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Der Disco-Klassiker High Energy kehrt zurück — moderner, tanzbarer und kraftvoller denn je! Auf dieser exklusiven 12“ Maxi Single in farbigem Vinyl erwarten dich brandneue elektronische Remixes, perfekt abgestimmt auf den Sound der Clubs von heute.

Top-Produzenten wie DJ Blackstone & Luxe 54, Block & Crown x Sean Finn sowie Softmal & Nytron verpassen dem Kult-Hit einen frischen, zeitgemäßen Anstrich. Satte Bässe, treibende Grooves und das unverkennbare Feeling von High Energy — ideal für DJs, Vinyl-Sammler und alle Liebhaber von Disco und modernem House.

Robsoul Recordings launches its 2025 campaign in style with the release of the ‘Make Love' EP, an impressive label debut from Italian producer and MPC virtuoso, Bress Underground.Following a strong 2024, which saw him release on GLB Dom, SNATCH!, Jackies Music, Special Grooves, and Slothboogie, as well as delivering unforgettable sets at iconic venues such as Sisyphos and NYC Downlow (Glastonbury), Bress Underground rolls out a sumptuous four-track selection of impeccable House music.“The EP was created by mixing a variety of production techniques, including the MPC, sampling, and Ableton Live,” explains Bress Underground, real name Andrea. “These were all projects I'd started and, for whatever reason, remained incomplete for some time. Each track started with a specific mood but evolved into something new as I finished them.”A love for all shades of House is evident throughout the EP, from the bumping horns and infectious shuffle of opener ‘Chick House' to the smooth, chiming keys and soulful tones of fellow A-side cut ‘Keep On'. On the flip ‘I Don't Pray' delivers a powerful, sermon-like groove whilst title track, ‘Make Love,' closes the release with its timeless 303 energy and undeniable dancefloor appeal. As Bress Underground himself puts it, this EP is “the perfect musical omelette,” blending textures, moods, and influences into a flavorful collection of House tracks.

The Second Installment of “Versions” PART TWO by NYC’s Multi-Talented GE-OLOGY.
A VERY SMALL RUN of VINYL ONLY 2x12", NO DIGITAL CONTENT

Terror/Cactus returns to Names You Can Trust for the first time since his debut on the label's Split Single series from 2020. Since then, the Seattle-based Martin Selasco has been steadily cultivating his individual brand of futuristic electronic cumbia, playing a multitude of shows and festivals, as well as releasing a handful of singles and a self-produced long-player, Forastero. The Buenos Aires-born Selasco embodies the new wave of cumbia that has always been championed by his home country: machine-forward audio/visual performances combined with a mixture of bugged out digital folklore and live instrumentation, and in the case of this latest recording with NYCT, baritone and clarinet from Seattle-collaborator Kate Olson.

We're not at liberty to tell you who this producer is but it's someone who has inspired us loads over the years.
These two tracks take in influences from Old school breakbeat, bleep and bass heavy early NYC house.
Recommended and very limited.

»White Noise« is a cooperation project between raster-media and the Max Planck Institute for Empirical Aesthetics. Artistic sound projects generated in the context of the scientific research institute will appear at irregular intervals. The themes and questions of empirical aesthetics research are taken up, questioned or challenged in very different ways. »White Noise« is conceived as an audio archive of the MPIEA artists in residence which records the artistic works on vinyl and documents the respective concepts and working methods in text form.

Victioria Keddie’s »Pshal P’shaw« (white noise #002) is a multimedia exploration delving into phonetic expression’s auditory and rhythmic nuances of phonetic expressions through an amalgamation of text, sound, video, data, and customized learning software. Drawing inspiration from the painter and architectural theorist Hermann Finsterlin who made speculative architectural renderings, the project originated during a residency at the Max Planck Institute of Empirical Aesthetics in Frankfurt in 2023.

The project’s engagement with the sonic landscape of the eight diphthongs in US English, documented through recorded sessions at EEG labs with participants of diverse international backgrounds, is not just a technical analyses. The applied script for the recording session, infused with a contemporary Western US dialect, ventures beyond, exploring the primal essence of phonetic expression and its impact on the oral landscape of mouth, throat, and tongue.

This work focuses on the spoken aspect of language: the art of oration, conversation, and mimicry. It reflects the beauty of our perpetual change, speaking directly to our humanity and the raw, tender moments of existence. It embraces the awkward, beautiful and vulnerable essence of our shared human experience.

Victoria Keddie is a multidisciplinary artist delving into sound, video, installation, and performance. Her work uncovers hidden narratives within ordinary artifacts and spaces, emphasizing their role in shaping our collective story. The examination of acoustic phenomena and language is a recurring theme in her artistic work. Keddie’s current projects navigate the acoustic complexity of language and dialects.

For over a decade, Keddie was co-director of E.S.P. TV, exploring the televisual medium for performance and sound. Keddie has performed and exhibited internationally. Recent fellowships include the NYSCA/NYFA for Music/Sound (2022), the Max Planck Institute for Empirical Aesthetics (2023), and the Bemis Center for Contemporary Art, Sound Art and Experimental Music Fellowship (2024).

»White Noise«, 40 p. magazine English/German, vinyl LP, cardboard box

As most of us now live in a world saturated with information, this album feels like a reflection of how the modern world might sound if it were to process its own chaos through a unified scream. Hailing from the highlands of Bandung, West Java, a city where tradition and modernization intertwine in the rhythm of daily life, Xin Lie unpretentiously translates this cultural fusion into a sonically rich and rhythmically bold debut LP.

The artist’s roots in the hardcore and punk scenes reverberate throughout the album, though they’ve been reshaped and refined for the club. There’s an undeniable pleasure in experiencing the chaos Xin Lie channels—irregular beats, dynamic frequencies, and disjointed grooves collide and expand, each track laced with a sense of unpredictable energy. Yet even in its most chaotic moments, the music feels deliberate, its edges softened by a sense of compositional care.

The album reveals a strange duality: tracks that seem to beckon you to the dance floor but never quite let you settle there. Frequencies flicker and fluctuate in patterns that feel just slightly off-grid, as though resisting traditional structures. Yet, amidst the digital textures, Xin Lie weaves in organic sounds—snippets of native conversations or environmental noise—creating layers that feel both intimate and expansive.It’s fair to say this album extends far beyond the boundaries of today’s club music.

Picture this: you’re moving through your daily routines—mundane, repetitive—and suddenly, the music shifts your perspective. It reframes the ordinary as something surreal, as though it’s deconstructing itself in real-time, breaking into fragments or conjuring entirely new forms. Perhaps it’s best imagined as the soundtrack to a multi-sensory art installation or a performance staged not in a gallery but in an unassuming house down your street. Who’s to say where it might take you?

Produced by Chez Damier and Ron Trent, the track was born in NYC, inspired by a transformative night at the legendary Sound Factory Club. In the early morning haze, as the echoes of basslines and rhythms lingered, the duo channeled the energy of the dancefloor into their studio. The result captured the raw, soulful essence of Deep House, reflecting the dancefloor communion that transcended time and space. To extend the feeling while honoring the original, Atjazz was invited to bring his jazz-influenced touc

With his deep understanding of groove and texture, he reimagined the track through two distinct remixes, each offering a fresh perspective. While both versions explore different nuances, they remain faithful to the track’s core essence, maintaining its hypnotic flow while adding a renewed vibrancy to the dancefloor. The duo of Chez Damier and Ben Vedren, proudly welcome French producer Fred H, one of the closest members of their extended musical family, to deliver a special remix of their track "Berlin Nights In Paris".

The result is a re-imagination of the track, introducing a percussive soundscape that drives the rhythm forward while offering a space for the listeners' minds to wander, immersing them in an atmospheric journey. This reinterpretation preserves the original’s essence while infusing it with new textures, dynamic movement, and a hypnotic flow that deepens its emotional impact.

This collaboration is more than just a remix. It’s a testament to the creative synergy within their musical circle, reinforcing the timeless spirit of house music while pushing it forward. er. Through his deep connection to what truly ignites the dancefloor, DJ SOURIRES maintains the emotive spirit of the original track, keeping its essence intact, yet injecting fresh dynamics that transforms it into a high-octane dancefloor heat track. His intricate, oscillating drum programming and masterful arrangement drive the rhythm forward, creating a compelling urgency that commands attention and movement. The remix swells with intensity, amplifying the hypnotic elements of the original while layering in driving percussion, rich basslines, and sharp, yet spacious synths that build tension and release in all the right moments. Every twist and turn in this remix is an invitation to lose yourself in the dance.

wiggle room is the long-overdue Blip Discs debut from pq - founding member of Nihiloxica (Nyege Nyege Tapes, Crammed Discs) and long-time label affiliate.

On the A-side, “igglewiggle” and “aliens!” augment UK styles to deliver two bassy heavy hitters. The more experimental B-side starts off very B2 with “ketty stepper anthem” and its wonked-out polyrhythm, before a stripped-back VIP of “aliens” closes the record.

Having made his mark as a core force behind Nihiloxica — the Bugandan-techno outfit whose explosive live shows earned global acclaim — pq now hones a functional club sensibility he first showed on Lapsus Records and his own label Spooky Shit.

wiggle room balances an adventurous energy with serious bass-weight, never stopping to stroke its proverbial chin even once. A definitive, forward facing statement that expands the peripheries of the dancefloor in an ever evolving UK bass-music continuum.

Amsterdam natives Maarten Smeets and Lars Dales, aka Dam Swindle, unveil their third long-player with the release of a new track, the first to be shared from the upcoming album, ‘Open’ - out on 30 May 2025 via Heist Recordings.

The new album sees the acclaimed duo dive far beyond the deep sonic waters they’re most known for, exploring lower tempos, synthwave, hip-house, and ambient across fourteen tracks. With a gestation period that traces back several years, ‘Open’ is their most intimate and personal body of work thus far, birthed during a time of self-reflection away from touring and personal transformation as individuals.

“We felt the need to tell a very personal story through our music as a translation of our personal development in the past years. We also wanted to make music without a specific goal in mind; We simply wanted to create. By taking away the grid of dance music and any expectations of what a Dam Swindle song should sound like, the creativity started to flow naturally with songs in many different styles and tempos. The result is an album that feels refreshing and uplifting and still very much true to the heart and soul of our sound.” - Dam Swindle, January 2025.

While the trademark Dam Swindle four-to-the-floor beats are still ever-present on tracks like ‘The Present Is Always Perfect’, ‘I Need You’, and ‘Is This Love?’, it’s the gentle waves of synths on opener ‘Home’, the contemplative piano chords of ‘Bloom’ featuring Joep Beving, and the lo-fi ambience of ‘It’s Okay, I Can Wait’ that showcase a melancholic, ethereal sensibility previously uncharted by the duo. Collaborations with vocalists such as NYC’s Haile Supreme on ‘Not Enough’ and Neo-soul singer Faye Meana on ‘Girl’ expertly find room in between the dancefloor and home listening sessions, and a clear standout on the LP is the title cut where message-heavy rapped vocals from UK artist Samson ebb and flow amongst iridescent grooves.

Under the helm of Maarten and Lars’ adept A&R, their Heist imprint has become a beloved home for house heads of both schools old and new, platforming some of dance music’s biggest names from Cinthie to DJ Sneak as well as the musical dawnings of artists such as Kassian and Makèz. The Dam Swindle alias has achieved house music royalty-like status across a storied 15-year career that includes two critically lauded full-lengths, collaborations with the likes of Tom Misch and Kerri Chandler, and a globetrotting touring schedule. This album stands as their most profoundly personal work of art to date, and they can’t wait to share it with you.

Edit maestro Danny Krivit delivers a double-sider of killer instrumentals that rocked such iconic venues as the Loft and the Paradise Garage. ‘Flying Machine’ from War was written for the climactic scene in the 1978 film Youngblood and brings an intense burst of drama and excitement to any set. With swirling flute, the group’s trademark heavy percussion & an iconic drum beat that's been sampled by countless afro house records. This Latin-flavoured jam never fails to provoke dancers to new heights of expression, appearing for the first time on a 7-inch! The Flipside ‘How Much Are They’ plumbs the depths of dub and exists in a strange netherworld between four-on-the-floor, steppers reggae and motorik krautrock, courtesy PIL bassist Jah Wobble and Can’s Jaki Leibezeit and Hoger Czukay. Two certified classics from the playlists of NYC’s greatest clubs, remastered & delivered in maximum sonic fidelity.

Analog Africa doesn't do anything other than special releases really, but this one tracing the label's origins back to Zimbabwe over 20 years ago is a real standout. A carefully curated collection of 25 tracks with a fine booklet proving plenty of extra context, it captures the birth of the country's modern music scene and brims with the creative sound explosion of the 70s and 80s. Before genres were fully defined, artists blended rock, rumba, soul and traditional rhythms in bold, experimental ways that still stand up and get diggers and dancers excited in 2025. Included are never-before-released tracks from Thomas Mapfumo, Oliver Mtukudzi and more and they all add up to rich and dynamic snapshot of Zimbabwe's peerless musical evolution during what was a transformative era.

Label head honcho Jovonn returns to Body N'Deep with the 'I Am Music EP', giving you a taster of what to expect from his forthcoming album due in 2025.

Three quality deep house inspired tracks from NYC's finest!

Mathame Unveil Their Latest Masterpiece: "ANGEL"

Renowned for their groundbreaking contributions to electronic music, Italian duo Mathame is set to captivate audiences once again with their latest single, "ANGEL" Conceived in January 2024 amidst their vibrant tours across Mexico and Asia, the track marks a new pinnacle in Mathame's illustrious career. Critics have lauded "ANGEL" as a real summer anthem, perfectly capturing the essence of summer vibes with its infectious energy and uplifting melodies.

In February 2024, Mathame's journey took them to the heart of Manhattan, NYC, where they collaborated with the equally illustrious Italian duo Parisi. Known for their collaborations with industry giants like Fred Again and Swedish House Mafia, Parisi has been close allies of Mathame since Mathame invited them to perform their first-ever live shows in London and NYC during 2023 and 2024 at Mathame’s events.

This union of brotherhood and musical genius birthed "ANGEL" a track co-written by both duos and perfected through electrifying live performances during the spring. The creative process culminated in the iconic setting of Ibiza, where the final touches were added, ensuring "ANGEL" would emerge as the definitive summer anthem of 2024.

Critics have hailed "ANGEL" as a testament to the innovative spirit and profound synergy. The track showcases their ability to blend mesmerizing melodies with pulsating rhythms, creating an unforgettable experience for listeners worldwide.

NO COVER!

DJ Sotofett presents a double 12inch with 8 strictly underground & classic Techno tracks. The album features regular collaborators LNS, L.A. 2000, Ronny Nyheim and Zarate_Fix while scanning through a set of tracks designed for DJ Sotofett's resident nights at Berlin's Tresor club. Energy driven Dub-Techno, overtonal and percussive Acid, pumping bassline-riding power Dubs and Deep Techno wraps up this DJ friendly but versatile double pack. The programming, mixing, mastering and cutting on "WANIA mk1" has been perfected for an attempt to resurrect real undeground & no-bullshit club music, strictly for real DJ's and clubbers who passionately loves the core of true Techno music. Includes the bombastically percussive "Preparation" and 909-vocoder driven "My Spirit Is In Techno Music" as well as alternative mixes from the previously released "WANIA mk2".

THIS 2x12" SET IS CUT WITH LOUD VOLUME FOR EXCELLENT CLUB USE!

Aimer Perdre is a movie by the Guit Brothers and tells the story of Armande Pigeon; the queen of shenanigans. In Brussels, she struggles to make ends meet because she can’t stop gambling on everything, always ending up on the wrong side of luck. When she teams up with Ronnie one night, everything changes – they win it all. And when you hit a winning streak, you have to know when to stop.

For Aimer Perdre, Brooklyn NY native Simon Hanes travelled to Brussels in order to work directly with the directors, synchronizing the editing of the film with the composition of the soundtrack so that both processes would influence each other. Hanes and the Guits spent 3 months working alongside each other almost every day, passing ideas back and forth and allowing the soundtrack to grow organically. The music is an honest representation of Hanes’ experiences over those months, which he spent couch surfing across Brussels, sharing meals and ideas with new friends in broken refrains of French and English – falling asleep at the Cinémathèque, and occasionally breaking into abandoned buildings…but thats a story for another time.

Throughout all this, Simon hired musicians he met in bars, members of the Brussels experimental/artistic community, singers from a choir that was rehearsing in the squat where the Guits built their editing room…All the while sculpting the soundtrack out of these seemingly dissolute elements and constantly blurring the line between the compositional process and his day to day life.

Finally the process culminated in hiring the FAMES string orchestra for ONE SINGLE HOUR (all they could afford) to achieve the full orchestral sound the film’s climax so clearly needed.

The end result, like the film itself, is a reflection of life – a hodgepodge of sounds, colors and ideas that come together to create a beautiful, unique tapestry, sometimes harmonious, other times less so.

Comes with a limited edition flexidisc with a bonus track.

As bassist for dance-punk outfit The Rapture, Mattie Safer cut his teeth in the music scene alongside a wave of now-legendary early 2000s NYC acts like the Yeah Yeah Yeahs, LCD Soundsystem and more (a time period recently immortalized in the documentary film ‘Meet Me In The Bathroom.’) Fast-forward nearly 2 decades and Mattie has found the sweeter side of dance music as the current lead vocalist for slo-mo kings Poolside, and now he presents his 2nd solo lovetempo project on Razor-N-Tape.

Championed heavily by Gilles Peterson, lovetempo’s modern soul classic 'But I Do' gets a vinyl release with a trio of remixes. Crackazat delivers in his signature style, weav-ing the organic elements and earworm vocals of the original into a deep and jazzy mix. Lon-doner Daisybelle bumps the BPMs up a few notches and adds pulsing synths to her take, and Brazilian duo From House To Disco turn in a dubby club remix to round out the record.

Edits by Mr K
Edit heavyweight Danny Krivit edges close to full-on remixes with these two extended takes on soul genius Stevie Wonder’s timeless tunes. Using isolated instruments and vocals, the familiar classics take new shape in the able hands of Mr. K, providing a fresh look at cuts that have never faded in popularity. ‘Master Blaster’, Stevie’s tribute to Bob Marley, gets an attention-grabbing intro that is tailor-made to slide right into DJ sets, while the flip, the R&B essential ‘I Was Made To Love Her’, is filled with breakdowns and clever cuts that will open the eyes and ears of even the most jaded soul fanatic. Masterful work from NYC’s edit king and a fitting tribute to the Motown legend on a loud 12-inch readymade for club play. Record Store Day special!

Announcing the debut album from one of London’s most electrifying acts, New Regency Orchestra. An 18-piece Afro-Cuban big band, inspired by the musical melting pot of NYC in the 1950s, but with the punch and power of a whole host of London’s best Latin and jazz musicians. Blowing new life into these compositions, the album is a reimagining of some of the finest music from that golden era. From early 1950s René Hernandez and Tito Puente, through to the 1970s salsa of Rafael Labasta and Orlando Marin, produced and performed with fresh fire.

NRO is the brainchild of its artistic director, and the man behind Total Refreshment Centre and Church of Sound, Lex Blondin. Through a long-held passion for jazz, Lex discovered the explosive Afro-Cuban rhythms of mid-1940s NYC via the godfather of Afro-Cuban jazz, Mario Bauzá. A time when two musical worlds collided in a fusion of creativity and energy, jazz luminaries like Dizzy Gillespie and Charlie Parker joining forces with Cuban greats like Machito and Chano Pozo. This vibrant sound was music to dance to and found a home at The New York Palladium, a formative space of freedom and expression that was key to the scene’s development.

Although dance-focussed in their makeup, those early recordings are not often heard in modern club environments and Lex dreamt of retelling their story with a contemporary dynamism. A slice of serendipity followed, as a slot at a new festival opened up and Lex jumped at the chance to make this idea a reality, an 18-piece big band breathing new life into these beloved songs.

Enlisting the expertise of some of the capital’s finest talent, Lex and co-captain Andy Wood, of Como No fame, put together a world-class line-up of talent. Bringing in Eliane Correa as musical director and bandleader, a fluid and interchanging 18-piece band was formed.

The album itself is a hand-picked selection of timeless Afro-Cuban jazz classics, reimagined with NRO’s unbridled energy. It contains ten incredible instrumental tracks including 'Pregon' with its anthemic horn stabs and the addictive head nod bounce of 'Mambo Rama', alongside two scorching vocal numbers in 'Papa Boco' and 'Labasta Llego'. Coupling a heavyweight rhythm section with a wall of horns, they provide a fresh spin on songs from Tito Puente and Chico O'Farrill, René Hernandez through to Rafael Labasta.

“Some of the tunes like Tito Puente’s ‘Mambo Rama’ and ‘Scarlet Mambo’ might sound like they went to a gym as extra drums and bass synth were added to them whilst the tune ‘Sahib & Tito’ is a mix of Tito’s ‘Mambo Buda’ and Sahib Shihab’s ‘Nus’. Our intention is to be both respectful to the innovators and inventors of this incredible music and to pay our dues, but also to add something special from London where the city’s new jazz scene connects with its Latin American musicians and the musical influences around us.”

This pure collective joy, shared experience and music you can’t help but move to.