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Over Under marks a significant evolution in Secondo's artistic journey, showcasing a refined balance between the functional and the experimental within house music and techno. The release reflects two decades of musical exploration and innovation, while drawing inspiration from his early production style. Now, fueled by the lessons learned over the years, Secondo returns, synthesizing new ideas from his roots in the ’90s.

Opening with the beatless, kosmische pulse of Occhi Nuovi, Over Under crosses different tempos and moods, shifting from club-ready tracks — like the alien funk of the first single Unlikely Companions and the album’s tense coda Nowhere Man — to the bubbling, mid-tempo step of Slow Space, and deeper, more reflective moments like the modulating jazz moods of the title track and the centerpiece Solar Funk. The album’s progression ebbs and flows, guiding the listener through a carefully crafted narrative. Narrative, it seems, is key to Over Under.

AFTER ALMOST A YEAR OF LIFE, SUPER PLASTIC RECORDS PRESENTS ITS FIRST LP OF SEVERAL ARTISTS. WE WANTED TO DO SOMETHING A BIT SPECIAL SO THAT OUR PRESENTATION ON VINYL RECORD WOULD BE REMEMBERED FOR THE EFFORT AND LOVE PUT INTO THIS PROJECT.
THAT'S WHY WE HAVE PRODUCED A 12 IN A FULL COLOUR GATEFOLD CASE, WITH THE INSIDE DEDICATED TO THE ARTISTS WITH PHOTOS, COVERS OF THE DIGITALLY RELEASED TRACKS AND A SHORT SUMMARY OF THE HISTORY OF SOUTHERN BREAK BEAT. WE HAVE ALSO INCLUDED A BOOKLET WITH STICKERS OF THE ARTISTS LOGOS, WHICH IS SO FASHIONABLE AT THE MOMENT.
EVERYTHING WILL BE SHRINK-WRAPPED SO THAT IT REACHES THE CUSTOMER WITH GOOD PROTECTION.
THE 12' 45 RPM DISC IS LOADED WITH 6 TRACKS, THREE MELODIC TRACKS FOR PIANO LOVERS, SUNG TRACKS WITHOUT LACKING THAT PISTERO TOUCH.
THE OTHER THREE TRACKS ARE A BIT MORE ELECTRONIC, WITH STRONG BASSES AND STRONG BASES.

After a long wait, we are happy to anounce the first release of our record label side project : Suave Sounds.

This first release is a V.A tailored for the club, made by some of the « Friends of the pavillon » .

A1 is a electro house groover with a gritty bass and a vocal love duo between a woman and a robot, made by none other by our man Welwert Aka Man/ipulate.

A2 is a cosmic discoide house journey manufactured by Merov, our new electronician. A wonderful combination of emotions and a « sacrée balle » capable of bringing arms in the air & love to the floor.

B1 is Pierre Marty’s special blend of tech-house, funk & shimmering synths, perfect to energize a crowd after a break or calm things down during peak time, a little toy you keep in the pocket just in case.

B2 is a sexy tech house roller by Gab Jr featuring Lourène. A introspective club track with a massive bass line built for the middle of the night, asking the audience an important question.

With Roza Terenzi and Sleep D on the remix, Alfred Czital & Ayu summon divine frequencies across a debut recalling the finest turn-of-the-millennium trance.

Spirits are high as we strive for utopia. Like relics of times passed – a bygone era where the free party reigned supreme – this is a union forged out of a mutual affinity for trippy dancefloor dynamics and live performance.

Rapturous and ecstatic, both originals evoke pure club hedonism. Sensual, sultry gear made of euphoric melodrama, close sweat and lysergic throb. Wide-eyed optimism coursing throughout, but like any good proggy majick, it’s not without a decent dose of shadow and ritual.

Coming in hottt with the remixes and both are befitting a release bent on traversing the wormhole interior. Oyster Cult acolyte Roza Terenzi keeps it taught and tightly-coiled on her rugged, propulsive re-fit, and not to be outdone, Butter Sessions founders Sleep D let atmosphere pull focus with a sprawling, dubby workout.

'Deixa Rodar' is an essential midtempo disco/boogie jam taken from Hanna's 'Deixa Rodar' LP from 1979. A tip off from our good friend Mark 'GV' Taylor, played at the first of our 'Braziloid' sessions on Brighton sea front.

'To Parado Na Tua' is another killer midtempo disco/boogie cut, produced by the legendary Lincoln Olivetti and Robson Jorge, released in 1984. Taken from the sought after and now fairly pricey 'Festa Funk' LP on RGE.

Fly Free is the newest EP by Jon Dixon on his Hi-Tech Jazz label, 4EVR 4WRD (Forever Forward). He collaborated with 2 good friends and Detroit legends, John "Jammin" Collins and Al Ester to create two unique edits that best suit their personal DJ style. He is no stranger to both jazz heads and techno innovators. He's played with UR's Timeline with Mad Mike, Carl Craig to jazz great Marcus Belgrave. "I wanted to make something that could be the theme song for a Detroit summer regardless of where you're going or coming from," Jon said. "I wanted to create a song that was perfect for cruising down Jefferson heading to Belle Isle, or being stuck in downtown traffic after a game." Jon Dixon took something so familiar to the people of Detroit and transformed it into a piece the world can dance to.

"B-SIDES, REMIXES, RARITIES: VOLUME 3 & 4" is the second DLP in the master of mash-up's "SOUL MATES" series, compiling 15 more tracks from AMERIGO's extensive catalog. Featuring KENDRICK LAMAR vs. MARVIN GAYE, DR. DRE vs. CURTIS MAYFIELD, BLACK STAR vs. ARETHA, and many more.

Irish producer and DJ Casper Hastings returns to the label in full force with a 6-track EP titled “Recreational Murder”, unleashing a lethal mutation of electro, techno and jungle, the release showcases Casper’s versatility as an artist who garners clear-cut expertise in his field.

Nodding to its foreboding title, “Tangerine Meme” follows suit with an increased pace, woven together by squelchy synth work, wobbly bass and a gnawed up vocal scattered throughout.

“Reaper” lands with a pitched-up vocal riff opening the track; the word LSD later echoing through the ghostlike atmosphere laid out by a snappy pattern of snares and smoggy distortion. Peder Mannerfelt’s remix of the track comes as a curveball and flips the B-Side of the record, upending the previously understated but ominous tone with thundering drums, whiplike percussion and in-your-face high velocity.

“Ruthless Romance” continues on the rapid tip, this time highlighting Caspers long-running love for jungle. With a spirited UKG-tinged sample layered over clattering drums and hardcore bass lines with the celebrated genre, this is the track that brings a chunk of quick escapism. The deconstructed “Good Medicine” closes the record with the return of stabbing bleeps, intense kicks and swirling psychedelics accompanied by a grunt-heavy sample to reflect the EP's theme a sense of dread lurking behind every corner. Looping full circle to that initial cinematic feel, the final track / digital bonus “Akashita” marks his solo instalment on the label with palpable effect.

Manufactured in Dublin, Yin Yang Label 2025

Here comes a true South American LATIN JAZZFUNK treasure from Argentina!!!
Sound Essence is more than proud to present these lost recordings from 1974 to music lovers again in all their glory.
CARLOS FRANZETTI, who has once again been in the spotlight in recent years thanks to the re-release of his strong late 70s JazzFusion record "Graffiti", was also in charge of this record called DEDOS. The story behind:
In 1974, after CARLOS FRANZETTI was living in Mexico and worked as the musical director of FERMATA International, he returned to Argentina. In Buenos Aires his friend MOCHIN MARAFIOTTI was recently appointed A&R at the local recording label MUSIC HALL . Marafiotti asked Carlos if he wanted to record some of his music and he answered that he had in mind a group playing LATIN JAZZ . After a couple of meetings they came out with the idea of covering the RUBEN RADA tune DEDOS recently recorded in the US by AIRTO MOREIRA along with the OPA TRIO. Carlos contributed his own composition "Doce y Diez" . He selected the group consisting of his friend and member of the uruguayan Band TOTEM, Ruben Rada on percussion, Ricardo Lew on guitar , Emilio Valle on bass and Osvaldo Lopez on drums covering keyboards and vocals himself . This formation recorded tracks and vocals in a three hour session and the next day the track was mixed. Music Hall released "Dedos" and "Doce y Diez" on a single record and after months of discrete airplay and not so good sales the project for an album was draped.
"It is a rewarding experience to see a re-release of this two songs a half century after the original release.
It was hot and it looks and sounds even hotter now. I love it!" (Carlos Franzetti, New Jersey, December 2024).

If there’s one thing we know at International Feel, it’s that good things take time. But sometimes, just sometimes, they take a little longer than expected. Enter IFEEL088, a split remix 12” that stitches together two albums, two projects, and a collection of kindred spirits who understand the delicate art of sonic transformation.
Charlie Charlie (the Swedish duo of Chords and Bella Boo) have been long-time admirers of Mondag, ever since their ears first met the melancholic splendor of Sad Soup. When it came time to create Save Us, they had one request: a sax solo from Kristian (of Mondag fame). A beautiful idea, but as the fates (and studio schedules) would have it, the horns never made it onto the album.
Fast forward, and what began as a missed opportunity has now come full circle. Mondag, still taken with Save Us, took matters into their own hands and offered up a remix – a shimmering, unexpected rework of a track that already carried so much weight. Charlie Charlie obliged. And, because there’s no such thing as too much of a good thing, Bella Boo herself offers a tight and nimble edit, while Gerd Janson drapes the track in an ambient mist for those more horizontally inclined.
Hypernatural exists in some liminal space between waking life and dreamstate, it makes sense that its remixes should play with perspective. The trio—Dan Whitford (Cut Copy), Mirko Vogel, and Mike Gamwell (a.k.a. Knightlife)—crafted their album between the Swedish coast and the Scottish highlands, capturing the sublime and the surreal in equal measure. Now, it’s time to hand things over to new guides.
Mike Gamwell himself steps up, delivering a fresh take that bends and stretches time, while Gerd Janson follows, offering another piece for the puzzle—one that slots seamlessly into the hazy, transportive nature of the Hypernatural sound.
One record, two projects, three perspectives, and infinite interpretations. IFEEL088 is a reminder that sometimes the best things in life are worth the wait.

Electronic music has never been solely about the music itself or its fame. It has been a fight, a totem. Every week it becomes a universal communion, a celebration, a reconciliation with both ourselves and others. No frontiers, no territories, no certainties other than being as authentic as possible.

As a musician and producer, after five albums, I clearly know that my proposition will always be about diversity more than a single crafted sound. This is how I am: multifaceted, nourished by social human exchanges and my encounters in science, art, and technology. I have one life and different bodies. I can be physical and digital, technological and organic, house, techno, and soul. This album is about shedding light in a vertical period where the fight for truth and visibility becomes crucial, where Blockchain might become our right to vote. It's about making complex things sound simpler, joining the dots. A proposition more than a promise: Unshadow.

The metamorphosis is happening; embracing all generations on the same song with Nile Rodgers and Madison McFerrin! Embracing the diversity of backgrounds, styles, and geography, from Sacha Rudy to Dominique Fils-Aimé (Canada), through Natalie Sade (Australia). As a citizen of the world, having traveled endlessly for 30 years now, I know how lucky I have been to experience and experiment with various situations. If this album can simply share some of the joy I have received and spread some goodwill and white magic to the listener, I will be the happiest seeing the light that chases away the shadow.

In ihrer bisher zwölfjährigen Band-Historie veröffentlichten Nicolás Jaar und Dave Harrington, zusammen bekannt als DARKSIDE, die beiden Alben ""Psychic" (2013) und ""Spiral" (2021). Mit ihrem langjährigen Freund und Kollaborateur Tlacael Esparza als neues Bandmitglied und Schlagzeuger kommt jetzt ihr drittes Album ""Nothing". Das Ergebnis ist faszinierend und vielschichtig. DARKSIDE schmücken ""Nothing" mit prägnanten Rhythmen, verzerrten Vocals und kreieren eine ganz eigene, wie ungewöhnlichen Ästhetik.

Um die Entwicklung zu verstehen, muss man die Hintergrundgeschichte kennen: Jaar und Harrington lernten sich in den frühen 2010ern während ihrer Schulzeit in Providence kennen. Während der Tour zu Jaars Solo-Debütalbum fand eine spontane Aufnahmesession an einem freien Tag in einem Berliner Hotelzimmer statt. Die Session war wortwörtlich brandheiß, denn sie endete mit durchgeschmorten Lautsprechern. Der Raum füllte sich mit Rauch und der an diesem Tag entstandene Song wurde ihre erste gemeinsame Single ""A1", DARKSIDE war geboren.

Zwischen den ersten beiden Alben legte das Duo eine sechsjährige Pause ein. In dieser Zeit verfolgten Jaar und Harrington jeweils eigene kreative Wege: Jaar etablierte sich als Solokünstler und Produzent, während Harrington als innovativer Gitarrist und Experimentalmusiker die Underground-Szene in L.A. aufmischte und die Rock-Band Taper"s Choice gründete. Die Geschichte setzt sich dann im Herbst 2022 in Los Angeles fort als das Duo eine Reihe von Shows buchte, um sich nach acht Jahren erstmals wieder als Live-Band zu vereinen. Esparza kam als festes Mitglied hinzu und veränderte grundlegend den Klang und die Energie der Band. Die Idee von ""Nothing" entstand während der Suche nach Achtsamkeit und Harringtons stillen Momenten mit seiner neugeborenen Tochter, in denen er Schönheit im Nichtstun fand. Für Jaar wurde ""Nothing" zu einem Symbol für die allgegenwärtigen, wie überwältigenden Probleme, unausgesprochene Gefühle und den Stillstand in globalen Krisen wie Klimawandel, politischer Heuchelei und wiederkehrender Gewalt.

Zongamin and Mytron reunite on Multi Culti with an album of collaborations. Exploring the depths of leftfield outer nationalism these two mainstays of our global family serve up a colorful array of mind-altering disco and interdimensional dub. Tribal motifs merge with field recordings while synthesized animals call out over exotic hand percussion. Jams on vintage synths meet 8-bit sampling bounced onto spring reverbs and digital delays from the 80s. Started mid-pandemic, this collaboration ignored the surrounding havoc and social distancing, instead focusing on Good Vibes TM and positivity with a genre-defying approach belying trans-continental origins. The result is a playful symbiosis that is Phatter than the sum of its elements. Mytron is Jacek Janiszewski, a pan-European multi-instrumentalist, producer and DJ, born in Poland, raised in Holland and Germany, and now living in London for the best part of a decade, his releases, for labels including XXX, Codek, Bordello A Parigi, Multi Culti, Nein and Les Yeux Orange, herald a similar nomadic spirit. Zongamin, Susumu Mukai is a composer, producer, and illustrator based in London. He has released records on Multi Culti, Flesh Records, XL recordings, Ed Banger, ESP Institute, and AD93, and has remixed for Air, John Cale, Trevor Jackson, Sandro Perri, and others. He is a member of groups Vanishing Twin, V/Z, Holy Tongue, and Stalactite.

The year is 1974 and we are in Kingston, Jamaica: Lee Scratch Perry has just presented Susan Cadogan's album 'Sexy Suzy' on his Upsetters label. The Jamaican singer, who is just under 25, sees her cover of 'Hurt So Good' flirt with the top of the UK and JA charts but has no idea that 50 years later, she would still be a household name among Jamaican music fanatics.

On the B-side of this LP, produced by Mr Perry himself, the penultimate track is a cover of Little Willie John’s "Fever". Over the years this song has taken an unshakable place in the hearts of reggae lovers worldwide. With nearly 700 different versions referenced to date, Fever already enjoyed classic status at the time, mainly thanks to the success of Peggy Lee’s version released in 1958. Since then, in all styles, across all continents, the song has been reinterpreted, so much so that it's rare to find a year since 1956 without a new version hitting the market! Universal, timeless, this love song is known to all music enthusiasts, but in the reggae scene, it’s Susan Cadogan and Lee Scratch Perry’s version that still reigns supreme.

50 years after its release, Stand High Patrol offer us their own version. Recorded at the end of 2023, the Susan Cadogan / Stand High Patrol collaboration wasn’t initially meant to move beyond its dubplate status. However, due to the track’s success in the dance and a growing demand, it became the first pressed collaboration on record between a Jamaican artist and the Dubadub Musketeerz. Accompanied by its dub version, Stand High’s take on Fever is a creative reimagining and brings to mind that classic 90s UK dub style. Its sits firmly on its foundations, a stepper roots-flavored drum beat. Some might find the interpretation ‘more jazzy’ than Lee Perry’s, but everyone will have their own take. One thing’s for sure—its impact on the dancefloors is undeniable!

BDQ Records are super happy to finally be releasing this absolute banger, we recorded this 25 years ago but for some reason we never released it, fast forward 25 years and whilst tidying up the studio we found the original tape, which we thought was lost, transferring it from tape was a mission, however we did it and then set about re-recording it. Currently both sides are being played out across the clubs and on radio, we’re getting some seriously good feedback from everyone. Also, it’s been our fastest selling preorder on Bandcamp.



Side one is a cover of the Timebox classic Beggin’ with fabulous vocals from the wonderful Sarah Orpen. its a Banger.



On the flip is Take me for a little While originally penned by Trade Martin, this fantastic slice of pure Northern Soul is getting some amazing reactions from Djs and folk on the dance floor, again Sarah knocked the vocal out of the park.



Released on limited Vinyl 45 this one is gonna be an instant classic.

Lost tracks don’t stay lost forever. Running Back is proud to present the reissue of Aric’s I Love Your Love – a long-forgotten gem from the good-time party days of the early dance era. Originally created in the spirit of celebration and groove, these tracks disappeared into obscurity until a few dedicated DJs and dancers across the globe began bringing them back to life.

When Elado stumbled upon the songs and saw the magic they still held for modern dancefloors, he tracked down Aric – now better known as Dr. Aric, a paediatric public health professional – to bring the music back to the world. What followed was a journey through memory, music, and rediscovery.

The result is here: the original cuts, plus fresh remixes from Elado, Pete Blaker, and Gerd Janson. Nostalgia meets new energy, and the dancefloor wins again.

1021 is the third studio album from Toronto singer/songwriter, Rochelle Jordan. Originally released in 2014, 1021 is the album that forever changed Rochelle’s trajectory as an artist. Filled with moments of honest and pure self expression yet still showing signs of who she has eventually become, the album showcases Rochelle’s resilience as an indie artist, her unapologetic risk taking, and her drive and uncompromising belief in herself. The album’s production is filled with lush, airy, evocative beats, with her vocals drawing comparison to the iconic R&B superstar, Aaliyah - in fact, “Ease Your Mind,” was co-produced with Eric Seats, who produced the iconic Aaliyah track, “Rock the Boat.” Since then, Rochelle has gone on to become a major player in the R&B and dance spaces, most recently working with Kaytranada on his new album. To celebrate the 10 year anniversary since it’s release, 1021 will be making its debut on vinyl for the very first time. 2xLP, pressed on Baby Blue Galaxy vinyl and includes a 24x36 double-sided poster, as well as three additional songs not originally included on the album - this is strictly for the Day Ones.

300 limited copies, hand numbered, vinyl only, mastered by DJ Steaw, Made in Berlin

We are overjoyed to present this album, another one from our bucket list and another one to set the record straight and illuminate the history of another much loved, but until now mysterious group. The Invaders made some of our all time favorite records - back in 2013 we issued five 45’s of their brilliant, sometimes plaintive, sometimes hopeful and sweet early roots music. Their sound touches folk and gospel in lovely subtle ways that elevate them above the many harmony groups of the early roots reggae era. Since the start of DKR we were striving to learn more about the group - and despite being able to license a portion of their output for reissue, and get anecdotes about them here and there, we were never able to connect with the group themselves. But we never gave up asking about them, and finally in 2024 we were able to link with Delroy “Bongo Pat” Forde, the surviving member of the group. Unfortunately other Invader, Lloyd “Paddy” Campbell passed on several years back. To hear and learn their full story, you need to check out this album and read the liner notes. This 13 song LP corrals much of their output - some of the tracks we previously issued but have been long out of press, some more never before reissued, and some great related solo works by the duo. And to cap it all off we’ve added two new voicings on a couple of our favorite vintage rhythms, by Invader Bongo Pat himself, live in 2024, singing two Invaders songs written way back in the early 1970s but never recorded back then. All together this is a long overdue document of one of the 1970’s finest groups and one dear to our heart.