quête:o rem

New school Tech House hero Ben Sterling makes his debut on Oblong with the "Step Forward" EP as an ode to late great Nathan Coles.

The title track is a peak time rolling groover which is complimented by label boss Bushwacka! remixing it in his trademark Breaks style.

The EP is completed with 2 more late night floor fillers "Outtaspace" and "Derp-Ous" which would definitely not be out of place at the legendary Wiggle parties run by Nathan.

Issued on his crescive Afroterraneo imprint, Kiko Navarro reunites with longtime collaborator and friend, Latin-Grammy award winning vocalist Buika, for new single ‘El Silencio’.

First meeting back in 1997 on their native island of Mallorca, Navarro and Buika most recently worked together for the heart-rending Latin House song ‘Lo Siento’, one of the highlights of Navarro’s 2017 album ‘Everything Happens For a Reason’, as well the 2006’s ‘Soñando Contigo’ on Pacha Recordings, which remains an enduring classic.

Originally written in 2010 but never released at that time, ‘El Silencio’ comes complete with a brand new club version, for which Buika has recorded fresh vocals. When the pair returned to the studio in September 2023, it was as if they’d never been apart. “It was like the time didn’t really pass” says Kiko. “We have this connection that doesn’t go anywhere. We know each other so well, and we know what we want. Working with her has brought me many good things, and I’m so excited to share the new music we’ve made together with the World.”

‘El Silencio’ (‘The Silence’) is a slinky, mid tempo groover with subtle jazz-funk touches, accompanying a universal song about love. “It’s about a couple who have loved each other through hard times, and a desire to be together still. There’s a message of hope here, saying ‘let’s try’. No drama, no anger, just love” says Kiko.

Issued on his crescive Afroterraneo imprint, Kiko Navarro reunites with longtime collaborator and friend, Latin-Grammy award winning vocalist Buika, for new single ‘El Silencio’.

First meeting back in 1997 on their native island of Mallorca, Navarro and Buika most recently worked together for the heart-rending Latin House song ‘Lo Siento’, one of the highlights of Navarro’s 2017 album ‘Everything Happens For a Reason’, as well the 2006’s ‘Soñando Contigo’ on Pacha Recordings, which remains an enduring classic.

Originally written in 2010 but never released at that time, ‘El Silencio’ comes complete with a brand new club version, for which Buika has recorded fresh vocals. When the pair returned to the studio in September 2023, it was as if they’d never been apart. “It was like the time didn’t really pass” says Kiko. “We have this connection that doesn’t go anywhere. We know each other so well, and we know what we want. Working with her has brought me many good things, and I’m so excited to share the new music we’ve made together with the World.”

‘El Silencio’ (‘The Silence’) is a slinky, mid tempo groover with subtle jazz-funk touches, accompanying a universal song about love. “It’s about a couple who have loved each other through hard times, and a desire to be together still. There’s a message of hope here, saying ‘let’s try’. No drama, no anger, just love” says Kiko.

New Parisian label, Disques Messager, presents its new and second release. As its name suggests, the label has a simple leitmotiv: to place itself among the best messengers for rarities and sought-after gems of the international rare groove. A mission which began like fire last year with a 7inch reissue release including two Brazilian Disco bangers by Cristina Camargo. For this second efforts, the label doesn’t deviate from the artistic and quality path taken, however also making quite a U-turn, this time presenting 2 underrated kind of musical UFO, both from the French scene.
Not many info can be found about Yoanson & Karamie, two young artists from the French African diaspora, who randomly met with Nessim Saroussi and his label Ness Music in the late 80s. Nessim himself doesn’t remind much about the 2 guys, except that he quickly offered to produce them, which resulted in their only EP release, Kalimba (1988). Part of this EP, “African Leaders” is a stunning track melting Afro-Tropical percussions, Disco bass, Early-Electro beats and Leftfield vocals in a way that could remind of Doctor L or Arthur Russel productions.
On the contrary, Philippe de Lacroix-Herpin (aka Prof Jah Pinpin) has a long musical career started in the mid-70s and became a renowned saxophonist playing and recording for many famous French acts such as Jean-Jacques Goldman, Alain Chamfort, FFF, or even rap band NTM. In 1994, he moved definitely to the Reunion Island where he quickly launched the Prof Jah Pinpin 4tet, in his own words willing to play “free/funk/jazz/rock/tropical” music… Quite a vast and large musical tag, but which immediately make sense when listening to the surprising “The Final Bird” track. Only released as CD in 1996, this instrumental production has indeed a unique sound and flavor mixing all kinds of elements together (even samples of Weather Report).
Well as you can understand, words are not the best way to describe these 2 hidden treasures, so we strongly recommend the spinning to make your own view!

Immerse yourself in pulsating beats and refined taste with our latest Vinyl "Veinylpower." Featuring artists such as Monika Ross, Adine Frost, Ema Remedi, and Anaid, the musical journey spans from Deep House to Garage.

The design crafted by artist Kristina Supernova making your electronic music experience even more immersive.

For every record sold, a portion will be donated to SLOWODI - Solidarity with Women in Need, offering support to women facing challenging situations.

"Veinylpower" marks Veinyl Berlin's third groundbreaking release, celebrating women, the diversity of electronic music, and contributing to a meaningful cause.

Weldon Irvine was one of the finest American jazz pianist and composers of his generation. He released several classic albums man of which are now being reissued thanks to P-Vine, but not before being fully remastered for the occasion. Weldon and The Kats was one that he put out on his own label Nodlew Records after releasing some albums through RCA and Strata-East. It is perfectly indicative of his style and has his early work 'Mr.P.C' on it, which was recorded in 1968 with Steve Grossman on tenor sax and sometime Miles Davies associate Lenny White on drums. This one has never been reissued before so snap it up before it goes again.

Opening a new chapter for DNO Records, PLLFRY debuts on the label with five raucous halftime tracks that also feature collaborations with two vocalists – NST & Genoveva. The ‘Overexciting’ EP is built around iron-clad percussion and a healthy dose of mangled sonic futurism, but the dominating flavour throughout is big, bold, unadulterated bass.

As might be expected of tracks called ‘Demolition’ and ‘Collapse Of The System’, there’s plenty of damage being dealt; the former’s wrecking ball bassline spins violently as its supporting beats splinter and fall, while the latter’s destructive low-end hacks chunks from its itchy sci-fi soundscape like some psychotic sentient buzzsaw.

There’s room for nuance too, however. The title track is all about contrast, its rumbling bassline winding along like a colossal serpent, while hi-hats chitter, and Macedonian vocalist and producer Genoveva delivers a haunting, silvery vocal that’s cold and alluring in equal measure. And as if the undulating low-end and metallic melody of ‘Water Fire’ weren’t enough to make heads spin, the track features a vocal from South Russian up-and-comer NST that seems to slip and slide at will, pulling the track forward and always remaining just out of reach.

Bonus track ‘Old School’ nods to the golden age of hip-hop, taking a tough boom bap-style beat and scratch samples, but flipping it script with machine glitches and pellets of acid.

Like a collection of missives sent back from a hi-tek future, the ‘Overexciting’ EP serves as a reminder that DNO can’t be pigeonholed, and always stays one step ahead.

Rhythms of postmodern realism at the very bottom of the DNO.

There‘s no much to say about this track you haven‘t heard before. Originally released in 1999 on Skooby Records and produced by Massimo Gabutti, legendary italo disco producer behind Phaeax (among others) and Maurizio Lobina, probably Blue is one of the most sampled tracks on crossover hits over the last years.

Limited re-issue on blue vinyl including Ice Pop Mix, Hannover Remix, TJm Bluemax 04 Remix and Paris Casino House Mix.

Memory Remains boss Kirik joins forces with Miami’s Imbue for their collaborative ‘On Distance’ EP.

This time Kirik pairs up with the Miami-based trio Imbue who add their dynamic instrumentation to the project through guitars, piano, and synthesizer improvisation.

Opening the release is the jazzy funk-infused ‘On Distance’, laid out across seven minutes with an amalgamation of guitar licks and looped hooks alongside plucked bass tones, strings and organic rhythms combined to create a psychedelia-tinged twist on House. ‘All Right’ follows next and shifts gear into a more classic house feel, employing Latin percussion and wandering keys alongside guitar melodies and soulful vocal chants.

Opening the flip-side is ‘Lovers’ with its acid bass groove, intricately intertwined synth stab sequences and crisp drums all underpinned by Imbue’s hypnotic musicality. ‘Son Us On’ then rounds out the release, diving deeper into the House courtesy of bumpy low-slung drums, airy synth chimes and plucked guitars merged with an underlying dubbed-out and subtly unfurling feel.


early support by Massimiliano Pagliara, Archie Hamilton, youANDme, DJ Heather, Moskalus, Jean Pierre, Red Pig Flower, Red Rack'Em, Just Her, Michel De Hey and many more...

Making a remarkable step onto the CEP booth, Blame The Mono introduces their debut with a magnetic collection of two game changing original tracks. This release not only displays the duo's creative capabilities but also features melting remixes from Hermeth and the label head riko.

The release kicks off with the 'Kneebreaker Mix', showcasing a top-tier interplay of reese bass. The pushing bassline and dynamic vocals provide the track with its living strength. In addition to the effects, the midsection break-beat mirrors the timeless sound of Blame The Mono, showering the listener with unmistakable recognition value. Coming up next is likely the standout piece from the release. The 'Industrial Mix' manifests as a 117 BPM break, highlighting an remarkable synergy of hitting kicks, spicy drums, and leading vocals. This track radiates a rock and metal-inspired vibe, making it truly one-of-a-kind. Opening the B-Side is riko’s trance-infused remix, featuring consistent vocal shots from the original and a galloping bassline. In addition to the dub chords, the monotonous melody assumes control during the significant break in the middle, contributing a hypnotic quality to the track. Wrapping up the release, Hermeth introduces a techno-infused remix, characterized by powerful classic chords and a driving bass that sets the tone on the dancefloor. The original vocal and lead elements illuminate the track, firing it up with a distinctive flavor.

'London Accent' by Blame The Mono drops via CEP Records on 15th January 2024.

Kicking off our new Toolroom Trax vinyl series which celebrates the best releases from Toolroom’s sister label is Italian super-duo Twolate with the incredible new single 'Baila'. A straight-up 4 to the floor club shaker, with powerful hard-hitting drums, deep punchy afro vocals with carnival whistles and percussion hits that will turn the dancefloor into a fiesta. Two dance heavyweights collide on our next offering; best-selling house artist CASSIMM and Chicago house royalty Gene Farris for their latest collaboration 'Party People'. With numerous #1 singles and remixes on Beatport and Traxsource, CASSIMM returns to Trax with his notorious sound of feel-good, high-energy house music, team that with Gene Farris as he effortlessly delivers another irresistible vocal hook. 'This is for my people, my party people'. James Haskell kicks things off on the b-side with 'Check It Out'. With numerous releases on D4 D4NCE, LoveJuice and of course Toolroom, James Haskell is fast gaining support from the scenes top tastemakers including Bob Sinclar, Leftwing : Kody, David Guetta, Tita Lau and Dombresky to name a few. Gracing club hotspots around the world, James Haskell is set to top the charts with his Tech House and Big Room sound. Closing out the Sampler is Toolroom Trax A&R and Music Curator Danny Rhys with his percussive tech house weapon 'Sibali'. Following on from his 2021 Traxsource number #1 single 'Damn Good', in collaboration with house vocalist legend Mr. V. With releases on respectable labels such as Farris Wheel Recordings, Flashmob, HouseU and There Was Jack, Danny Rhys boasts high, feel-good energy, bumpy basslines, rolling percussion and infectious vocals that has since gained respect from AAA talents such as Gorgon City, TCTS, Kryder and of course Mark Knight.

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

There’s something to be said for getting noticed, for standing out from the crowd. West London’s T.Williams is one of those people, having accomplished a full sweep of merited recognition over the years. Emerging onto the house scene in 2010, T.Williams instantly marked himself as a breakthrough artist with a difference; his unique take on house music turning heads.

Far from a newcomer, his path as a musical artist started in the grime scene as Dread.D. Signed at the tender age of 17 with grime anthem Invasion on Jon E Cash’s Black Ops label, Williams went on to have mass success in the grime and bass world selling thousands of singles worldwide. After a five-year reign, Williams found himself veering towards the world of house music. With a new found love for the sound and its sub-genres, T.Williams forged a signature sound influenced by his grime days, jungle, and garage. With a style that undoubtedly impacts, T.Williams’ crossover has been the catalyst for his success. Not only rife with groove and feeling but meticulously produced and engineered with deep rumbling basslines, the unapologetic bounce of grime and smooth vocals that bleed through African infused percussion work.

While in 2010 the industry took note when hit record ‘Heartbeat’ featuring vocalist Terri Walker made an impression, it was throughout 2011 that T.Williams defined himself - releasing solo works on his imprint Local Action and Pattern with remixes for Maya Jane Coles, Ben Westbeech and Skream. Not stopping at pricking the ears of fellow artists and those on the dancefloor, the end of 2011 saw Williams nominated for ‘Best Breakthrough DJ’ by DJ Mag, ‘DJ Stars of 2012’ by Time Out and featured in The Guardian.

Two relationships came to the forefront in 2012 that propelled Williams to greater heights. The first was his weekly show on legendary London station, Rinse FM and the second, Williams’ relationship with label PMR through his remix of Javeon McCarthy’s ‘Lost Time’. The remix was named Record of the Week by BBC Radio 1 and supported by tastemakers Annie Mac and Fearne Cotton. From here T. signed to the label exclusively releasing his debut EP for the label in September 2012, and in the process receiving further support from BBC Radio 1. Further remixes of Mikky Ekko, Wretch 32 and Lianne La Havas followed suit, as well as his biggest to date - Disclosure’s ‘Latch’. Powering dancefloors across the globe, T. went on to play three US tours, numerous festival stages, and deliver a second EP on PMR titled ‘Feelings Within’. The EP once again spanned a number of bases, from club bangers to heartfelt vocal driven tracks alike. Gaining his own monthly residency show with BBC Radio 1, 2013 ended with T. having played over 100 shows across four continents.

2017 marked the launch and release of the first collaborative EP with UK producer Julio Bashmore, via their joint independent Conch Records, a label aiming to push out more underground cross-genre music with heavy rotation from the likes of Moxie and Shy One. With an ever-expanding global tour schedule and further solo releases on the legendary NYC house label Strictly Rhythm turning heads, T.’s upward trajectory has never showed signs of slowing down. Selected to soundtrack the social media campaign for boxer Anthony Joshua in 2019 and now using his technical prowess as a musician to educate the next generation of rising stars at London’s respected Point Blank Music School has cemented his status as one of the UK music scene’s key players.

black.round.twelve is expanding its world and creating a new series focused on releasing long cuts of music spread over an entire record, appropriately named E X T E N D E D. Berlin-based Polish artist Maki Polne opens the project with two intensely hypnotic minimal tracks brimming with detail and production value.

Highly influenced by Berlin, CdV-rooted Maki Polne‘s acute love for quality sound is evident in “Don Joy´s Magic Sunday”, as both ‘Magic’ (A) and ‘Sunday’ (B) sound clear as crystal, with a frequency spectrum that’s both wide and colourful. With a strong focus on psychedelic sounds, ‘Magic’ is built around a breaky, half-time beat filled with slightly shuffled drums. A collage of warped textures, vocal snippets, synths and quirky bass stabs fill the remaining space with class, making it easy to imagine the cinematic soundscape working its on any bold dancefloor. ‘Sunday’, on the other side, is a more functional, 4-to-the-floor bass-heavy roller full of bright colours. Echoed vocal loops and rising pads create a particular vibe that would sound totally at home on a Sunday morning at CdV. Extended tracks for extended mornings, no doubt.

One-off electronic disco project of 1984 for the unmistakable sounds of the Yamaha DX7 - especially the notorious "tubular bells" during the verses - introduced at the end of '83, but which didn't catch on in Italo-Disco until the following year. "Dancing Dode" has the strangest spelling ever. Whoever created this truly amazing super theme barely knew English as the word "dode" does not exist in English. This explains why some Italo-Disco songs have obvious grammatical errors even on the original records. The artist or the authors thought that du:d would be written "dode" in English, but in reality it's "dude"... which means a meticulous and elegant man, potentially homosexual, in short a gay type, "King /Queen" of disco dancing like in that film with J.T.. The role of disco in the 80s was a ground for negotiating rights throughout history, so most people didn't care too much about choosing and hating someone's sexual orientation, but dancing, listening to music and this song with a beautiful melody is perhaps the rarest Italo-Disco song ever made.

Ray Mono, who first came onto the scene as a resident at well regarded Leeds party Mono_Cult more than a decade ago, is now helming the label of the same name.

After a notable first outing, he is quickly back with another of his supple and subtle minimal workouts. 'Synchronicity' is a brilliantly warm and bubbly opener with balmy pads and sci-fi signifiers, while 'Awakenings' picks up the pace for a more driving and late-night tech house vibe that oozes drum funk.

'Synchronicity' then comes as a Nu Zau remix with more chattery percussion and textured bass rumbles, and Sepp's remix of 'Awakenings' is deep, bumping minimal house. A super fresh EP once more.