive trance burner built for peak time joy, unity and release, a sound that has defined her rise across global rave culture.

"Can't Stop Loving You" has become the closing moment in KI/KI's 2025 sets. From her Radio One Essential Mix, her two 5 Hours at the Woolstore, Melbourne - the only artist to ever do two back-to-back - to her AMF headline set to 40,000 fans at the Johan Cruijff ArenA! "Can't Stop Loving You" has been the emotional closer all year long.

On the track KI/KI says:
I wrote this track during the biggest heartbreak of my life. Back then I was working on music for my liveshow, and needed a track to close the show with. Can't stop loving you was the result.
Every note, every sound, every vocal helped me through how I was feeling and listening back now reminds me that eventually things will be okay again. The song evolves from an emotional track to an optimistic 172bpm banger and this perfectly describes my process - and maybe the story of almost every heartbreak?
This record is living proof to me that music can be healing. I hope it does the same for you

In just a few years, KI/KI has become one of the most exciting and influential voices in electronic music. She's sold out 20,000-capacity shows and graced the cover of DJ Mag. In 2026, she'll headline London, Dublin, Belfast, Paris, LA and NYC - all selling out in minutes.

With new music coming and her fanbase surging, "Can't Stop Loving You" now closes both her sets and her year - the emotional full stop on 2025 before an even bigger 2026.

Barking-born Jane Fitz, and Transmigration label founder David Fogarty, curate a collection of tracks from East London and Essex’s rich but largely overlooked constellation of independent record labels and distributors operating from London’s E16 to the edges of the Thames estuary during the 1990s.

Mysterious Vastness documents a hidden and largely detached scene that only forms into something coherent with hindsight. From a time when record labels could press and hand-distribute 1000 copies locally, the late 80s acid house and outdoor rave scenes were moving from the fields to the clubs of London and DJs such as Colin Dale, Colin Faver and Darren Emerson were dominating the airwaves and parties with a distinct mix of other-worldly techno, trance and out-there house music. Among the seemingly bland post-war housing estates and factories, a scattered handful of producers were experimenting with early versions of music production software to create an exotic, end-of-the-century soundtrack to the suburban-meets-industrial landscape.

The compilation features a selection of finds from East London’s second hand record or charity shops over a period of 15 years. Many of which have featured in Jane’s sets over the years, most notably the “Beyond The A13" Podcast for Furthur Electronix. A mix she described at the time as the soundtrack to an area of London “totally bereft of natural beauty, but to me, somehow always full of mystery and wonder.”

What does it mean to act with intention?
Sometimes it's about filling the spaces we often leave untouched, simply for the sake
of new experiences.
Baffa delivers four tracks with this in mind.
Raw textures, new sounds, old-school spirit…moving through tension and space in
search of stories that matter, somewhere in the middle.

2026 Repress

Techno mainstay Gary Beck drops hugely sought-after cut 'Hopper' on SHDW's Mutual Rytm sub-label Spectra, with remixes from KiNK.

Glasgow-born Gary Beck is a primary figure in techno and has been for well over a decade. Dropping seminal
underground classics and cultured full-lengths on an array of leading labels, as well as his own BEK Audio imprint,
he has also led the way as a revered DJ as his legacy continues to build. Now, adding to his standout 'Upside
Criminal' EP as well as his well-received track 'Fold' on the 'Federation Of Rytm III' VA, he returns with a record that
has often featured in both his and Mutual Rytm boss SHDW's sets, stepping out on the label's Spectra series with
a cut that has long been sought-after by those who know.

A spontaneous studio moment turned club weapon, the timeless 'Hopper' merges a syncopated disco bassline with
subtle nods to funk and classic dancefloor energy. It's one of those tracks that lingers in your head long after the
night ends - a pure embodiment of Beck's raw energy and production finesse built on an infectious groove full of
contrast and character.

Bulgarian synth wizard, hardware genius and tireless innovator KiNK delivered Spectra's inaugural release, so he
lands as the perfect person to remix. His first interpretation stays close to his roots with a house-leaning, slowed
down take that channels warmth and groove in equal measure. On the B2, however, he flips the script with a high
octane fusion of techno and UKG. It's a peak-time anthem engineered to ignite dancefloors and closes out a
standout EP with the third release in the Spectra catalogue.

Gary Beck 'Hopper' drops via Mutual Rytm Spectra on 20th June 2025.

Portuguese techno force Lewis Fautzi debuts under his own name on Mutual Rytm with ‘Beneath The Surface’. Hailing from Barcelos, Portuguese maestro Lewis Fautzi has carved out a formidable reputation through a run of uncompromising releases and a sound rooted in tension, precision and raw power - exemplified by his recent outing on the agenda-setting Hayes Collective. He has previously established his fierce, potent sound on Soma, PoleGroup, Mord, and a number of other influential labels, while also heading up Faut Section. Having previously appeared on Mutual Rytm’s Federation Of Rytm III compilation under his Non Cyclic alias, he now steps out on SHDW’s label with a six-tracker busting full of impactful techno cuts. The heavily-requested ‘Beneath The Surface’ opens the EP with menacing low-end and tightly coiled pressure that's released through simmering valves and hissing synths. ‘The Hollow Cycle’ brings a loopy, tunnelling groove with a snaking lead and snaking metallic percussion, while ‘Inner Mechanism’ keeps things dark, deep and driving with a backlit glow that pulls you in. ‘Nonlinear Form’ is streamlined deep techno that fizzes with texture, spraying chords and a rumbling sub-bass, while closer ‘Anamorph’ rides meticulously designed broken beats with an ever-present sense of bass-driven foreboding. For digital purchasers, sparse and eerie bonus ‘Surface’ slams down with industrial weight and real warehouse grit, shaping up another weighty offering for the label.

Swiss techno icon Deetron shows his class with a new four-track EP on Mutual Rytm's sub-label, X.

Deetron is one of the most respected producers of his time. From sleek house to deep techno, he brings impeccable sound designs and melodic elegance to his work while remaining true to his authentic signature sound. He always delivers, whether landing via labels like Ilian Tape under his Soulmate guise or via the likes of Axis and Music Man, and that quality is on show once again as he brings the class on this new EP via the sub-label of SHDW's Mutual Rytm.

First up, 'Translate Rhythms' layers jazzy, de-tuned melodies into a quick and slick deep techno groove. It's a colourful and playful sound with a serious impact. 'Cause' is a more heads-down and moody sound with walls of drums and bass rolling beneath raw percussive loops and tight vocal stabs that ramp up the energy levels. The fantastic 'Move' brings grainy pads, inescapable bass weight and bulky drum loops to make for an immovable wedge of serious concrete techno funk. Last is the digital bonus cut 'Orbit', which heads off to the stars with a deepspace
vibe, swirling pads and minimal drums that tap out a rumbling groove.

Finetune — Impulse LP

Singeley Wax presents the third installment of the Russian Series — Finetune's "Impulse" album by electronic musician and media artist Mikhail Komisarov (Michael Dop), co-founder of Slowdance Records.

__About the Music

Finetune is a project through which Mikhail explores and experiments with a sonic palette encompassing ambient, electronic music with elements of jazz and neoclassical. His medium combines modular synthesis, acoustic instruments, field recordings, and deliberately crafted effect chains. He creates distinctive compositions that guide listeners through various emotional states.

The "Impulse" album brings together ten tracks of experimental electronica: hypnotic synthesizer sequences, polyrhythmic structures, cinematic textures, and subtly shifting modulations blend into sonic landscapes where time becomes relative.

__Art Concept

The album's visual identity is based on the multidisciplinary neuro-performance "Impulse," created at the intersection of art and neurotechnology in collaboration with neurovisualization pioneers NeuroLab, digital art studio STAIN (working with algorithmic abstraction since 2009), and physical theatre project "Dancing in the Dark" — Russia's only company featuring visually impaired artists.

During the performance, the brain activity of visually impaired dancers was captured in real-time via neurointerface and transformed into generative graphics. This visual content, born from electrical impulses of consciousness in moments of musical perception, became the foundation for the album's artwork — both static and motion graphics.

Off hours, A new imprint series from Metro Beirut Records run by Nephews, focused on what happens when everything else fades out, the in-between hours, the last stretch, and the moments that aren’t meant to be documented.

The Berlin-Beirut duo delivers five unpolished cuts built for the dance floor, crackles running through and a raw edge with 90s energy throughout. Made to hold weight on a system, and simply dialed down to the essentials.

On the B-side, Nephews link with ICTV on B1, locking into a steady, rolling zone, while B2 brings in a collaboration with Emanuele Barilli, pushing things further out, stretching tension without losing grip.

The story that underlines on the deep levels of the artist cannot be said & done with a few words. It has to be discussed and aknowleged by the the most intricate ways of human wholesomeness and the connection of the art that we call sound. Human Collapse has been created with love for a human life but at the same time understanding that we are collapsing as a society in one way or another, whenever we chasing the material things or feeling absolute content and secure with minumum the world is giving us. Humanity Collapse is all about experiencing it together wrapped in an idea that we’ll be able to understand. The final track of the B side is taken by truly incredible artistic force called Charlou. The deep mind from France has taken his view on the subject with an insatiable musical acknowlegedment.

Kicking things off, Suavy AF sets the tone with a sensual, groove-driven cut that balances raw energy and playful finesse. Tight drums, cheeky edits and a laid-back swagger make this one built for both heads-down listening or late-night dancefloor moments. Lemon & Mint, showing they're not here to play it safe.

On the flipside, Synkro takes the original into deeper territory, stripping it back and reshaping it with weighty low-end and a more introspective swing. He offers a more hypnotic take that hits just as hard in its own way. A perfect counterbalance that rounds out the release with class!

Seven - a number steeped in mystery and meaning, woven into the very fabric of time and space. Throughout history, the number seven has stood as an immutable symbol: from the days of the week to the alchemical metals, from the kings of Rome to its seven hills. An archetype that unites astronomy, myth, and ancient civilizations, finding its deepest expression in Rome.
According to legend, the Eternal City guarded seven sacred relics, the Pignora Imperii, objects whose possession ensured divine protection, prestige, and political authority. Ovid referred to them as the "pledges of power": testimonies of Rome's Trojan heritage and its connection with peoples such as the Sabines, Etruscans, and Greeks. These artifacts, now lost, were:
I. Lo scettro di Priamo
II. Il velo di Iliona
III. Il Palladio
IV. Le ceneri di Oreste
V. Lo scudo ancile
VI. La quadriga di Veio
VII. L'ago di Cibele
From this mythology emerges the new project by Lykos Records: a narrative journey in seven chapters, each dedicated to one of these relics, unfolding through the various artists releases corresponding to catalogue numbers 7, 14, 21... up to LYKOS-XLIX.
Chapter I, "Lo scettro di Priamo" LYKOS-VII, is dedicated to the symbol of Troy's power, brought to Latium by Ilioneus on Aeneas' command as a pledge of alliance and reconciliation. It is said to have been kept on the Palatine Hill.
To inaugurate this journey, seven Roman artists - PixFoil, DJ Red, Brando Lupi, Luigi Tozzi, Feral, Sunday Bath, and Worg - will give life to a sonic mosaic celebrating the musical heritage of the capital. Their tracks will form a collective work that bridges generations and diverse artistic visions.
Each double vinyl will feature an original illustration by Roberto Mulliri, wrapping the entire front and back cover and included inside as a poster.
Within the Pignora Imperii lies the strength and power of Rome, witnesses of the city's epic saga; likewise, Lykos Records weaves its destiny into the history of these sacred Roman objects, becoming a messenger of their enduring legends.

Limited to 300 copies. No repress.

This is Queenie DJ and Music producer from China I’m thrilled and honoured to have YangBing — a true master of Chinese electronic music — join this project with his remix for spring

About this EP — “Four Seasons (IIII Season)”It took me two years to complete this album (from pre production to Released )
This EP was inspired by the distinct feeling and atmosphere of each season. The four vinyl colours reflect that same seasonal bloom.

Track by Track:

1. Spring (Splash Fluorescent Pink Vinyl)
This song was born during Spring Festival in Guangzhou. To capture the local spirit, I sampled the classic Cantonese opera “The Princess’ Flower” — a touch of tradition. YangBing’s remix then injects vibrant electronic energy, making the track blossom with the renewal of spring.

2. Summer (Splash Blue Vinyl)
I was sitting by the sea in Xiamen, coffee in hand, feeling the sun and ocean breeze wash over me. Right then, it hit me: a jazz-house tune would be the perfect soundtrack to that summer afternoon. This track is that moment, frozen in sound.

3. Autumn (Splash Yellow Vinyl)
For me, autumn is a bridge to winter — a time for natural soundscapes. You’ll hear birds, evocative chimes, and traditional Chinese textures like the Jiangnan pipa and urgent gong rhythms. Part of this song was inspired by Yangshuo, where mountains and water truly embody the season’s essence. It’s where East meets West, sparking something special.

4. Winter (Splash Pure White Vinyl)
A downtempo rhythm to ease busy minds. Winter’s morning light enters on the lingering birdsongs of autumn, followed by subtle holiday warmth and the quiet feeling of falling snow. To me, winter is a season of gathering — of holidays, family and friends.
(coloured vinyl 12" 180g comes in different coloured vinyl, we cannot guarantee which colour you will receive))

Release #50 celebrates the digging, care & musical curiosity that’s made the GSC series essential for DJs, collectors & break seekers alike.

For years GSC has built a catalog that earns immediate “cop-on-sight” status. Thoughtful edits. Deep respect for the OG recordings. Breaks that knock w/out feeling heavy-handed. The kind of taste that reminds you these are real heads behind the decks.

Side A pulls from Jerry Butler’s “I’m Your Mechanical Man,” released in ’74 on the Sweet Sixteen LP. The track contains a raw drum break hip-hop producers recognized instantly. Most famously it powers Method Man’s “Bring The Pain,” 1 of the defining solo joints from the Wu-Tang Clan era. The break later resurfaced in Missy Elliott & Method Man’s 2002 version & Snoop Dogg’s “I Miss That Bitch.”

On the flip, GSC draws the source into pure DJ tooling: a sample break edit, a full drum break edit & the “Mechanical Wu” mix — built for selectors who know the power of letting a break breathe.

Then they deliver a beautiful surprise. Instead of leaving empty wax, GSC slides in Les McCann’s “Vallarta,” from the 1977 album Music Lets Me Be. Jazz-funk heads know it instantly — the hypnotic groove behind Biggie’s “Ten Crack Commandments.”

This is why Galaxy Sound Co. matters. They’re not just pressing edits — they’re curating moments. Unearthing grooves DJs need back in rotation. Some originals now cost serious money on Discogs. Others simply faded from memory. GSC dusts them off & hands them back to the community.

50 releases in & the curiosity still runs deep.

A snapshot of UK tech house in its formative years, OLC002 finds Rob Pearson laying down the blueprint for a sound he’d continue to refine through Evasive Records. Released on Online Collective—the label arm of South London’s Online Studios—this EP captures a raw, forward-facing moment in underground dance music.

The title track Slipstream leads with intent: tight tech drums ride alongside a chopped breakbeat groove, underpinned by weighty sub bass and warped melodic textures. A fluid lead synth drives the track forward, locking into a hypnotic, evolving flow built for the dancefloor.

Vortex channels early Detroit techno through a South London lens—crisp edits, filtered drum machine rhythms, and a hypnotic vocal loop combine for a stripped, late-night roller with serious intent.

On Metaphor, Pearson taps into the spirit of early bleep and warehouse house, fusing it with late ‘90s tech house sensibilities—raw, swung, and deeply functional.

The Metaphor (Bonus Beats) rounds things off as a pure DJ tool, primed for layering and extended blends.

A sharp, authentic document of a pivotal era, Slipstream EP showcases Pearson’s early command of groove, texture, and dancefloor dynamics.

Voltage Desire is a five-track EP from Lazer Man moving between raw tension and subtle warmth.

Side A opens with "Woman's Need", an electro house cut built around a rock-inflected bassline and guitar tones that carry a dusty, wide-open edge. "Reactivation" follows with a deeper, more hypnotic approach: pitched-down vocals loop and drift over chords that keep pulling you further in. Side A closes with "Sunris Techy", the most groove-driven of the three, a funky bassline locked in dialogue with shifting synthlines and samples.

Side B shifts into collaborative territory. "Sweet Tide", produced under the Wave Catchers alias with Baldov, is a nostalgic track that will awaken past memories and feelings. The record closes with "Idée Discousu", a co-production with Koffi that blends synthpop with a spooky edge and a story told through vocoder.

The first release in the Between Dimensions vinyl series, BDREP001 , presents Oi Zé EP by Lipp — a deep and hypnotic journey rooted in minimal grooves, organic percussion, and timeless underground aesthetics.
Crafted for intimate dance floors and extended listening sessions, the EP balances raw rhythmic energy with refined textures, delivering a warm and immersive sound signature that reflects the identity of Between Dimensions.

On the A side, “Atleta Do Ano” and “Oi Zé!” explore stripped-back grooves, subtle melodic movements, and rolling low-end pressure. The B side features a special reinterpretation of “Oi Zé!” by Barac, transforming the original into a deeper and more atmospheric late-night tool.

BDREP001 marks the beginning of the Between Dimensions wax journey — a carefully curated series focused on timeless electronic music, connecting artists from different parts of the world through a shared vision of depth, rhythm, and dance floor storytelling.

Credits
Original Tracks
by Filipe Rodrigues Bezerra
Remix by Nicolae Barac
Mastering by Rob Smalls
Visual art by Steph Gar

Guy From Downstairs brings a deeply human touch to the machinery with the Brighter EP.
It opens with "No Fun," where a dry, stripped-back rhythm plays hard to get, anchored by an emotive, raw vocal that cuts straight through the tension—it is a smirk with actual soul behind it. Just as that mood settles, the title track cracks the window open, letting in an unpretentious, genuine warmth that completely changes the temperature of the room. "Beat Street" picks up the pace, locking into a tough, street-level stride, before the EP bows out with "Untitled," a hazy piece of 7 AM introspection.
This is a record that doesn't just play; it breathes with you.

Techno innovator Regent has already made his mark on Mutual Rytm with two previous outings highlighting his refined but powerful style. The Berlin-based artist joins the dots between bold percussive grooves and distinct cerebral layers, with his productions continuing to receive wide support from DJs and tastemakers across the globe. This return to SHDW's flourishing label features one of his most anticipated tracks to date - a truly timeless warehouse anthem that marks an exciting new chapter for both Regent and the label.

'Permean' is a raw but sophisticated piece of techno that merges powerful drums with hypnotic pads. It brims with surgical sound design. While the groove is fierce, a haunting melodic touch adds a soft and deeply emotional edge
as Regent explores the tension between permanence and decay, delivering a timeless and essential track.

The first remix comes from Steve Rachmad under his Sterac guise. This version channels the spirit of his early work - pure, stripped-back techno at its finest. Tightly programmed and deep, it features burrowing bass and impish synths dancing up top to occupy the mind while the body moves.

Next comes a remix from one of the most innovative producers of our time, Rene Pawlowitz, under his Head High alias, a project reserved for his more house leaning sounds. His 'Power Tool Mix' brings his signature loopy style with thudding kicks, raw hi-hats and twitchy synths - already shaping up to be a summer hit. Pawlowitz then steps out under his renowned techno alias Shed. His 'Forceful Pressure Mix' is a blistering and unrelenting weapon, with rusty textures and powerful bass locking you in its glitches, unresolved loops and booming low end.

2026 Repress

Techno innovator Regent has already made his mark on Mutual Rytm with two previous outings highlighting his refined but powerful style. The Berlin-based artist joins the dots between bold percussive grooves and distinct cerebral layers, with his productions continuing to receive wide support from DJs and tastemakers across the globe. This return to SHDW's flourishing label features one of his most anticipated tracks to date - a truly timeless warehouse anthem that marks an exciting new chapter for both Regent and the label.

'Permean' is a raw but sophisticated piece of techno that merges powerful drums with hypnotic pads. It brims with surgical sound design. While the groove is fierce, a haunting melodic touch adds a soft and deeply emotional edge
as Regent explores the tension between permanence and decay, delivering a timeless and essential track.

The first remix comes from Steve Rachmad under his Sterac guise. This version channels the spirit of his early work - pure, stripped-back techno at its finest. Tightly programmed and deep, it features burrowing bass and impish synths dancing up top to occupy the mind while the body moves.

Next comes a remix from one of the most innovative producers of our time, Rene Pawlowitz, under his Head High alias, a project reserved for his more house leaning sounds. His 'Power Tool Mix' brings his signature loopy style with thudding kicks, raw hi-hats and twitchy synths - already shaping up to be a summer hit. Pawlowitz then steps out under his renowned techno alias Shed. His 'Forceful Pressure Mix' is a blistering and unrelenting weapon, with rusty textures and powerful bass locking you in its glitches, unresolved loops and booming low end.

Cosmic Breeze Records is happy to present From Above, from Brussels based producer Bass Toast, an artist who has spent years honouring and preserving the rich musical house heritage. Bass Toast has always had an enormous will to connect what separates.From the early New York House to intricate broken beats, he’s been spending the last few years colliding different genres, soulful at heart, both club and non club, comfortable and uncomfortable, celebrating the floor and the grace of simply listening.The A side opens with African Girl, sexy and sensual, moving you in slowly before FromAbove takes you on a whimsical Latin journey, before Stance closes it out with a broken beats jazz and intricate drums that reward every listen. The B side shifts weight, Chucho and Watch And Remember are both club-oriented, propelling without ever losing the thread that runs through the whole record, before Childhood Memories closes everything down with grace.

“A lot of people run to see who’s fastest. I merely run to feel the breeze.”

Mr Bongo presents a reissue of one of the rarest releases on the illustrious and now ultra-rare tax scam label TSG Records. A label with a checkered past, operated by Lloyd Price and with alleged ties to boxing promoter Don King. The album in question, Disco Party by Reality, is a stunning journey through ‘70s dancefloor-focussed funk into early proto-disco grooves. Back in mid-‘70s Manhattan, Dr. Otto Gomez and a group of fellow New York musicians including Tony Dixon, Norman Drayton, Tony Dupree, Al Jones and Fred Nanton were brought in for a recording session by songwriter and producer, Billy Nichols. Laying down one of Nichols' songs and a selection of the group's own, they were paid as session musicians and thought little of it. The tapes came to the attention of Lloyd Price who struck a deal with Nichols unbeknownst to Gomez and the rest of the band. Price then pressed the album and put it out in 1976 on a newly formed subsidiary label, TSG Records, that would later be documented as one of the US tax scam labels of the ‘70s. Such labels were created to exploit a loophole in the US tax system, running up inflated production costs / losses that investors or the parent label could write off against their tax bills. Releases on these labels were never intended to have commercial success. They would usually be produced in incredibly limited pressing numbers and have little to no promotion or distribution. As such many of these records instantly fell into obscurity, becoming mythical amongst DJs and record collectors. Sadly, this meant that artists like Dr. Otto Gomez and friends never had the chance for their record and their talents to shine at the time. In fact, it was only when Jazzman reached out for their 2022 reissue that Dr. Otto Gomez became aware that the album had ever been released and heard the story behind it. Disco Party is a time capsule where ‘70s instrumental funk edges and intertwines into an early disco sound. The sessions are for the dancefloor, minimalist and groove-based. The bass and drums are at the forefront, providing the pulse of the album. Driving funky guitar licks, and a brilliant horn section weave their way in and out of the productions. Highlights include the uplifting feel-good ‘Let's Party People’, the early disco swagger of ‘Reality’, and ‘Disco Party (Let's Have A)’ with its wah-wah groove and percussion break, which could easily have found its home on a Blaxploitation film soundtrack of the period. It’s not just rarity that makes this record so sought after, but rather the fact that it is a superb example of dancefloor-focussed mid ‘70s funk and disco.

Linval Thompson is one of the great roots vocalists that ruled the dancehalls of Jamaica in the mid 1970’s. His distinctive vocal style and roots lyrics, that spoke of the struggles that faced the Rastas, hit a chord with the people of Jamaica, and provided a string of hits for him in the dancehalls. This in turn, would set a tone that he carried on through his musical career and future production work. Linval Thompson (b.1959, Kingston, Jamaica) was actually raised in Queens, New York. He cut his first record there at the age of 16 ‘No Other Woman’ with future Third World singer Bunny Ruggs. He also cut a couple of tracks for a US producer E Martin ‘’Jah Jah Deh’and ‘Weeping and Wailing’. In 1974 he returned to Jamaica and cut ‘Mama Say’ and a version of D Brown’s ‘Westbound Train’ for producer K Hobson which got Thompson noticed by producer Phil Pratt. Pratt took him to Lee Perry’s Black Ark studio’s where he cut ‘Kung Fu Man’. Thompson’s friendship with fellow singer Johnny Clarke led to a meeting with producer Bunny Lee. His first track cut for Lee was ‘Don’t Cut Off Your Dreadlocks’ and it became a big hit in Jamaica. Bunny Lee was the producer of the moment and Linval added to his long list of hit singles with ‘A Big Big Girl’, ‘Cool Down Your Temper’, ‘Ride On Dreadlocks’ and the title of this compilation ‘Jah Jah Is The Conqueror’. He seemed to hit a musical height working for Bunny Lee (who as he has done with many of his singers) encouraged Linval into production work himself. Which has led to another chapter in Linval’s story. Working with an array of artists including, Freddie McGregor, Johnny Osbourne, Barry Brown, Rod Taylor and many more. But it is his singing career that we focus on here and that great period in reggaes history the mid 1970’s where Linval delivered a string of classic hits that we have compiled for you here. Hope you enjoy the set.

That man Burnski is back like he is seemingly every single week with yet more on-point new beats. He assumes his Instinct alias for another superb album of club-ready tech, minimal, garage and house concoctions that do everything right. Whether nodding to the old school with big piano joy ('Want You'), going for the late night afters ('Atmosphere), keeping it deep ('Right Time') or rewiring your brain with manic nu-jungle workouts ('Dreaming'), these are expertly designed tracks that are guaranteed to make an impact all summer and beyond. For the record, the gun finger synths and shuffling low-end hustle of his in demand hit 'Go' might be our favourite amongst many.

Toronto/Berlin producer and Big Trouble Records founder Andre Zimmer has emerged as one of house and techno’s hottest commodities, fresh off his scorching fabric Records release with Carlita. Now he joins DJ Tennis’s Life and Death label with the announcement of his 4-track Kwon Anthem EP, out September 19.

Arriving alongside the announcement is the lead single “Hypnotizing” — a piano-driven, ethereal cut that highlights Zimmer’s ability to channel rave nostalgia into shimmering, emotive house designed for peak dance floor moments.

The EP also features the standout track “That’s Right”, which has already been making waves across clubs worldwide. With early support from Peggy Gou, Jennifer Loveless, Massimilliano Pagliara, Alinka, Jorkes, Luigi Di Venere, and more — including rotations at Panorama Bar and viral fan videos from Bella and beyond — it’s quickly becoming one of Zimmer’s most in-demand productions.

Across Kwon Anthem EP, Zimmer balances hypnotic, orchestral breakdowns, progressive trance textures built from Roland SRX patches (“Kwon’s Anthem”), and a cosmic, downtempo detour structured around a 707 jam (“Hours”). It’s his most ambitious and wide-ranging statement yet — and a fitting debut on Life and Death.

With support from underground tastemakers and appearances at clubs and parties worldwide, Zimmer’s DJ sets reaffirm a classic but forward-thinking approach to house music.

Ketapasando presents “Mesetarian Breaks” (KTPV004): a high-speed journey through breakbeat terrains Madrid-based label Ketapasando returns with its fourth vinyl release: “Mesetarian Breaks” (KTPV004) — a 12” compilation that celebrates the raw energy and diversity of breakbeat in all its forms.

Four artists, four unique visions, one common goal: break the dancefloor. Pressed on 180g vinyl with full-color artwork and a protective silicone sleeve, this EP delivers an explosive blend of jungle, technoid, ragga-core, and futuristic breaks.

Each track showcases a distinct approach to rhythm, crafted by key figures from both the Spanish underground and the broader European scene.

THE ARTISTS:

FFF, a cornerstone of the European jungle scene, brings a ragga-core blast soaked in rave heritage and hardcore attitude.

Berman, co-founder of Madrid’s Bellota Dubs, delivers a rolling cut built on tight vocal samples and chopped-up 160 bpm energy.

Jailed Jamie, known for his audiovisual storytelling, blends jazzy melodies with sharp breaks for a cinematic yet floor-ready experience.

Tarek, core Ketapasando producer, makes his vinyl debut with a deep, heavyhitting technoid track forged in the fires of the 174 bpm realm.

“Mesetarian Breaks” is more than a record — it's a love letter to broken rhythms, a sonic dive into the Iberian underground, and a statement of intent from a label fully committed to the breakbeat spectrum. Snippets available in this email.

With its 10th edition, Dalmata Daniel's split series brings together two artists who have both left their mark on the label's compilations, now presenting their first full releases on the imprint. Anatolian Weapons and The Spy approach electronic music from different angles, one rooted in hypnotic techno rituals, the other in raw electro and post-punk energy. Both craft sounds that thrive in the shadows of the dancefloor.

On the A-side, Anatolian Weapons delivers three cold, hypnotic cuts. "Trapped" opens with heavy EBM percussion and a buzzkill bassline, setting a tense, mechanical tone. "Further Spiralling Down" sinks deeper into darkness with a grinding low end, tight drums, and electro-tinged claps, forming the side's relentless highlight. "Apathy Through Shock" closes with pounding, catatonic rhythms and a mournful, otherworldly melody, pushing the listener into disorienting depths.

Flipping over, The Spy's raw, electro-driven energy takes hold. "Same Blur" channels sharp electro beats with a punkish sneer and cosmic synth lines. "Falling", featuring The Spy's own vocals, leans into melancholic new wave, pairing bouncy rhythms with bittersweet melodies. The closing "Pretending" drifts into the darkest corners, offering low-slung, haunted electro layered with distant, spectral harmonies.

Monologues Records continues its 10th anniversary celebration with a collection of some magical balmy blissed-out Balearic grooves from its catalogue. Label boss Ben Gomori's 'Inside Melody' featuring Daisybelle makes it onto wax after being the lead single from his debut album 'Collapsing Time', Laurence Guy's first ever EP puts in a shift with the hazy 'Sunlite', Gomori remixes Danish prodigy Ghosten's melancholic 'Abandoned Planet' in euphoric piano house style, and Glasgow dons Manakinz (aka Sub Club / Subculture legend Harri and Max Raskin) do their chuggy thing on the spinge-tingling throbber 'Electric Bob'.

2025 Repress

For the second installment of its renewed imprint, Fuse's own in-house resident and one of Belgium's proudest exports Phara takes the reins for a deep dive into thick percussion and vibrant club landscapes. 'The Wall' puts current dance music under a microscope with a brush of truly vintage spontaneity, merging techno's confrontational nature with house's harmonic genuineness. This duality is reflected through Phara's own relationship with his home base Fuse and the complementary contrast between its two rooms.

The EP's title track serves as a hypnotic introduction for the A1, imposing a bass-heavy rhythm and a persistently oscillating synthline. A dense production full of energy, 'The Wall' inspires intrigue throughout its duration, revealing its true intentions through a capable sound system. Sharing the first side of the press is 'Blaes 208', a name that Fuse club goers will likely recognise, that guides the listener from effect into embrace. With lush keys echoing past a comforting drum sequence fit for a close-eyed dancefloor experience, Phara's impactful tendencies meet his affinity for the melodic through a blissful six minutes of crowd to selector connection. Switching sides, a return to a cold cold aesthetic is quickly apparent through 'Hush Now 206'. A pummeling, saturated bass competes with a kick of equal effect, rolling through a storm of metallic stabs. Mastering the message of urgency, Phara presents a lightshow of resonating percussive work, defining his space just to cut right through it. To close out with a lasting impression, the producer mutes the acoustics of his work through razor-sharp sound design dotting along playful snares, a duality reminiscent of the dynamism of Detroit electro. 'Motion Steps', referring to the stairs that ascend from Fuse's main room to its more left-field counterpart, captures the atmosphere of the almost shimmering music that can be expected to be played there; a place where Phara and many others have been known to explore the extremities of their music. He swiftly throws in melodic elements to recontextualize an otherwise pressing composition, and after three chapters of considerable weight, he concludes his record with infectious groove that flaunts technical ability.

Celestial Echo (miche & Stu Clark) team up with Divine Disco’s Greg Belson to launch a brand-new 7-inch series spotlighting Detroit’s powerhouse gospel, soul and R&B label — HOB (House of Beauty). Founded in 1956 by Mrs. Carmen Murphy, HOB wasn't just a label — it was a beacon. From the basement of her beauty salon on Detroit’s West Side, she ran one of the most important Black-owned gospel imprints of the 20th century. At a time when both the music industry and the country were stacked against her, Mrs. Murphy built a sanctuary for soul — a Black woman-owned business and creative hub in volatile times.

This inaugural 7-inch kicks off with two in-demand killers:

Side A: Elder Ward & The Ward Singers – "It’ll All Be Over" A fast-paced gospel dancer with a monster groove, killer breaks and heart-wrenching vocal delivery — this one’s a guaranteed floor-filler and rarely surfaces for less than £250 on the collector circuit, if at all. Urgent, uplifting, and impossible to ignore.

Side B: Victory Travelers – "Power Lord" Another holy grail moment — deep, raw, and unshakeably soulful. Rare in its original form, often fetching close to £100, it’s a heavy dose of electrified gospel sure to hit home with fans of deep soul and spiritual funk alike. Fully licensed and remastered, this 7-inch comes housed in a custom Celestial Echo / Divine Disco series sleeve with a faithful reproduction of the HOB label.

Montreal duo Flabbergast—aka Guillaume Coutu Dumont and Vincent Lemieux—return to Circus Company, the label where it all began with their debut EP in 2015. Now seasoned veterans of leftfield club experimentation, they deliver Weirdo Active, a two-track vinyl release that distills their signature
blend of groove, absurdity, and refined weirdness.
On the A-side, “Timecrowave” is a swung, syncopated burner built around fragmented drum programming, warbled synth textures, and subtly detuned atmospheres. It's a tool that thrives in the inbetween moments of a set—unpredictable yet fluid.
On the B-side “Serpentoute,” a slinky groove laced with dubwise processing and modular squelch, maintaining tension through micro-edits and playful FX. Perfect for after-hours transitions or more openminded floors.
Following standout releases on Yoyaku, Copier/Coller, and Chapelle XVI, Flabbergast continue to offer up dance music that’s deeply heady, subtly unhinged, and always full of intent. A finely sculpted dose of dancefloor surrealism—just the way Flabbergast likes it.

Germany's Invexis comes back to the Manchester-based Scrap & Delete label with the 'Morphium' EP, arriving 19th September 2025. The four tracks follow up his remix for label founder Dorbachov's 'Ellesmere Street' EP earlier in 2025, which won support from Luke Slater, Jako Jako, Dave Clarke, and more. Title track 'Morphium' opens the EP in unexpected territory: an emotive, melodic crossover track that retains Invexis' mechanical backbone while reaching for something more transcendent.

With soaring synth layers and expertly balanced weight, it's a rare euphoric moment in his catalogue; one destined to erupt across festival tents. 'Nordic Noise' pulls things back into colder, rawer terrain, a frostbitten slab of functional minimalism with raw textures, fizzing hi-hats, and relentless groove cycles. 'Instinct' channels classic loop techno through a modern lens, driven by restless percussion and syncopated punch. Finally, 'RS' pays tribute to late-'90s groove science with complex, kinetic motion and heads-down intensity, reimagined for a new generation of warehouse punters.

Following the release of his fifth studio album ‘Magickal’ at the start of the year, Damian Lazarus now opens a new chapter in the project’s evolution with ‘Magickal Remixed (Part I)’, this first instalment of the two-part series features bold reimagining’s from Harry Romero, Jonathan Kaspar, THEMBA and Mëstiza, offering four fresh takes on standout cuts from the acclaimed long-player.

The package opens with Harry Romero’s ‘Raw Dog’ remix of ‘R U Dreaming?’, originally a deeply introspective cut featuring Canadian maestro Mathew Jonson. Here, the New York favourite dials up the low-end pressure and rhythmic weight, bringing raw tribal energy and heavyweight swing to the original’s dreamlike tones. Jonathan Kaspar’s ‘Sunrise Remix’ of ‘Falling Down’, Lazarus’ collaboration with TEED and A-Trak, comes next. Channelling radiant euphoria through rising pads and sweeping melodic phrasing, it leans into the emotional intensity of the original while transforming it into a full-blown moment of sunrise transcendence.

On the B Side THEMBA delivers striking remix of Damian Lazarus and Jem Cooke’s ‘Searchin’.
THEMBA’s remix builds on that foundation and takes it into expansive, Afro-infused club territory, layering hypnotic percussion, deep rolling grooves, and subtle atmospheric shifts that heighten the emotion and push the track into new late-night spaces. Closing out the release, Spanish duo Mëstiza return to reinterpret their collaboration with the Crosstown head honcho, ‘La Hija De Juan Simón’. Expanding on the track’s flamenco-inspired roots, they layer hand-played percussion, haunting vocal flourishes, and dense atmospheres into a hypnotic, slow-burning groove, bridging folklore and futurism in their unmistakable style.

The Money Records 2” multi-track tape of ‘Sugar Love’ and ‘You Bet I Would’ revealed an unknown title ‘We’ve Reached A Dead End’. This turned out to be a beautiful Richard Cason-penned ballad which featured a lush, dramatic arrangement by Los Angeles musician Ray Jackson, complete with male backing vocals.

Cason co-produced the three songs with producer Hadley Murrell who licensed the recordings to Ruth Dolphin at Money. ‘Sugar Love’ only appeared on the flip of the second pressing of ‘You Bet I Would’, the instrumental was used initially. ‘Sugar Love’ is in itself in-demand as a dance track. Money 606 did not sell enough to warrant a further release and the track lay unmixed in the vault until now.

Interestingly the tape was dated May 1973, just prior to the two releases, and was described on the box as a rework of a tape from July 1971 - the music certainly wasn’t rushed.

Det Gode Selskab presents its latest vinyl release, DGS10Y2. This exclusive drop continues the label's 10th-anniversary festivities, encapsulating the sound that has shaped Oslo’s underground house music scene. DGS10Y2 brings together a standout selection of tracks, each crafted to capture Det Gode Selskab's unique blend of dance floor energy and rich musical storytelling.


Label founder, Tod Louie opens Side A with Trixie, a playful, modular-heavy progression that shifts between intense stabs and melodic synths, embodying a “devil on the shoulder” vibe. Mike Shannon’s Data Missive follows, blending crunchy modular tones with evolving percussion. Side B features Since Day One by Ohm Hourani, adding hopeful synths and trippy vocals, while Karl Fraunhofer’s Protect The Party closes with a low-slung groove and distinctive vocal effects, telling a well-known late-night tale.


With 200 copies only, this limited edition release stands as a piece of the label’s history. Make sure and don’t sleep on this.

This exciting 45, features two previously unheard 60s, New York soul, dance tracks.

Big Apple session singer and occasional composer, Doris Willingham, first had a rare release on the Hi- Monty label in 1966 and then in 1968 cut four sides for drummer Bernard “Pretty” Purdie. All were produced by Richard Tee and co-written with Doris. They were licensed to Ed Kassner who launched his Jay Boy label with ‘You Can’t Do That’ in both the UK and the USA. A change of strategy caused the US label to be discontinued after two releases and the UK then switched primarily to home-produced recordings. The two best Willingham sides lay dormant at President’s tape library until Ace released the killer ballad ‘Too Much To Bear’ in 2005. The fourth track is this superb dance number featuring the great Purdie band, no doubt featuring his usual bassist Jimmy Tyrell, who arranged the Hi-Monty 45.

The Taylor Brothers ‘Holding On’ is a much grittier affair, produced by Maxine Brown’s husband at the time, Mal Williams. The duo were Bennie “Earl” Bunn and Sam “The Man” Taylor and they wrote this, the third track recorded at the session that produced the ‘People In Love’ single on Joy. Sam had been a major mover in NYC black music circles since the 50s with his own bands and had fingers in many pies. The duo gave a performance worthy of some of the great 60s male soul couplings.

A remarkable release in John Lee Hooker's vast catalogue, Folk Blues, released by the Crown label in 1962, puts together tracks originally recorded for Modern Records between 1951 and 1954.

Among its many highlights are Bad Boy, one of the finest examples of Hooker's wordless humming and singing in unison with his guitar figures, and Rock House Boogie, which offers a sampling of Hooker's use of bottleneck style.

"Essential in any collection of postwar blues." - ***** Downbeat:






f A6. I Need Love So Bad Solo Version







[n] B6. I Need Love So Bad [Group Version]






[f] A6. I Need Love So Bad [Solo Version]







[n] B6. I Need Love So Bad [Group Version]






[f] A6 | I Need Love So Bad [Solo Version]







[n] B6 | I Need Love So Bad [Group Version]

Nine Inch Nails returns with over 70 minutes of new music for the motion picture TRON: Ares, the first soundtrack / score work from Trent Reznor and Atticus Ross that will live under the Nine Inch Nails moniker; consisting of all original music, complete at 24 tracks. Reznor and Ross bring their Grammy and Oscar-winning sonic vision to the Grid, crafting a soundtrack that hums with menace, melancholy, and momentum. More than an album, its architecture in sound: pulsating synths, distorted textures, and haunting melodies that rewire the TRON universe from the inside out. It is the collision of analog soul and digital dread—a score that doesn't just accompany the film, it possesses it.

Hudd Traxx makes label history with its first-ever full-length album, Dial Me In, from long-time affiliate Iron Curtis. Aptly, if it wasn’t going to be label boss Eddie Leader, Curtis is the natural choice — having contributed more tracks across more releases than any other artist in the label’s history.

This 6-track vinyl sampler comes with a download code for the full 10-track album. Across the set, Curtis delivers a rich and varied journey through deep house, ambient textures, and eclectic grooves, flowing effortlessly from club-ready jams to moments made for home listening.

A landmark release for Hudd Traxx — diverse, soulful, and built for both the dancefloor and beyond.

RedNilo is an Italian-Moroccan duo composed of Reda Zine and Danilo Mineo, two musicians based in Bologna linked by a deep passion
for world music, particularly African music. Their ongoing and tireless musical exploration has led them to collaborate for over a decade
on numerous artistic and recording projects. Their new album, eponymously titled RedNilo, features six tracks characterized by a sound
reminiscent of Gnawa, Hassani, Tuareg, and experimental rock. The psychedelic, raspy riffs of the electric guitar, the repetitive rhythms
of the percussion, and the rhythmic-melodic lines of the guembri represent and evoke their journey. The resulting sound material is the
culmination of their journey and their encounters with masters, artists, griots, artisans, and instrument makers in the Draa Valley in
southeastern Morocco, bringing together the two musicians' urban and experimental backgrounds and souls. The album's artwork was
designed by Moroccan artist Aali Wica, initiator and mentor of their spiritual and artistic journey to the southern African continent,
across the long black snake.
Réda Zine, a musician and documentary filmmaker born in 1977 in Casablanca, launched his musical career in the 1990s, contributing
to L'Boulevard, Africa's largest independent festival. Raised in the Casablanca medina, he was introduced to Gnawa music by various
Maallems. After studying at the Paris 3 Sorbonne University, he founded Café Mira, a project that has performed at several international
events.
From 2011 to 2014, Zine was artistic director for Creative Commons (Middle East and North Africa), where he won the #CC10 Korea
award in 2012 with the project "It will be Wonderful," which brought together musicians from over 12 countries. He has also been
involved in exhibitions on music and censorship, participating in events in major cities such as Paris, Buenos Aires, and Seoul. In Italy,
he continued his musical research with the Hardonik project and was part of the Afrobeat group Voodoo Sound Club, recording the
album Mamy Wata. Zine collaborates with artists such as Seun Kuti and has initiated educational activities related to Gnawa music,
contributing to initiatives such as the African Symphony Laboratory for improvisers. He is the co-founder of Fawda, a Gnawa-based
project, and is part of the Gnawa Rumi collective, which explores the music of the Moroccan diaspora in Italy. He directed the documentary "The Long Road to the Hall of Fame" about Public Enemy, which won an award at the Pan African Film Festival in 2015.
Danilo Mineo graduated as a national educator from the AMMnationalscholl music academy in Milan, with a thesis entitled "Afro-Cuban
Music and the Rhythm Section." Over the years, he has attended workshops and masterclasses with international artists and masters
of percussion and drums, including Horacio El Negro Hernandez, Airto Moreira, Trilok Gurtu, Luis Agudo, Arto Tuncboyaciyan, Dudu
Tucci, Dom Famularo, Karl Potter, Rodney Barreto, and Eno Zangoun, exploring the rhythmic language of various musical genres and
styles.
In addition to publishing several educational manuals for percussionists, music critics consider him a versatile percussionist, active in
various musical productions and recordings: Mop Mop, Fawda, Guglielmo Pagnozzi "Voodoo Sound Club," Fabrizio Puglisi "Guantanamo," Panaemiliana, The Mixtapers, and many others, with whom he has performed at numerous national and international music festivals (in Europe and Africa). As a percussionist and side man he has recorded numerous albums and collaborated with Italian and
international artists including: Giancarlo Schiaffini, Gianluca Petrella, Roy Paci, Roberto Freak Antoni, Famoudou Konate, Melaku Belay, Baba Sissoko, Kalifa Kone, Jamal Ouassini, Deda, Dj Lugi, Bioshi.

Aer making everyone dance with "I'm Gonna Dance," Muzic Family Vs. Stylóo is ready to ignite the
dancefloors again with "Sweat," an adrenaline-fueled track that unites the tradi!on of Italo Disco with a
modern pop-dance sound.
At the helm of "Sweat" is Roberto Tura, one of the most influen!al producers in the Italian and
interna!onal dance scene. A key figure of 80s Italo Disco, Tura( has shaped !meless hits for ar!sts like Den
Harrow, Joe Yellow, Albert One, and Stylóo themselves, helping to define the sound of an era that s!ll
makes fans' hearts beat faster all over the world. With "Sweat," Tura( once again proves his ability to
merge the magic of those years with a modern, powerful sound, capable of winning over new genera!ons of
listeners and ge(ng everyone dancing.
By his side is Silvio Melloni, a top-level musician and arranger, who is now part of the historic band Ma"a
Bazar. Melloni brings his experience and musical sophis!ca!on to the project, cura!ng arrangements rich in
detail and nuance, where every element is calibrated to maximize the emo!onal and rhythmic impact of the
track. His ar!s!c sensi!vity perfectly matches Tura('s energy, crea!ng a winning combina!on of technique,
passion, and crea!vity.
The release of "Sweat" doesn't stop at the original version: two exclusive remixes are included to enrich the
project, promising to make the track explode on the most demanding dancefloors.
 Italoconnec"on Remix – The duo formed by Fred Ventura and Paolo Gozze( (aka Italoconnec!on)
transforms "Sweat" with their characteris!c touch: sonic elegance, pulsa!ng energy, and a refined
sound that blends dance-pop rhythms with the vibrant nostalgia of Italo Disco. It's an interpreta!on
that leaves no room for rest and pushes you to listen and move.
 A.P. Mono Remix – A.P. Mono infuses an 80s-flavored electro-disco soul: funk syncopa!on,
enveloping synths, and an irresis!ble groove. His reinterpreta!on turns the track into a true
energe!c vortex, perfect for making anyone who dances to it sweat.

Forms in Motion marks the debut release from Earthbound Recordings, a new label founded by producer Mihail P as a home for deep, transportive electronics. Active since 2016 and known for releases on labels such as Seventh Sign Recordings, Verdant, Distant Worlds, Magnonic Signals, Propersound, and Nebulae, Mihail P launches this new chapter with a four-track EP that pays homage to the 90s UK techno and Detroit lineage.

“Millenium” sets the tone with layered pads and cosmic momentum, nodding to 7th Plain. “Echo Drift” fuses crisp electro rhythms with spacious melodic detail, while “Green Route” reflects the melodic introspection of Likemind Records. The closer, “Shape Without Form”, dives into abstract territory with glimmers of early AFX.

“It’s been a dream to form my own label for years,” says Mihail P. “This felt like the right time to create a space for timeless music that doesn’t chase trends.”

Earthbound’s first step—grounded in memory, aimed at the beyond.

The classy house heads at B2 Recordings hand things over to Those Guys From Athens for another quartet of silky sounds. 'Triple Double' kicks off with nice lazy drums and sparkling synths that are perfect for early evening warming up. 'Father's Groove' gets more lively with some steely drums macing away beneath loose percussion and 'They Couldn't Stop Me' then gets dee with smeared vocal sounds and hip-swinging drums. Lastly, 'Never Been In Chicago' plays with filters and gently swaying groves to lull you into a reverie. These work on the heart and head as much as heel.

Berlin's ://about blank club has long been a top hangout for the city's more discerning heads and this year it marks 15 years in the game. It does so with this tenth release on its label arm - a triple EP compilation that brings together 12 exclusive tracks from key artists tied to the venue and who reflect its adventurous musical identity. Kalipo's vocal-driven anthem 'My Heart Is A Hotel' kicks off with cold wave synth energy, then Lawrence's dreamy minimalism casts your mind adrift. There is also Alex.Do and Sylvie Maziarz deliver high-energy techno and rave, deeply cinematic cuts from Inigo Kennedy and Hagen Richter, while Rodmin and Ahu offer lush, hopeful house. The final slab offers moody hypnosis from Anja Zaube, Erik Jaahalli, Irakli and Fragen shuts down on a cosmic note. A great snapshot of ://about blank's sound.

Finally, I was able to devote some time to actually getting some collaborations completed for a new release of the Meeting Of The Minds series, with some brand new names arriving to Future Retro London!

Nebula is one of my favourite artists making new jungle atm, his versatility in music on the darker & lighter sides of the spectrum, the richness of his atmospherics and melodies & the way his drum edits flow throughout his tracks, I consider him a big inspiration in what I make. It was an absolute pleasure to be able to work with him on "Without Fear".

I've been enjoying some of what Stekker's been doing in his music, representing the ruffer lo-fi side of production and he's been putting out some great stuff on his own label Ruff 'n' Tuff as well as on a release he did for Coco Bryce's label Myor. I reached out to him about a collaboration and he had started something, which I was really into and that led to "The Quest".

I owe a lot to DJ Trace, as he was one of the first big names in jungle/d&b to really show me support for what I was doing. He gave me my debut vinyl release when he asked me to remix an old classic of his called "Final Chapta", which he released in 2011 on his label DSCI4. I also had music released on a label he started a few years after that called 117 (which I also helped design artwork for), so we go way back. He's been making more music than ever before recently and I was lucky enough to be able to get a collaboration in with him and "Patterns Of Thought" is the end result of that.

I've known Ark X & Duburban for a number of years, I would see them at a lot of events up north, as well as at events in London that they'd travel down for. They also were good friends with Kid Lib and would drive down with him whenever he was visiting/DJing in London & I was becoming familiar with their music through him, through Ark X's labels Supercharger & Hypercharger (where some of Ark X's music was being released under his previous alias of Black Orchid) & through Duburban's collaborations with Jahganaut. Big up to both of them for collaborating with me on "Come A Dance"