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Over the last two decades, The Field has refined a language of repetition that feels not assembled but uncovered. His loops don’t just cycle; they gather weight over time, so the tracks seem set in motion rather than composed – patterns established early, then
gently altered, their emotional temperature shifting almost imperceptibly.
On this five-track EP for Studio Barnhus, the Swedish producer’s first solo release in 8 years, The Field returns to the sonic architecture that defined his seminal debut From Here We Go Sublime, but with a (dare we say
Studio Barnhus-esque) looseness that allows the structures to breathe.
Tracks like In Our Dreams and 333 706 move forward on meditative chords, harmonies stretching their reach until the tracks feel elated by their own momentum.
The B-side tilts the frame. Another Day introduces some melodic immediacy, folding a tender vocal presence into The Field’s glittering matrix of sound, softening the grid without dissolving it. Now You Exist is a grand finale radiating with restrained euphoria.
The Field’s music never insists, it just draws you in and keeps you there. In a landmark crossing of paths for the Stockholm label, Studio Barnhus proudly presents Now You Exist, out May 15 on vinyl and all digital platforms.

What began as a career in DIY bands has since evolved into a wholly solo endeavour, with her recent work in particular showcasing her prowess as both songwriter and performer. Through this, she defines a distinctly personal vision of pop creativity -- a "perishable good," as she calls it, meant to be shared when the moment calls for it.Limbo, her most personal and fully realised body of work yet, will be released this year on YEAR0001. A cathartic explosion of emotion through sound and substance alike, it's a record that finds Namasenda at her rawest, most vulnerable state. Limbo has blossomed from a relentless artistry that has been waiting to be unleashed for years.

Limited first release in a new 7" collector series from Common Saints, the UK psychedelic soul project known for its warm analogue textures and cinematic groove-led sound Features Idol Eyes (33M streams) and Summer Sun (24M streams), pressed on heavyweight black vinyl in a printed sleeve and cut by Stuart Hawkes at Metropolis, London. Strictly limited to 1,000 copies worldwide - strong catalogue demand meets premium analogue presentation.

For their 6th outing on the Benders imprint, the brothers bend have discovered a long forgotten gem that they can’t quite believe didn’t get more airplay at the time. Reimagining the original with their own twist for a one-off, single sided 12”, Macareno is coming to clear a dancefloor near you. Play with caution. “Some of us remember when that was played non ironically and it will never ever - until the sun expands and consumes us all - be soon enough to play it out again” - Anonymous radio listener. Clearly a marmite record, but U-BEND love marmite

Moondata’s little-known sole single, 1984’s decidedly Balearic, jazz-funk/boogie fusion gem ‘Let The Moonshine In’, is a very important record to the Rotation Sound System crew. It has become a familiar favourite at their annual Rotation Garden Party micro-festival and formed the centrepiece of their first compilation, summer 2025’s superb Everything You’re About To Hear Is True Volume 1. It’s increasingly rare these days for an artist from the 80s to still have their master tapes but even rarer still for them to have the multitrack tapes too. This is something of the holy grail when it comes to licensing old music so when it happens the opportunity to remix and create new versions needs to be grabbed with both hands.

The original record, a genuine rarity beloved of synth-loving crate-diggers, had an unusual gestation. Originally recorded in demo form by musician Jean-Marie Gogniat, it was turned into a finished single by a group of German musicians with a little help from lyricist and vocalist Joe Mwenda, and a crew of backing vocalists whose number included a locally based American singer – a pre-fame Jennifer Rush. Fittingly, the pre-vocal instrumental mix, which has sat unreleased since 1984, is included as a bonus track on the digital edition of this new remix package. The Rotation Sound System crew’s mixes, headed up by long-serving producer Dean Meredith, sprinkle 21st century magic across Gogniat’s one-off masterpiece while retaining core elements of the original and offering nods aplenty to club-focused sounds of the 1980s. They are, in effect, the versions the track deserved – but never got – back in the mid 1980s.

To begin, Meredith reunites with long-time production partner Andrew Meecham for the pair’s first remix as Chicken Lips in three years – a typically sparse and spaced-out ‘Malfunction Dub’ with delay-laden synths, vocals and guitar snippets sit over a sparse post-electro beat and bass guitar. Meredith then joins forces with fellow Rotation Sound System member Ben Shenton for takes under their two bestknown aliases. First, they don the T-Kutt guise for some dubbed out, funky bass guitar-propelled boogie-meets-proto house action that rocks out a killer, Clavinet-expanded groove while spinning in talkbox and backing vocals.

The pair then re-emerge as Mind Fair, famed for their releases on Golf Channel Recordings and their own Rogue Cat Sounds, and deliver a warmer, deeper and more organic-sounding take that’s as languid and tactile as it is warm and saucereyed. To round off the vinyl version of the EP, Rotation Sound System’s other core members – Rob J, Rich Hall and Stuart Robinson – don the now-familiar Wrekin Havoc guise and re-invent the track as a raw, analogue-rich shuffle through 1980s electro – all squelchy synth-bass, stabbing, cut-up vocal samples, chiming synth melodies and echoing beats. The expanded digital download edition of the EP contains a trio of additional bonus rubs. Alongside instrumental versions of the T-Kutt and Mind Fair mixes, we also get a full vocal T-Kutt rework that adds back in Joe Mwenda’s beautifully delivered verses. These additional DJ tools round off a beautifully rendered set of re-imaginations of a genuine cult classic. Gogniat, the man who started it all way back in the summer of 1984, certainly approves.

''Incorregible" is an album where sound becomes a symbolic form of expression and a tool for introspection.

With a sonic language that crosses borders and draws from diverse cultural influences, the album seeks to reframe electronic music as a bridge between the ancestral and the contemporary.

After years of exploring and experimenting with different musical genres such as punk, noise, witch house, reggaeton, Mexican tribal etc., I have arrived at a moment in my life where I seek a deeper, more intimate form of expression, one connected to my personal world.

Although I do not believe in God, I believe in the power of invisible worlds, in the strength of being, and in music as a bridge toward expanded states of consciousness.

This work is born from that conviction: the possibility of turning dance and sound into tools for connecting with the spiritual.

A sonic journey that seeks to connect with the universal rhythms of life through powerful percussions, chants that are poems, Andean instruments, and the hypnotic force of electronic music. Each piece is designed to induce a collective trance, where the body finds its natural place: movement.

Among its most significant moments are the poems in Nahuatl written and recited by Maribel Galicia, a native of Teotihuacán and a member of the Nahua people. Her words resonate like ancestral memories that dialogue with electronic instrumentals, reminding us that tradition and innovation are not opposites, but can dance together.

Tribal Sound System – Incorregible is a sonic ritual that seeks to: Create altered states of consciousness through repetitive musical patterns. Celebrate sonic diversity by fusing sounds from indigenous folklore, Andean instruments, elements of regional Mexican music, and contemporary electronic music. Honor cultural roots by re-signifying electronic music as a bridge between the ancestral and the contemporary.

This project is my way of affirming that music, dance, and shared energy can transform into a healing and transcendent experience. - Rosa Pistola

Born in Wroc?aw. Known and liked as a member of the Wroclaw-based duo Skalpel. Much less known and liked as the author of several solo albums that illustrate and explore different states of consciousness: Breslau (solo debut released on Ninja Tune) - the frenzy of war, Dream Logic - the meanders of dreams, Delirium - psychedelic hallucinations, Fyodor - religious exaltation and ethical illusions. On the album "Refleks", he explores the state of consciousness of an old digger and beatmaker. He lives in Wroclaw.
About Refleks:

Refleks is tender and free. Of the two meanings of this word in Polish, I choose the one that is a reflection of light on a river. Hypnotic and never monotonous, brilliant and charming, with depth slumbering beneath. The whirlpools we encounter on the album are only slightly cunning; they are rather playful. Although one can look into the abyss, it is not greedy-it allows you to stay on the shore and does not consume you unconditionally.
In some tracks, it even throws you out: you think you're still riding that slide-a tunnel you think is endless-but it ends safely and suddenly in the grass. In the plush. As if a momentary wind carried you away, only to stop at the least expected moment, finding yourself in a completely new yet seemingly familiar space-time-at home, which is not yours, yet not foreign either. While the titles clearly suggest Wroc?aw-based situations, in my opinion, we are moving on a higher level of intimacy and abstraction. On the waves of the ether, the forgotten element of everything that cannot be measured, weighed, or counted. What we know for sure, but might only seem so to us. In the hospitable cosmos of a well-settled head.

Fresh Meat Records is proud to present the vinyl re-release of From Chicago With Love, a record originally produced and released by Mazi Namvar (aka Audio Soul Project) in 2004. Though it may have flown under the radar upon its initial release, the record has recently gained a cult following, with prices on the secondhand market steadily climbing. A single copy now fetches as much as $170, with a recent test pressing selling for $100. Recognizing the demand, Fresh Meat Records has gone to work offering a beautiful repress of the record—one that truly does justice to the original while adding something special for long-time fans and newcomers alike.

From Chicago With Love Reprise is a celebration of a classic with a new dimension. The record includes a fresh fourth track, “Murmurs Low,” which features the saxophonist Jimmy Tripp and a spoken word performance by Mazi. Together, they add a soulful and atmospheric touch to the original, expanding the sonic palette while retaining the deep, intimate energy of the original release.

The tracklist remains faithful to the original with the standout “Tattoo Of You” leading the way on the A1 side, sounding better than ever thanks to an impeccable re-cut by Lawrie Dunster at Curve Pusher. The deep grooves of “Tattoo Of You” still deliver their deep and mesmerizing house vibes, setting the tone for the rest of the release. In the A2 position, “Murmurs Low” provides a captivating, subdued moment, with the saxophone adding a melodic layer to the evolving rhythm that makes this track truly memorable.

On the B-side, “Down” takes its rightful place as the first track, maintaining a dubby soulful drive and emotional call to action. Closing out the record is “Let Me Know,” a track that brings the journey full circle, providing the perfect outro for the reissue and reminding us why this record is still beloved.

In creating From Chicago With Love Reprise, Mazi Namvar has ensured that every detail is accounted for, from the masterful cutting by Lawrie Dunster to the selection of 8 different color sleeves, offering something for both collectors and music lovers alike. The reissue ensures that this classic can now be enjoyed at a reasonable price, far more accessible than the inflated prices on Discogs. This new pressing is a labor of love, showcasing not only the timelessness of the original tracks but also the care that has gone into its revival.

Whether you’ve been following Mazi Namvar’s work for years or are just discovering this release for the first time, From Chicago With Love Reprise is a powerful reminder of the depth and beauty of house music’s rich history, as well as the enduring passion that drives artists to continue creating for the dancefloor. Get ready to experience this iconic record in a whole new way—one that honors the past while looking forward.

Written, produced, performed, mixed, and arranged by Maziar Namvar.
Additional keys on A1 by Joshua Collins.
Saxophone on A2 by Jimmy Tripp.
Vocals on B1 by Lori Reigler.
Copyright Control
2025 Fresh Meat Records

Cristi Cons returns to Amphia with Out of Cycle Part 2, expanding the narrative beyond fixed frameworks.

Cristi Cons continues his exploration of fluid musical identity with Out of Cycle Part 2, released via Amphia, the label which he co-founded and runs alongside Vlad Caia.

Conceived as a continuation of Out of Cycle Part 1 released back in 2021, the new installment deepens the concept of operating outside predefined structures, both in form and in sonic direction. Rather than adhering to a single aesthetic, the album reflects a wide spectrum of influences, capturing an evolving artistic language shaped by intuition, experimentation, and long-term musical curiosity.

The title Out of Cycle acts as both a statement and a method: stepping outside familiar loops, resisting categorization, and allowing the music to exist beyond rigid expectations. This philosophy extends into the production itself, where subtle variations in structure, tone, and pacing reveal a process driven less by formula and more by exploration.

Across the album, rhythmic frameworks shift between hypnotic, club-oriented patterns and more introspective passages, while textures unfold with a focus on depth, movement, and spatial detail. Each track functions as part of a broader continuum, yet maintains its own identity, highlighting a deliberate departure from cyclical repetition in favor of a more open-ended approach.

Released on vinyl and digital formats, Out of Cycle Part 2 marks another chapter in Cristi Cons’ ongoing dialogue between club functionality and deeper listening contexts. While rooted in stereo composition, the project also opens the possibility for further reinterpretation, reflecting an interest in how the same material can evolve across different listening environments.

With this record, Cristi Cons continues to trace a distinct artistic trajectory, one that prioritizes depth, individuality, and an ongoing expansion of his musical language as it evolves beyond established forms.

Dedicated to my dear friend Laurentiu Gavrila (Funk-e).

Cloudy Pink / Cloudy Green 2XLP. Before being called “the coolest man in music” (The Line of Best Fit), Paul Castelluzzo was a teenager surfing the beaches of San Diego and playing bars with local jazz greats like Curtis Taylor, until Rodney Jerkins brought him to Los Angeles to perform on tracks for Britney Spears and Justin Bieber. In between driving for Lyft and serving as the music director for a Russian Pentecostal church to make ends meet, he was enlisted for Romeo Santos’ album, Golden, but soon returned home to begin his next chapter as Hether.
Since then, his self-taught guitar style, songwriting talents and profound production palette have led to him working with everyone from Clairo, Dominic Fike, Remi Wolf and The Marías to Paul McCartney, Anderson .Paak, Benny Blanco, Kali Uchis, Kenny Beats, Mac Miller, Rick Ross, Vince Staples and more who continue to discover Hether. Having already amassed millions of streams and hundreds of thousands of fans, landing music in HBO shows and scoring films, Holy Water marks both the culmination of everything Castelluzzo has experienced and accomplished, and an expansive new evolution of a project that has shaped the present and predicted the future, but remains entirely his own.

Artlab launches its brand-new record label with a special inaugural vinyl release, celebrating the 10th anniversary of the renowned cultural center and multidisciplinary music and arts club. To mark a decade of fostering cutting-edge sound and artistic community, this very first label installment gathers a stellar lineup of artists for a fresh four-track compilation. Showcasing the club’s deep roots in the underground and its forward-thinking vision, each track contributes a unique character and dancefloor mastery to this milestone collection.

Kicking things off on the A-side, the legendary Random Factor delivers a funky, electro-tinged dub of 20:20 Vision's "Calling," immediately setting an infectious, energetic tone. Following this, Barem makes a welcome return with "E.Therian," a driving, highly-kinetic number delivered in typical Barem fashion, bringing his signature rolling groove and undeniable club intuition to the forefront.

On the flip side, Solimano and Furz team up for "Melancholic Dreams," a track with a pushing, Balearic rhythm and dreamy atmospheres that add a lush, emotional layer to the record. Finally, Janeret and Miroloja join forces to close out the EP with "Digital Dreams," a masterful, hypnotic breakbeat number, creating a sophisticated and powerful closing statement for this debut anniversary edition.

A1. – Itch & Scratch 5.32

Smoove puts the spotlight firmly on the larger-than-life vocals of Rufus Thomas, peeling things back to reveal hard-hitting breakbeat drums from the very first bar, anchored by a relentless, pounding bassline. Punchy brass stabs and rolling keys collide with dirty funk guitar riffs, all stretched out into an extended rework built for maximum floor impact.

A.2 Bouncy Lady 5.06

A classic jazz-funk break from 1975 gets a fresh twist as Smoove reworks the structure into a groovy, extended build-up. Vocal chants and handclaps take the lead, while the original sax solo is stripped away and replaced by a raw bass-and-guitar workout. The focus shifts squarely to the rhythm section, letting the drums ride all the way to the finish—ending with the studio engineer’s off-mic murmur on the tape: “beautiful.”

B1. – For The Love Of You 6.57


The Isley Brothers classic gets a loving reworking, with the groove locked in tight and the keyboards pushed front and centre letting the drums and bass drive home the groove. Those iconic falsetto vocals are spine-tingling, from start to finish.

B.2– I’m Trying 4.48

Lush, soulful strings and a deep-groove piano line glide over this drum-driven reinterpretation, opening up the raw, emotive vocal breakdowns of Carla Thomas and Pervis Staples. Originally scored by Isaac Hayes, this rework digs deep into the multitracks, uncovering previously unheard moments and giving them room to breathe.

“ko mixtape” is okgiorgio’s personal vision of club culture: a 15-track journey where electronics,
acous c instruments, and samples coexist. Capturing two years of live performances across Italy
and Europe, it embodies the privilege of connec ng with so many people and bringing them
together on the dancefloor. The album is designed to be heard in one breath, much like a DJ set,
and is performed en rely in Italian—driven by the belief that even when traveling the world, it’s
vital to showcase where you come from.
okgiorgio is a musician and producer born in 1996. Based in Bergamo, he is a member of the band
ISIDE and has produced for major Italian ar sts such as Pinguini Ta0ci Nucleari, Loredana Bertè,
Carl Brave, Tancredi, and many others. His solo project—a blend of refined, powerful electronic
textures held together by an uncanny use of vocal manipula on—launched in 2022 with the track
"okokok" and a packed debut live show at the APE event in Milan.
His music has gained significant recogni on abroad. In December 2022, he was named one of
Rockit’s "CBCR" (Ar sts to Watch) for the following year.

‘Sings Again’ is the fifth album from British electronic musician Will Samson. After starting the decade with a pair of largely instrumental albums, Samson… sings again.

The familiar collection of old tape machines that have characterised much of Samson’s sound remain (with a 1971 Seinnheiser microphone for the vocals), firmly rooting ‘Sings Again’ in an organic sonic landscape of electronic and acoustic influences.

Taking inspiration from the early works of Bjork, Four Tet and Efterklang, much of the album was built upon recording and then sampling organic sounds such as twigs, rocks and paintbrushes to create percussion. An empty glass bottle was transformed into the otherworldly organ on raw opener ‘0333AM, and his own voice became the moody synth sound on the sparse electronica of ‘Darabuka.’ Elsewhere, the hypnotic, emotionally resonant ‘Time Used To Feel Like’ and grandiose album finale ‘Julian’s Rocks’ offer a raw and direct insight into the most vulnerable parts of himself – a long-established artist beginning again.

Fishbowl EP marks Natebytheway at his most personal, sounding like both a producer and a festival headliner electronic band with soul. His vocals stick instantly, built to work both in sweaty clubs and oversized main stages without losing intimacy. Synths radiate calmness and energy at once, thus mirroring Nate’s spirit: generous, luminous, but never naive.

Because, when he wants, he turns malicious grooves snappy, percussions schematic, and melodies that play dirty tricks. Fishbowl feels destined for permanence, a song that will outlive the night it was born in.
La Gente Es Sexi is a razor-sharp club tool for lovers of Spanish, hips forward, and crooked smiles.

Noodle Bloomers seduces dancers who live between gardens, terraces, daylight and dawn.

And lastly, The Eligible Groovester loops like an obsession its image already imagined as Nate cycling through warm San Francisco streets, collecting strange souls along the way.

After years of shaping dancefloors worldwide and carefully curating the sonic and visual identity of Up The Stuss, Dutch favourite Chris Stussy presents his most expansive and personal statement to date with his debut album, ‘Lost, Found & Forgotten...’. Landing on 3rd April, the album unfolds across three interconnected chapters - ‘Lost’, ‘Found’, and ‘Forgotten’ - each revealing a different side of his creative world across 19 tracks while remaining tethered to a singular wider vision.

At its core, ‘Lost, Found & Forgotten...’ is an exploration of creative freedom. Visually and conceptually guided by the image of a kite, the album reflects movement, perspective, and balance. Floating freely yet always anchored, the kite mirrors Chris’s approach to music: unrestricted in emotion and imagination, but grounded in groove, craftsmanship, and intention. It’s a symbol that naturally extends the Up The Stuss identity; pointing skyward, embracing openness, and encouraging curiosity.

“This album has been a long time in the making, and I’m excited to finally share it with you. The process behind it - exchanging ideas with other artists and creating music outside of my comfort zone - has been an incredible experience. It gave me a true sense of freedom, allowing me to not think about boundaries or expectations. I’ve never been more proud of a project than this one. It’s deeply personal, and it represents my sound as a whole. I hope you listen with an open mind and find something in it that resonates with you.” - Chris Stussy.

The ‘Lost’ chapter opens the album by giving new life to music once left behind. These are tracks written across different moments in Chris’s journey, ideas that never quite found a home until now. Rather than relics of the past, they emerge re-discovered, refined, and fully realised. ‘

Found’ represents inspiration in motion. Sparked by collaboration, digging, and shared creative exchange, this chapter captures the moment when ideas connect, and colour floods the sky.

The album closes with ‘Forgotten’ - a nod to the deeper cuts, the B-sides, and the moments that reward patience. This chapter is for the heads and diggers; tracks that may not demand immediate attention but reveal their value over time.

In 1955 Miles Davis played an all-star jam session at the Newport Jazz Festival with Thelonious Monk on piano, Gerry Mulligan on baritone sax and Zoot Sims on tenor sax. This performance immediately drew the attention of Columbia Records' George Avakian, who was so impressed that he immediately offered Davis a contract if he could form a regular band. The group he then assembled would go down in history as Davis' so-called "First Great Quintet", consisting of John Coltrane on tenor sax, Red Garland on piano, Philly Joe Jones on drums, Paul Chambers on bass and of course Miles himself on trumpet. 'Round Midnight is Miles Davis' first record for Columbia and also the first studio recording of the First Great Quintet. The recording sessions began on October 26 1955 but the album wasn't released until 1957 as Davis was still under contract at Prestige at the time. These respective sessions yielded Steamin', Workin', Cookin' and Relaxin'; albums that would go down in history as quintessential blueprints of late 1950s hard bop.

The record is made up of a collection of standards and one traditional song ("Dear Old Stockholm", from the 19th century). Notably, it features what may be considered the most well-known versions of Thelonious Monk's "'Round Midnight" and "Bye Bye Blackbird". That Avakian made a golden signing was sufficiently clear from the start, but no one could foresee that it would be this quintet on Columbia that would go on to change the course of modern jazz forever with Kind of Blue. 'Round Midnight is available as a limited edition of 1500 individually numbered copies on crystal clear vinyl.

Returning from an 18-month hiatus, Companion resurfaces with its long-awaited ninth offering – a six-track EP that beautifully distills the label’s devotion to patient tempos and deep immersive moods. The Garden is the result of a remote, cross-border dialogue between London and Belfast: a project born from a seasonal fatigue with the dancefloor and a collective turn towards our most inner states of being. The debut collaboration between Serenity Complex (Wigs) and Aika Mal, the EP is a meticulously detailed exercise in restraint, trading industrial harshness for a lush, subterranean hush.

The production breathes with a tactile, low-slung urgency: gritty, compressed drums and haphazardly recorded beatboxed percussion captured on a patio beneath the Devon sun provide a raw counterpoint to the EP’s cinematic sweep. Steered by narcotic basslines imbued with the brooding, early DNA of Massive Attack, these undulating pulses coil around the listener with a subtle, magnetic pull. They create a state of suspended momentum where tension never fully resolves and instead becomes the point of return. Aika Mal’s voice acts as a spectral anchor – mellifluous and transfixing as it moves in and out of each carefully curated element.

Drawing from the gossamer, reverb-drenched landscapes of Love Spiral Downwards and the gothic opulence of The Golden Palominos, the tracks lean into a slow, deliberate pace. Dub-influenced low end and trip-hop structures form the backbone, while fractured, gritty breakbeats bring a sharper edge. The release traces low-lit excursions into limerence, thriving in the heavy humidity of the afternoon just as easily as in the blue light of the pre-dawn or the apricity of first light.

The Garden celebrates togetherness by blurring two distinct artistic outlines into a single, prismatic whole. It is an invitation to submerge – a descent into the overgrowth.

Interdance returns in 2026 with its fourth vinyl release, continuing a journey that began in 2023 and further strengthening a distinct sonic identity rooted in hypnotic club experimentation and meticulous sound design. This time, the spotlight falls on Dani Labb, a true architect of sound, delivering four original tracks, including one reimagined by Z@p. The EP is deeply focused on repetition as a language of its own, building groove through carefully layered textures and surgical precision. Music designed to be fully experienced on sound systems capable of embracing the entire frequency spectrum, where every detail reveals its purpose.

The journey begins with Phase Two, a restrained yet immersive acid cut that slowly draws the listener into Dani Labb’s universe. Its progressive structure unfolds gradually, revealing tranceinfused nuances and vocal passages that feel like moving through levels inside a parallel dimension. A2 brings Nordark, following the narrative established by the opening track. Heavy low-end pressure, resonant highs, and a sonic architecture where drums retreat into the background, sketching rhythmic contours while the synth work takes full command. The B-side opens with Enbad, where tension rises and the energy becomes more forceful. The drums gain weight and the sound leans further into techno territory, while acid remains the guiding thread throughout. Closing the record, Z@p reshapes Enbad with his unmistakable signature of mystery, tension, and hypnotic arpeggios that push the experience to the edge. A producer who needs no introduction.

Celebrating 30 years of the legendary label, we pick legendary bombs and unreleased gems from Black Vinyl Records rich catalogue. From its inception back in 1996 Black Vinyl Records has always been a label for the serious DJs. Tony Humphries, Paul Trouble Anderson, Ricky Morrison, Justin Berkman, David Morales, Bobby & Steve and most serious Underground DJ’s supported the original vinyl release of Kerri Chandler’s early masterpiece ‘My Old Friend Alan’, dedicated to label founder Alan Russell, and it gained many more supporters following its recent digital re-Master. The David Harness remix of Tedd Patterson’s ‘Roots’ appears on vinyl for the first time here and was featured in no less than 25 Traxsource DJ charts after it’s digital release in 2022, including luminaries such as DJ Pope, Quentin Harris, Kevin Yost, Charles Dockins, and many more. The vocal mix of ‘Fever Tension’ by Fresh & Low has always been a sought after gem, only ever appearing on a ‘Re:Cuts’ release in early noughties, and ‘Rising Into Joy’ by Arnold Jarvis was championed by Danny Rampling, Paul Trouble Anderson, Andy Ward, Deli G and all the 'heads' and is the definition of a Soulful House Classic.