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Joe Claussell, a true prophet of spiritual dance music, delivers a headlining remix (‘extended’ and ‘dub’) that bridges Afro-diasporic ritual, deep house and jazz mysticism. Timeless, ceremonial and powerful. A statement piece for uplifted floors and selectors.

Let Me In is a sweet drop of musical sunshine, a song of love and yearning distilled in the southern hemisphere and elevated by the dulcet tones of Dub Princess.

The bones were first created by Isaac Chambers in 2015 as a rough sketch, and over the years more elements were added, including a woodwind section played by Jarrod Bremerton and a guitar solo by Prosad Freeman. It stayed as an instrumental until 2020 when Dub Princess added her stunning vocals to lock the tune into its final form.

“I love the long journey this song took to reach the finish line. Some tunes are created quickly and others need to marinate for years before all the ingredients come together” (Isaac Chambers)

On the flip, International Observer is on stellar form, weaving an accordion melody in to the original to create a taut, bass-forward dub mix.

Longtime Observer observers will recognise many of his distinctive production trademarks, originally developed in the eighties and honed further still since his debut release on Different Drummer in the early noughties set audiophiles ears aflame.

"What a pleasure it was to take a deep dive into dub with Isaac and Dub Princess” (Tom Bailey)

UK Street Soul, electronic, Deep House

After enticing tastemakers and fans the world over with her 2-track junket into street soul, Be Loved / What Could Happen, Kuzco doubles down with the after-hours antidote. Bound to Be presents the final two tracks to complete the 4-track EP, plus 2 remixes from Ladymonix and Black Moonchild.

Ladymonix delivers an uncompromising scat dub of Be Loved - a niche and signature style to emerge from the Detroit underground that Ladymonix champions. This one is strictly for the house dancers. The B-side features "Waaalk" and "Ha Ha Ha", a sultry and energetic jaunt into ghetto tech and electro. If it wasn't already evident, Kuzco is clearly making a stand and representing the FLINTA and queer club spaces that she embodies.

The B-side is perfectly complemented by an outstanding remix from Detroit powerhouse Black Moonchild - a superbly deep and hypnotic techno groove reminiscent of UFO activity over the Motor City, with bleeping electronic signals passing through jittery hi-hat and drum passages, married with Kuzco's saucy spoken word.

Erstauflage als "Sparkle Starlight Vinyl" 2LP mit Etching auf der vierten Seite. Im technischen Sinne war jedes bisherige Album des französischen Trios SLIFT eine Fantasie - ein Mix aus Genres und Formen, der es der Band ermöglichte, zu improvisieren und so lange zu jammen, bis sie sich scheinbar gemeinsam ins All zu winden schienen. Ihr gefeiertes drittes Album, "Ilion" aus dem Jahr 2024, war eine Science-Fiction-Geschichte, aufgebaut aus 10- bis 13-minütigen explorativen Eskapaden, die oft mit Doom Metal oder Stoner Rock begannen, bevor sie sich frei in glorreiche instrumentale Vergessenheit drehten. Doch mit einer gewissen absichtlichen Ironie heißt SLIFTs viertes Album tatsächlich "Fantasia". Es ist ihr bisher schlankstes und direktestes Album. Es ist auch ihr bisher fesselndstes Album, eine pointierte Saga über die Überwindung internationaler Umbrüche, vorgetragen von einer Band, die mit voller Kraft vorangeht und dabei keine einzige Sekunde verschwendet. Obwohl nur Jean und Bassist Rémi Fossat verwandt sind, ist SLIFT im Grunde eine Band von Brüdern. Mit Schlagzeuger Canek Flores sind sie schon seit der Highschool befreundet, und 2026 markiert ein Jahrzehnt zusammen in diesem Trio. Sie proben mit religiöser Regelmäßigkeit in einem Keller auf dem Land in der Nähe von Toulouse, in dem Jam-Raum, in dem sie schon lange ihrer Vorliebe für langatmige Wunder frönen. Für die Albumaufnahmen zu "Fantasia" überquerten sie die französische Nordgrenze nach Belgien, um in dem riesigen Live-Raum der Daft Studios ein kompaktes Set aus schlanken, agilen und druckvollen Songs aufzunehmen. Die vielfältigen Einflüsse der Band sind offensichtlich: Das Album erinnert an Clutch in voller Wildheit, John Coltrane, Charlie Parker, den sowjetischen Schriftsteller Michail Bulgakow, Pink Floyd und Black Sabbath aus der "Master of Reality"-Ära. Und das klangliche Gewebe wird durch das gekonnte Mixing von Kurt Ballou (Converge, Cave In, High on Fire) unterstützt. Den Songs fehlt es nicht an der Komplexität oder Intensität, die SLIFT zu einem aufstrebenden Star der Heavy-Musik gemacht haben; sie haben einfach neue Wege gefunden, die Komplexität ihrer Vergangenheit in jedes Stück einzuflechten, wie ein Wandteppich, der jedes Mal, wenn man hinschaut, eine neue Ebene offenbart. Damit vermitteln sie eine bestätigende und dringliche Botschaft: Gemeinsam können wir die Zeiten, in denen wir leben, noch immer verändern. Heutzutage ist es furchtbar leicht, sich machtlos zu fühlen. SLIFT setzt sich auf "Fantasia" direkt mit dem modernen Ansturm von Grausamkeit und Absurdität auseinander, sei es die Gleichgültigkeit gegenüber unserem Heimatplaneten oder zueinander. Aber in diesen acht Songs geht es darum, auf eine verborgene Kraft zu vertrauen, um zurückzuschlagen, um an eine Welt zu glauben, in der etwas, das wir noch nicht in Worte fassen oder definieren können, nicht nur einen Weg bietet, den Status quo zu durchbrechen, sondern ihn vielleicht sogar vollständig zu zerstören. SLIFT sind laut, heavy und aggressiv in diesen Hymnen. Sie bereiten sich auf einen Kampf vor, von dem sie glauben, dass wir ihn noch gewinnen können.

Trace represents a pivotal moment in the evolution of Gridlock, bridging their earlier industrial roots with expansive ambient and IDM-influenced soundscapes.

Released in early 2001, Trace received critical praise and underground acclaim. Reviewers highlighted its blend of melodic drones reminiscent of Brian Eno with fractured beats and immersive ambient textures. Its evolving percussion and layered atmospheres marked a maturation of Gridlock’s original ethos, moving away from harsh industrial noise toward a more melodic, ambient, and cerebral sound.

The duo continued this trajectory on their final album, Formless, before disbanding, leaving behind a small but highly influential catalog. In tribute to Mike Wells, who passed away in 2022, Viasonde is reintroducing Gridlock’s work with the blessing of Wells’ family.

After a gap of over ten years, the Grammy nominated Jazz Funk band Down To The Bone are back with their groove laden, Acid Jazz tinged new album “This Way Forward”– here on an ultra-limited, special release of a doublepack vinyl album. Bringing together a good groove fueled album of ten original tracks with a diversity of flavours – from Jazz Funk to Soul to Brazilian tinged delights that are sure to get the musical juices flowing. Packed full of the band’s trademark grooves and bringing together multi talented musicians from the past and the present all culminating into a melting-pot of sounds that together represent Down To The Bone’s essential sounds.

The new album also brings together multi-talented vocalists on no less than seven tracks From the exquisite soul talents of Hil Street Soul, who co-wrote the opening soul infused groove track “Get Up And Dance”, to the equally soulful tones of Natasha Watts and then the Brazillian sounds of Guida De Palma. The pulsing horn section of Tim Smart, Ryan Jacob (Bonobo/Alice Russell) and James Arben (Vibration Black Finger/Mulatu Astatke), together with Piers Green on sax solos, along with the driving bass of both Julian Crampton and Jo Phillpotts to the pumping beats of drummer Davide Giovannini (Snowboy/Jazztronic/Da Lata and Pucho/Lisa Stansfield), to the melodic chords of Neil Angilley (Snowboy/Jazzhino/Maceo Parker) and Anders Olinder (PeeWee Ellis/Courtney Pine), to the chugging guitar of Tony Remy( Dave Lee/The Sunburst Band/Incognito/Omar) and Mark Jaimes (Simply Red) plus Gianni Chiarello – and the icing on the cake with percussion from Joe “Bongo” Becket.

All working together to bring a stellar performance on this cracking new release to show that DTTB are a force to be reckoned with both on stage and on the wheels of steel.

Good Life sees Detroit icons Inner City return on KMS with one of the most celebrated house records of all time, presented here on fresh 12” vinyl.
A defining track of the late 80s and early house movement, Good Life remains a timeless anthem, driven by uplifting melodies, soulful vocals and unmistakable Detroit energy.
This edition features a remastered version of the original alongside an Inner City edit of the Carl Craig remix, plus a Dub Mix, offering both classic playback and updated DJ functionality.
As a cornerstone release from the KMS catalogue, the record continues to resonate across generations of DJs and listeners, maintaining its place as an essential dancefloor staple.
Back on fresh 12" vinyl, this repress offers strong appeal for both collectors and DJs looking to stock a truly iconic house record.
An essential catalogue piece for stores supporting classic house and Detroit heritage releases.



c B2: Good Life (Remastered) Dub Mix

Michigan Band EJ & the Echoes: Rediscovering a Soul Legacy

The story of EJ & the Echoes represents a remarkable chapter in Michigan's music history and the early American soul scene. Its origins date back to the late 1950s, when Everett J. "EJ" Gronda was already active as a young musician. While studying at Central Michigan University in the early 1960s, he met the talented vocalist Manuel "Manny" Holcolm. Together with other musicians, they formed vocal groups that soon performed throughout the state and even recorded near Detroit's legendary Motown studios.

In 1963, Gronda founded EJ & the Echoes, a band that quickly gained popularity at dances, clubs, and weddings across Michigan. With Manny Holcolm as lead singer, the group developed a distinctive harmony-driven sound, blending influences ranging from the Beatles to James Brown. The band served as a house band in Traverse City, opened for national acts, and performed regularly at well-known Detroit venues.

Between 1964 and 1967, EJ & the Echoes released several singles on the Diamond Jim Records label. Although major commercial success eluded them at the time, their recordings later found international recognition. Today, their songs remain staples of the British Northern Soul scene.

After the band dissolved, the members pursued different paths. EJ Gronda became a schoolteacher but remained devoted to music throughout his life. In 2006, the musicians reunited for an emotional jam session. EJ Gronda passed away in 2022, followed by Manuel Holcolm in 2024. Their musical legacy endures-on this vinyl release, dance floors, and in the memory of a remarkable era.

Our sincere thanks go to author and blues historian Fred Reif. He wrote the accompanying text and provided all the pictures of the band printed in the gatefold cover. Without him, this project would not have been possible.

[b] A2 Respeito [Redub]

LIP017 welcomes Bochum-based artist Aleeks to Life In Patterns. Despite being born in the early 2000s, he is deeply inspired by the sound of that era, channeling its essence into a forward-thinking take on modern techno. He has already made a name for himself with releases on ARTS, Oktogon, and Rave Your Soul.

His mini album "Bloom" offers a fresh reinterpretation of old-school foundations. Blending early 2000s influences with contemporary techno aesthetics, the record delivers a modern edge while remaining rooted in the fundamentals-driving rhythms, percussion-heavy grooves, and powerful low-end energy. Rich chords and atmospheric pads add emotional depth, shaping a distinctive and immersive sonic identity.

Spanning eight tracks, "Bloom" moves effortlessly from peak-time intensity to ambient textures and functional club tools, capturing the full spectrum of Aleeks's sound and providing versatility for every moment of the night.

Bolka is known as the man with the cap. His cap has lived through a lot: his glitchy and microtonal experiments, studies at Institute of Sonology in The Hague or through countless performative works. A few years ago, Bolka’s cap fell apart. By that time he was already a fixture on the slovak experimental scene, but only releasing his debut album, “smutné stropy.” He started wearing new caps from then: somehow reminiscent of the old one, but much more varied — same as “smutné stropy,” bubbling with motifs, charming humour and pop sensitivity layered over detailed soundscapes popping with surprises.

On schwarzkopf, Bolka returns wishing for a thick black hair. With his charming love songs, that are positioned somewhere between a tightly run freak folk orchestra, deconstructed ballads and colorful ecstatic melancholy, he creates an album that thrives on juxtapositions that are completely unique, yet strangely familiar. Bolka’s songwriting is at once tender and irreverent — lovestruck whispering suddenly tripping over absurdist jokes and surreal images that fizz like soda. His songs move in that strange space between vulnerability and mischief, where intimate confessions collide with radical playfulness and the poetic rubs shoulders with the delightfully ridiculous.

On schwarzkopf, Bolka expands his world with a wide circle of collaborators and an even richer sonic palette. The album is meticulously detailed yet carefree: delicate moments sit next to sudden explosions, drifting from gentle pop to bursts of noise. Toward the end, the album even slips into a footwork-infused remix by Kodiki, passes through Julek ploski’s signature neon-baroque string perspective, and briefly wanders into Lénok’s cinematic sonic world. Bolka sings that he wants to dissolve into a healing ointment, to be ground in a mortar with calendula — and he invites us into this musical spa with him: a place that stings a little but ultimately soothes, a gorgeous soundscape that is both painful and joyful at the same time.

This limited 200 copies pressing presents 4 of the best digital destroyers out there! Taken from label-friends: SKUXX, EG303, Southside & Hydraulix! 303Alliance is member of the Flatlife Records Labelgroup.

DISCOVER THE BEST TRACKS FROM BARRY WHITE"S CULT PERIOD, FROM 1979 TO 1983, BROUGHT TOGETHER FOR THE FIRST TIME ON A UNIQUE DOUBLE VINYL. Including : "CHANGE" - "GHETTO LETTO" - "I FOUND LOVE" - "LADY, SWEET LADY" "ANY FOOL COULD SEE (YOU WERE MEANT FOR ME)" - "YOUR LOVE, YOUR LOVE" "SHE"S EVERYTHING TO ME" - "DON"T LET" EM BLOW YOUR MIND" - "LET"S MAKE TONIGHT (AN EVENING TO REMEMBER)" -"I"M ON FIRE"

Sicilian-born, Amsterdam-based Fran LF returns to Nastia's imprint with three Techno tracks built over a year of studio work, each one telling part of a single story that unfolds across the EP. The narrative moves through different chapters, starting with tracks that shift and transform as they play out, building tension through evolving elements rather than straightforward drops. These are straight-up warehouse cuts - the kind that start one way and shift into something heavier as they unfold. Dubby atmospheres that harden into driving rhythms, basslines that anchor the groove, and synths that evolve throughout.
Closing the record is a remix from Sicilian producer LPV, a close friend and admirer who reworks "Tsufuru Relaxation" with his signature dark, driving approach. He strips it down, adds a relentless bassline, and gives the track a completely different, moody and ethereal energy while respecting what made the original work.
Solid dancefloor techno with enough depth to keep things interesting.

Amsterdam-based producer and one half of Cybersex, Stef de Haan, releases his first EP on wax with Ataraxi. Ataraxia is a concept from ancient Greek philosophy describing a state of inner calm, a freedom from anxiety and sorrow, guided by a life of reason.

With this release, Stef de Haan reflects on this idea and ventures into territories beyond his usual sound, moving from a garage stepper to minimal techno, alongside two remixes - all approached with a fresh, modern take on music production.

SEVEN7009LTD is on coloured vinyl and includes a 90cm x 60cm pull out poster of an original Stef de Haan painting. Strictly Limited to 200 copies.

Amsterdam’s Lumberjacks in Hell celebrate their 15 year anniversary with yet another stellar assembly of dancefloor ready tunes featuring production and remixes by Luke Solomon & Chris Penny, Sophie Lloyd & Andre Espeut, JT Donaldson and label head Marcel Vogel himself.

Wewantsounds is delighted to announce the first vinyl reissue of Disappointment-Hateruma, the 1976 ALM Records release by percussionist Toshi Tsuchitori and Ryuichi Sakamoto. The album is notable as Sakamoto"s first recording issued under his own name and represents one of the few occasions he explored fully improvised music during the 1970s. It provides a vital document for understanding Sakamoto"s early development as a composer and performer, capturing a period when he was experimenting with ambient soundscapes and textured improvisation. This edition features original artwork, audio remastered by Heba Kadry and new liner notes by Andy Beta.

For the ninth installment of his Hardspace series, Len Faki once again dives into his personal vault to present four reworks that bridge the gap between raw funk and modern, high-impact club dynamics. True to the project's ethos, Faki has selected tracks that have been reshaped through his specific sonic signature to maximize their energy on today's dancefloors.
A1. DJ Assault - U Can't See Me (Hardspace Mix) The release opens with a relentless edit of Detroit legend DJ Assault. Faki takes the raw Ghetto-tech energy of the original and embeds it into a massive, modern framework. While the iconic vocal hook retains its street-level grit, the Hardspace update provides a significantly tighter groove and a powerful low-end presence, propelling the track from the warehouse straight into the present.
A2. Myles Sergé - Trans Milenio (Hardspace Mix) With Myles Sergé, Faki explores more hypnotic territory. He extracts the driving, repetitive elements of the original and sharpens the rhythmic angles. The result is a prime example of the Hardspace sound: a deep, almost meditative loop that gains entirely new spatial depth through subtle filter movements and a crystal-clear percussion layer.
B1. Jad & The - Deep Dark Grimey Dancefloor Moment (Hardspace Mix) On the flip side, Faki leans into the brooding atmosphere of Jad & The. As the name suggests, this mix is crafted for the "wee hours". Faki amplifies the "grimey" textures and contrasts them with a stoic, forceful beat. The trippy, almost menacing synth elements are rearranged within the stereo field, creating an immersive pull that is impossible to escape.
B2. Deepchild - Baller (Hardspace Mix) To close out the EP, Faki brings the jacking spirit of Deepchild's "Baller" back into the ring. Through meticulous re-arrangement and quantization, he gives the track the "tightness" essential for a modern DJ set. The playful, bouncing synths remain, but are now grounded by a heavy-duty beat foundation.
H009 is a hand-picked collection that demonstrates how Len Faki unites diverse musical personalities and eras under the Hardspace umbrella. Whether it's raw ghetto vibes or hypnotic deepness, every track has been transformed with technical precision and deep respect for the original to meet the demands of global dancefloors.

Any follower of Andrew Weatherall (a particularly fervent and erudite tribe) will be familiar with 'The Sons of Slough.' Comprising Andrew's brother Ian and Duncan Gray, they have produced music together for twenty years and throughout Andrew has been an avid supporter playing their records at his shows, helping Duncan set up his Tici Taci label and generally being a good friend.

Their mutual admiration for Factory Records made it an obvious place to seek inspiration for a tribute record. The influence of Factory on Andrew and Ian's lives is difficult to overstate. They spent a fair chunk of the 80s travelling all over the country to catch the label's artists perform.

New Order were pretty much top of the list and the Factory ethos of creativity over commercialism was to become Andrew's main drive throughout his career.

Ian and Duncan have reworked New Order's "In a Lonely Place" as a homage to Factory and the inspiration they were to a whole generation. David Holmes, Keith Tenniswood and Sean Johnston (all long time Weatherall collaborators) used the track as a jumping off point bringing Factory, New Order, their own musical perspective and most of all Andrew together in a unique tribute to shared times and fond memories.