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With their musical roots deeply immersed in the fertile soil of Afro-American music, the Buttshakers have found a new direction for their nostalgia-heavy soul music. With Lessons In Love, their third album on Underdog Records, their early heartaches and furies have faded in favor of a more composed harmony – a sound enveloped in love and soaked in the blues. Guided by their singer Ciara Thompson, the Buttshakers have taken a more intimate path, whose compass, in the chaos of emotions and the modern world, points only in one direction: the light.



Seen from the sky, the view appears limitless. Accentuated by the sun, the ochre and sandy hues of the open road only reinforce this feeling of immensity. The sky stretches and the green stands out in striking contrast. In lighter tones, a road is drawn -- without bends or contours. This is the worn and weary road of soul music, which The Buttshakers explore on each album in new and unique ways. Soul music – a rare place to find a French band.

Vast, the musical direction could have taken them to lighter pastures. Yet the Buttshakers chose to evolve in a different way; to take a heavier load. Two paths – one sparked by social unrest, the other purely sentimental, Lessons In Love explores the deep roots of soul music, in the steps of Curtis Mayfield or Al Green. It is here that the heart and mind cross paths, merge, and become one. A weary road -- that brings together the agitation of a world where good intentions never rise above the level of digital outrage, and a faith in love which, however it manifests and expresses itself, remains the only truth that never loses its power.



Less rage and more compassion, it is through the haunting words and now tempered inflection of Ciara Thompson's voice, which opens to distinct emotions and perspectives, that the listener is guided. With its gaze fixed on the horizon, the acoustic guitar of Gotta Believe invites us on an intimate stroll through the open plains, while Dream On carries us away with a clavinet riff and a possessed saxophone; reconnecting the electric heat and neurosis of a city full of dreams. The senses are moved by the conjuring potion of the guitar which distills throughout Troubled Waters; the body is brought back into a visceral dance by the keys and brass section that are put to the test by Sure As Sin and its irrepressible rhythm. Passing through clouds of dust and sand has left a bluesy imprint on their groove: the miles travelled became hundreds, then thousands.



All of this leaves the listener bewitched by the halo of resilience that now surrounds Ciara's performance, as the ten tracks let the light fade. But certainly not hope in a better day. Like the sunflower that always lifts its head towards the sun’s rays, the Buttshakers continue to resource their sounds in the deep roots of soul music. Into the rich layers of African-American music of the 60s and 70s, The Buttshakers capture the spirit as much as the musical aesthetics of the epoch. A sound that reaches into the meanderings of the soul, bringing light to dark places and hope for all. A sound for the most parched of hearts, living in a damaged world, Lessons In Love confirms that even the tiniest beam of light can illuminate one’s path.

Detroit, MI – – Blank Code Records, a cornerstone of the underground electronic music scene, is proud to announce the launch of its highly anticipated sublabel, Modern Relics @modernrelicsrecords. This new venture is set to redefine the future of electronic music by merging a diverse range of genres, including techno, drum & bass, atmospheric, polyrhythms, ambient, and dub.

Conceived in the heart of Detroit, Michigan—an internationally renowned hub for electronic music innovation—Modern Relics is dedicated to exploring the freshest, most experimental soundscapes. The label aims to introduce listeners to groundbreaking productions that push the boundaries of genre and convention, reflecting the cutting-edge spirit of the underground scene.

Modern Relics will serve as a platform for both emerging and established artists who are unafraid to break free from traditional constraints, weaving together intricate rhythms and atmospheric textures that captivate and challenge the listener’s perception of sound. Drawing from a wide array of global influences, the label will focus on music that’s as dynamic as it is genre-defying, from hypnotic techno to the pulse of drum and bass, with hints of ambient sound design and the intricate complexity of polyrhythms.

"We wanted to create a space where experimentalism meets accessibility, where the boundaries of different genres can be blurred and redefined," says Co-Founder Chad Parraghi. "Detroit’s legacy in electronic music made it the perfect place to launch a new chapter that honors the city’s rich history while also pushing into the future with new and innovative sounds."

Modern Relics will launch with a series of forward-thinking releases. Expect immersive soundscapes that transport you into uncharted auditory territories—one where techno meets the experimental, drum and bass merges with ambient sound design, and dub echoes resonate within polyrhythmic structures. The label will feature a diverse roster of talented artists whose work reflects the international underground, bringing together voices from every corner of the globe.



Bio: Echoføn is the project of Detroit producers and Blank Code co-founders Chad Parraghi and Corbin Davis. Their music pulls from the roots of Detroit techno while folding in the energy of drum & bass and the complexity of polyrhythms, giving their tracks a sound that feels both raw and forward-looking.
Through their work with Blank Code, Parraghi and Davis have long been part of Detroit’s underground, building spaces for artists and pushing new ideas into the scene. Echoføn is a natural extension of that—two voices combining into something new, but still grounded in the city that shaped them.

Their first release, the Empty Space EP on Modern Relics Records, has already picked up support from artists like Polygonia, Kangding Ray, and Forest on Stasys, marking an exciting start for what’s ahead.

People of Earth,

They assigned me your heavy, brooding planet. I don’t complain. Because what lies ahead is Contact.

You are still primitive. That’s not an insult — just an observation. You’re tangled in your inner workings. Fascinated by your metaphysical genitals, if we’re being precise. And yet — your spirit scored pretty high on the Interplanetary Index. Which is rare, and promising.

Your Enlightenment is near. And Enlightenment is essential — for Contact.

Many of you have already tasted the Synthetic Harmonies.
They’re signals. Invitations. Crafted by Artists who, knowingly or not, have already opened the gate.

You look up. You name stars.
You build flying machines.
You surf the sky in metal tubes, sipping juice.
You make big sounds with small boxes.
You fly above the clouds — and play with fire, hoping it counts as progress.
It does.
You’re getting closer.

But first, you need to fix one thing.

Learn to float.
In sound.
In light.
In pulse.
Float in the silence between the kicks.
And stop talking on the dancefloor!

Soon, we’ll drift together through the Great Cosmic Pattern.
Soon, your voices will be heard beyond atmosphere —
not shouting, just resonating.
Believe — Contact is closer than you think.

Truly yours,
The Upgrade Cube

Repress

The journey continues... Clone Records continue with the re-issue series of the early catalogue of one of the most groundbreaking and influential techno acts ever... Raw, uncompromising music made with soul and creativity that has always been the trademark of Drexciya. This is the 4th release in the series and contains arguably some of their rarest and most astonishing tracks such as Black Sea, Mantaray, Hydro Cubes and Depressurization.
Design and layout by Klen.
Mastered by Alden Tyrell.

Since the 1940s, Library Music has lurked in the shadows, peripherally touching our lives through TV and film. Among the stalwarts of the industry was UK's Studio G, with cues heard on Doctor Who, and sampled by the likes of The Chemical Brothers, and Tyler, the Creator. Jazz Dispensary's Dream a Dream with Studio G: Cratedigger's Archive (1970–2009) culls some of their most sought-after cuts, with liner note commentary from Saint Etienne’s Bob Stanley, and illustrations by Ivan Minsloff.

Having established a reputation as one of the most versatile and respected producers in the game - with over a decade at the forefront of UK bass music, spanning UKG, grime, bassline and drum & bass, Flava D needs no introduction. Now, with her debut drum & bass album Here & Now, she levels up once again, channelling years of dancefloor know-how into a project that's as weighty as it is emotionally dialled-in.

A self-proclaimed fan of Hospital Records from the age of 14 - the first drum & bass CD she ever bought being 'Hospital Mix Vol. 1' - Here & Now marks a particularly paramount milestone for the Bournemouth-born beatmaker. Across 15 tracks, Here & Now captures the breadth of Flava D's musicality, offering a bass-charged, genre-spanning statement that's rooted in experience but tuned into the present moment. With a star-studded bank of collaborators, including MPH, Anais, Unglued, SOLAH and more, the album highlights Flava D's curatorial ear and the strength of her network across the scene.

At its core, Here & Now is a meditation on presence - a fresh, fearless chapter from one of the UK's most consistently innovative producers. The album is equal parts masterful and functional, giving fans what they came for while revealing new layers of Flava D's ever-evolving sound. Through its stacked line-up of collaborators, Here & Now also connects voices who are helping shape the future of dance music, from the underground up.

More Rice and Jugaar Records – Two Bangkok-affiliated labels – bring together an assemblage of their mutual friends for a heady, floor-focused VA with moods to soundtrack peak flow, after-hours rabbit holes, and just about everything in between.

Rudoh of Jugaar Records fame kicks us off with ‘Madoh’, a bendy groove that initially bares flex of early 2000s Minimal with its trimmed, rubbery percussion and obscured vocal snippets. As the track progresses, a hefty break and a catchy synth line bolster things before breakdowns unfold like little trippy slumbers rudely interrupted by bold, punchy drops.

Next up is Tokyo legend Gonno who follows up with ‘Rad’, a broad-shouldered banger propelled by a heaving kick and clap combo. A wrought synth is paired with odd shocks of acid and a sequence that flickers like a strobe. All the while a thick, gnarled bass line rumbles underneath, keeping vibes at boiling point throughout.

More Rice’s DOTT follows up with a swampy excursion propelled by a potent kick and nimble submarine tones. Drums are neatly stacked in polyrhythms as an infectious swing unfolds, one that’s decorated with ghostly synths and a generous dose of psychedelic synthesis.

Sarayu – also of More Rice fame, closes things up with ‘Fuijan Groove’, a brilliantly lean cut that lets the subs do the talking. Sharp tonal blobs flesh out a simple but highly effective march as spectral pads expand in plumes of smoke until the conclusion of a rich and varied record that unites two kindred labels perfectly.’

‘More Rice and Jugaar Records – Two Bangkok-affiliated labels – bring together an assemblage of their mutual friends for a heady, floor-focused VA with moods to soundtrack peak flow, after-hours rabbit holes, and just about everything in between.

Rudoh of Jugaar Records fame kicks us off with ‘Madoh’, a bendy groove that initially bares flex of early 2000s Minimal with its trimmed, rubbery percussion and obscured vocal snippets. As the track progresses, a hefty break and a catchy synth line bolster things before breakdowns unfold like little trippy slumbers rudely interrupted by bold, punchy drops.

Next up is Tokyo legend Gonno who follows up with ‘Rad’, a broad-shouldered banger propelled by a heaving kick and clap combo. A wrought synth is paired with odd shocks of acid and a sequence that flickers like a strobe. All the while a thick, gnarled bass line rumbles underneath, keeping vibes at boiling point throughout.

More Rice’s DOTT follows up with a swampy excursion propelled by a potent kick and nimble submarine tones. Drums are neatly stacked in polyrhythms as an infectious swing unfolds, one that’s decorated with ghostly synths and a generous dose of psychedelic synthesis.

Sarayu – also of More Rice fame, closes things up with ‘Fuijan Groove’, a brilliantly lean cut that lets the subs do the talking. Sharp tonal blobs flesh out a simple but highly effective march as spectral pads expand in plumes of smoke until the conclusion of a rich and varied record that unites two kindred labels perfectly.’

Aphex Twin’s ‘Xylem Tube’ EP arrived in the summer of 1992 on R&S Records, coming hot off the heels of his landmark ‘Digeridoo’ release, and an audacious follow up from the then 21-year-old Richard D. James. Out of print for nearly two decades, this long-awaited vinyl reissue restores one of the pivotal early works in his catalogue.

Where ‘Digeridoo’ pushed the endurance of the rave floor to its limits, the ‘Xylem Tube’ EP stretched the Aphex Twin sound into new dimensions with ‘Polynomial-C’ becoming an enduring classic with its spiralling arpeggios, shattering breakbeats and alien melodics. Tracks like ‘Phlange Phace’ and ‘Tamphex (Hedphuq Mix)’ pushed distortion, humour and rhythm into uncharted territory, while ‘Dodeccaheedron’ acts as a bold signifier of James’ radical ideas of how dance music can sound, with its ominous and brooding synth work over a cacophony of eerie, broken beats.

Three decades later, the EP stands not only as a key chapter in the Aphex canon, but also as a statement of intent from an artist set on reshaping electronic music’s DNA. Now faithfully reissued on vinyl for the first time since a 2006 pressing, this edition returns one of the most in-demand Aphex R&S titles to circulation after nearly twenty years out of print.

Driving, hypnotic, groove-laden techno with Detroit-inspired elements. Jeton Records proudly unveils its first-ever vinyl release, crafted by label founder and visionary Ferhat Albayrak. The Velodrome EP delivers four meticulously produced tracks that shift between peak-time energy and atmospheric depth, blending timeless influences with a modern edge. A vinyl-only exclusive rounds off the package, making this milestone release a must-have for collectors and DJs alike. With Velodrome, Ferhat redefines Jeton’s legacy and affirms his role as one of techno’s forward-looking voices.

Next up on Bosconi, the ever-persistent Italian outpost helmed by DJ sorcerer Fabio della Torre, comes a bold new chapter from label mainstay Lapucci—a familiar name to heads who remember his trippy debut Levitated Sensor Detector (LSD).

With Level of Control, the Florence-based Burbi Dub dubplate conjurer delivers a four-track EP that travels across moody electronics, psychedelic grooves, and off-world rhythms.

Kicking off the A-side is “Radio Controller”, a dark and melodic new beat jam with deep ‘80s roots—think obscure synths, rolling drum-machine funk, and a haunting vocoder line that crackles like forgotten transmissions.
Next up, “Einstein”. This one’s a jacking electro-techno burner, all drive and tension—built for those peak-time moments where things feel like they could go off the rails. There’s a cinematic sense of anticipation here, a nod to the cosmic weight of relativity and dancefloor gravity.

Flip to the B-side for “Level of Reality”—a trance-soaked electro weapon, laced with a screaming guitar-like lead and a soaring, emotional melody. It’s peak-time power with sunrise sensitivity—equal parts rave and revelation.
Closing things out is “Irabijanti”, a stripped-back, hypnotic afterhours tool with a fresh, effortless groove. Subtle nods to Middle Eastern scales and rhythms give it a dreamlike, drifting feel—like getting lost in the dunes of some alien desert.

Another must-have from the Bosconi mothership—Lapucci pilots us further out, not with a bang but with a slow magnetic pull into somewhere weird, warm, and wired.

Hard Times and DJ Spen go back decades. The Baltimore house veteran has long been a fixture at the label’s parties, on the remixes, and now under his Muthafunkaz alias he cements the bond with a set that’s as much a time capsule as it is a renewal. The Muthafunking Hard Times EP revisits a clutch of Spen’s early-to-mid-2000s jams that, till now, have never been committed to wax. True to form, Spen hasn’t simply dusted them off: he’s remastered, refreshed, and imbued them with a 2025 gleam, bridging past and present in one irresistible sweep.

The A-side opens with the Funkee Kole Cappin’ Mix of 2008’s “(You Make Me Say) Woah!”, a gospel-fired stormer whose call-and-response vocals climb skyward while a cheeky Fab Four nod keeps things buoyant. “Holy Ghost” follows in its Holy Spirit incarnation, wringing church-floor catharsis from tribal percussion and sanctified chants - a blast of kinetic, almost Faya Combo-like fervor.

Flip the record and you’re hit with the swing and strut of 2010’s “Gotta Hold On Me,” Spen’s Vocal Mix turning horns and jazzy drums into a pure adrenaline surge. The closer, “Doin’ The Best I Can,” is a tonal shift: harmonica and guitar sketches circling loose-limbed beats, equal parts after-hours reverie and Sunday-morning balm.

Too vibrant, too joyous, too Spen not to press - The Muthafunking Hard Times EP isn’t just archival housekeeping. It’s an affirmation of what house music does best: uplift, electrify, and remind you that, even decades on, the spirit still moves.

New split release — 4 tracks of raw underground sound.
Two sides, two visions — pressed together on one record.

Direct from Eastern Europe and the US underground.
Strictly limited edition, no repress, each copy unique.

Jamie 3:26 returns for the third volume in the Dancefloor Damage series! Personal exclusives from his collection, these have damaged dancefloors around the world for years and are now available on vinyl for the first time ever. From the Southside of Chicago to the world. Three killer disco classics re-worked by a legend. No one does it like Jamie! Buy or cry.

Francois Kevorkian (Wave) : Lovely EP, atmospheric vibes.
Chris Udoh (Various) : Lovely !!!
Lea Lisa (Phonica Records / Folklor Club) : Fred P is a master of deep house. Live Long Love & When in Miami for me.
Will Hofbauer (Third Place, Wisdom Teeth, Rinse) : nice n deep ty!
Radio Slave (Rekids) : The King is back and what an EP ! Full support.
Jon Hester (Rekids, EDEC, Les Enfants Terribles, L.A.G.) : Lovely vibes on When In Miami and Live Long Love!
Jacques Renault : Nice EP, into When In Miami and The Heights in particular
Danny Howells (Dig Deeper) : Love Fred so much, always the highest quality music with soul. All four are stunners.
Dan Beaumont (Chapter 10 / NTS) : Always brilliant.. deeep! When in Miami for me
DJ Sprinkles (Comatonse) : thank you
Kai Alce (Real Soon) : Live Long Fred P!
Tomoki Tamura (Holic Trax) : pure class, deep house
Raresh (ar:pi:ar) : super! thanks
Laurent Garnier : FRED P alwayssssssssssssssss
Marcel Dettmann : thx
Archie Hamilton (Microhertz / FUSE) : Nice thanks
DVS1 : thanks
Alinka (Twirl, Classic, Crosstown Rebels, Batty Bass) : Beautiful tracks
Pat Hyland (Northside Loft Society) : Fred P is a master of deep. AWEsome EP!
Thor (Thor-Thule Records) : Another great release by the master of Deep House. Full support
Colin Dale : One of my fave producers from way back! Excellent 4 tracker with all the cuts 'hittin' the mark'. Will rotate & support.
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Jaye Ward (Dalston Super Store / Netil Radio) : Syncrophone just continues to churn out the goodness.. love Fred P too. so deep and full of the good soul ace! thx
Ame (Innervisions) : thanks
Domenic Cappello (Subclub) : love this
Greg Gow (Restructured / Transmat / KMS) : cool vibes full support
Jerome Sydenham (Ibadan) : When Miami is the business! Overall nice E.P!
Bill Brewster (NTS) : FRED P RETURNS!
Bailey Ibbs (Metafloor Records / Habits / Dansu Discs) : Live Long Love <3

When it comes to Latin soul, Bobby Matos And The Combo Conquistadores 'Tema De Alma Latina', has to be up there as one of the heaviest tracks ever recorded. This much-loved Latin workout has been rocking dancefloors for years with its infectious, driving energy and pulsating rhythms. Released in 1968, the 'My Latin Soul' album on Philips Records now receives a welcome reissue on Mr Bongo. It’s a sheer delight throughout and a premier example of the Nu Yorican sound that was thriving in New York in the ‘60s.

From a young age, the Bronx, New York-born Latin jazz percussionist Bobby Matos found inspiration through the conga drum masters Mongo Santamaría and Patato Valdez (who he had informal backstage lessons with) and timbales legends Willie Bobo and Tito Puente. Bobby was drawn into New York's club scene and began playing in the vibrant ‘60s beat / bohemian Greenwich Village cafes, followed by stints in a wide range of different venues. These included Bronx dance halls and after-hours clubs in El Barrio, through to the elegance of Carnegie Hall, Central Park concerts, and off-Broadway theatres.

Later relocating to Los Angeles, Bobby played an important role in spreading Latin music far and wide. He became an inspiration to many on the jazz dance and acid jazz scenes in the ‘80s / '90s where his recordings were picked and played, becoming prized collector items amongst DJs. The track 'Tema De Alma Latina' was immortalised as a classic for many, after being featured on the Gilles Peterson’s Street Sounds Jazz Juice 5 compilation in 1987. A captivating listen from start to finish, the album features other treats such as the dynamic album opener ‘Nadie Baila Como Yo’, the blazing flute led 'Mambo Maxims', and the blistering piano shuffler 'Raices'.

A truly iconic Latin classic whether you’re being reunited with it like an old friend or discovering it as a fresh new find.

Celebrated producer Tom Sharkett recently took it upon himself to do his own edit of LCD Soundsystem's ‘Home’, reworking the classic cut from 2010’s This Is Happening purely out of love for the track and LCD Soundsystem.

Sitting quietly online, Sharkett’s edit caught the attention of Flo Dill, Breakfast Show DJ on NTS Radio who played the track twice in one show.

This then caught the attention of the band and it wormed its way into their hearts and never left. As a result they felt there was only one thing they could do - make it official.

Logbook. Exploration mission.

Day 1. The planet is dead. An anomaly is detected — the time flow is slightly distorted.
Day 2. Landed in the central crater. The clocks of our suits show different times from the clocks on the ship. The gap is increasing.
Day 4. Logs contain records of events that never happened. A report of tomorrow’s evacuation appeared in the system. No one wrote it.
Day 5. We found footprints leading from the landing site to the crater, identical to ours. The ship log was discovered nearby. Final entry: “Do not enter the crater.”

Log transmission terminated. The crew did not reestablish contact.

It began with a cassette tape entitled 'Pleased To Meet You' gifted to us at Sessa's Fasching, Stockholm show by Yann Dardenne, the multi-tasking tour manager/sound engineer/producer/merch stall worker and co-owner of Seloki Records. On first listen, the selection of underground Brazilian artists from the Seloki's roster was superb, however, one song stopped us in our tracks. The hauntingly captivating ' GOSTO MEIO DOCE' by Nina Maia and Francisca Barreto, gave us a taste of Nina's ethereal, addictive voice and we knew we needed to hear more. Born in Minas Gerais but now based in Sao Paulo, the 22-year-old has already packed a lot into a relatively short space of time. The singer, songwriter, instrumentalist, and producer, has already collaborated on the soundtracks for six Brazilian feature films, including a track with the vocalists Maria Gadu, Iza, and Liniker. But things enter a new exciting era with this, her remarkable debut album entitled 'INTEIRA', which translates to English as 'whole'.

As much inspired by Billie Eilish and Rosalia, as Milton Nascimento and Toninho Horta and not sounding like other records coming out of Brazil, 'INTEIRA' is unique. Though rich in its Brazilian heritage, inspired by samba cancao, MPB, and the Clube da Esquina movement, it also channels influence from bands such as Portishead and Massive Attack, mixed with jazz, contemporary leftfield and electronic pop artists. Musically, it is not easily pigeonholed, with beautiful, well-crafted songs, sophisticated arrangements, eloquent vocals and intimate lyrics. Each track reflects different moments and stories from Nina's youth but with dialogues, feelings, and questions that span generations and resonate with all. This ambitious debut album is Nina's vision and sound, expressing herself without constraints and making music with her friends. Featuring a lineup of Thalin (drums), Valentim Frateschi (bass), Francisca Barreto (cello and vocals), Thales Hashiguti (viola and violin), Yann Dardenne (acoustic guitar and co-producer) and Nina on piano, Rhodes, guitar and production. The album led to a nomination in Paulista Association of Art Critics (APCA) award's 'Breakthrough Artist' category, who also listed 'INTEIRA' as one of the 50 best albums of 2024.

It also received support from Bandcamp Weekly and Jamz Supernova on BBC 6 Music. Released digitally by Seloki Records in Brazil in 2024, Mr Bongo in partnership with Seloki Records now present this new, deluxe worldwide edition that includes four additional songs. These comprise the brand-new exquisite 'MANHA', as well as an original twist on Vinicius de Moraes' classic 'Serenata Do Adeus'. Elsewhere you'll find a live recording showcasing Nina's remarkable energy on stage courtesy of 'DE DENTRO' and 'GOSTO MEIO DOCE' with the amazing musician/vocalist Francisca Barreto, where our whole story began. Here at Mr Bongo, we are honoured to release music by such a remarkable new talent - one whose musical trajectory is most certainly about to soar.

Fruits Records proudly presents ‘Let Peace Reign’, the brand new instrumental single by Nat Birchall and The 18th Parallel.

Hailed by Gilles Peterson as ‘one of the best musicians in the UK’, jazz and reggae saxophonist Nat Birchall has grabbed listeners attention with his soulful sound and inspirational spiritual music. He has produced some of the finest vintage roots reggae instrumentals including majestic works with Vin Gordon and Al Breadwinners. His ethereal tone reminiscent of reggae giant Cedric ‘Im’ Brooks (Light of Saba) is the perfect match to The 18th Parallel raw and heavy sound.

Recorded fully live on 2-inch tape by the Swiss rhythm section, the session captures the raw, authentic energy of roots reggae at its purest. With warm, organic tones and a timeless feel, ‘Let Peace Reign’ not only pays homage to the greatest days of instrumental music and to the golden era of reggae recording, but also send a much needed message to a troubled world: Let Peace Reign. Pressed with care on 7-inch vinyl, with a super heavy dub mix on B side by French duet Dub Shepherds, this release is more than just a record – it’s a tribute to the culture of collecting records, preserving sound, and sharing vibes across generations.

Returning to E-Beamz Records, Tommy The Cat has comprised a 6 track EP chock full of varied astute takes on Jungle & breakbeat.

Working with the likes of Cat In The Bag, Unknown To The Unknown & Myor Massiv, Tommy is cementing his name & sound into the Jungle realms as one of the most prolific and, hard working junglists in the scene.

2025 Repress

More than once Jay Richford and Gary Stevan’s Feelings has been described as the greatest library record ever released. Of course Be With can’t be seen to be playing favourites, but we have to admit, it’s pretty good. Insanely rare and immensely sought-after, it’s a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres.

Since its original release on Italian label Carosello in 1974, Feelings has appeared on several labels with different sleeves and even under a different artist. Indeed cult library label Conroy put it out in one of their iconic red sleeves in 1976 and yes, Feelings has indeed had more than one modern re-issue since these “original” releases. But a record this special deserves to be kept in press and we think it deserves the Be With treatment.

No, Jay Richford and Gary Stevan aren’t two of the most Italian sounding names. As the story goes these were the pseudonyms adopted by Stefano Torossi and Giancarlo Gazzani who wrote the album but couldn’t use their real names on the original release for legal reasons. But Stefano Torossi himself later both clarified and confused the tale further by explaining that Feelings was the work of four people not just Gazzani and himself. Fellow composers and musicians Sandro Brugnolini and Puccio Roelens also worked on the album and as Torossi himself explained “we all worked together”, with all four gents “dividing the royalties in equal parts… that’s the story.” Right, so, with that all sorted out let’s get back to talking about the music. And what music it is.

Long hailed as a holy grail of library music, Feelings is the epitome of the sort of cinematic orchestral jazzy funk that is “that 70s library music sound”. Infectiously funky, deliciously melodic and with impeccible, elegant production, this record is the showcase for a stunning set of compositions and arrangements and with performances that are nothing short of virtuoso.

The record’s first side lifts off with “Flying High”, soaring brilliant and shimmering. Funk licks, menacing strings and swaggering horns combine for an ice-cold intro groove that Isaac Hayes would surely have envied, before the steady-paced drums deliver the slo-mo TKO. The string-drenched cop-funk of “Going Home” raises the tempo. All funky quick-fire bass lines and killer electric guitar soloing. A real thriller.

“Walking In The Dark” positively drips in blaxploitation-funk drama strings and horn struts, all laced with delicate drums, velvet piano and more filthy wah-wah. “Fighting For Life” is another funk-fuelled workout built around an effortlessly relentless drum track that refuses to give up until even the stiffest-necked head is nodding.

The loping, open drum break that guides the much-loved “Feeling Tense” through its early stages would be good enough on its own. The heavy bass gloss, swirling strings and ominous horns that follow take things to the next level.

The second side opens with another favourite “Running Fast”, and the track does precisely that. This is one fine rollicking chase theme underpinned by frenetic (yet funky) Fender Rhodes and skipping bass and drums. Those sweeping strings are a gorgeous extra. It’s a deliciously feel-good groove that sets the heart racing.

“Loving Tenderly” envelops us in warm, velvety night-time vibes with easy listening horns and slinky strings dialing up the seduction. Definitely one for the lithe lovers out there. The pace picks up on the electrifying “Fearing Much” where strings dart around deep bass, buzzing guitars and another funky drum break. The lush, melancholic “Being Friendly” is another easy beauty, all warm Rhodes and strings. Majestic stuff that puts an aural arm around you. The climactic “Having Fun” rides a pulsating, bass-heavy drum break with snatches of a funky guitar refrain, some luxurious keys, sweeping strings and triumphant horns. Sensational.

Candido Cameron was a Cuban percussion maestro who had played with luminaries such as Dizzy Gillespie, Buddy Rich and Count Basie throughout his illustrious musical career which started in 1952. Fast forward to 1979 and Candido finds himself caught up in the Disco boom that had engulfed his adopted New York City. Feeling he could add his trademark quick-fire Conga and Bongo playing to Disco's straight 4 x 4 syncopated rhythm he cut some records with legendary NYC label Salsoul. The fruits of this partnership were 2 full length LP's and a handful of 12" singles that changed the face of underground Disco."Jingo" is an all-time classic dance record, sampled, edited, re-configured and coveted by too many names to mention! It's a killer funky Disco version of master Nigerian drummer Olatunji's 1969 percussion suite of the same name, Salsoul style, while over on the flip we have one of the deepest Disco records of all time; "Thousand Finger Man" a testament to Candido's percussion prowess and a spacey, beautiful voyage that has left more than an indelible mark on modern House music, often being cited as a huge influence by artists such as Masters At Work and more. Essential stuff basically, every collection should have a copy!

This 12" has got to be one of the toughest Salsoul records to find. Changing hands for up to £300 a time for a used copy. Now it has been re-mastered, re-pressed and made available again with all original label artwork intact with the permission of Salsoul Records, New York City.

A remarkable release in John Lee Hooker's vast catalogue, Folk Blues, released by the Crown label in 1962, puts together tracks originally recorded for Modern Records between 1951 and 1954.

Among its many highlights are Bad Boy, one of the finest examples of Hooker's wordless humming and singing in unison with his guitar figures, and Rock House Boogie, which offers a sampling of Hooker's use of bottleneck style.

"Essential in any collection of postwar blues." - ***** Downbeat:






f A6. I Need Love So Bad Solo Version







[n] B6. I Need Love So Bad [Group Version]






[f] A6. I Need Love So Bad [Solo Version]







[n] B6. I Need Love So Bad [Group Version]






[f] A6 | I Need Love So Bad [Solo Version]







[n] B6 | I Need Love So Bad [Group Version]

Quiet Village collaborate with Vanessa Daou on 'Naked Hunger’ Legendary New York artist and The Daou front-woman Vanessa Daou lends vocals to Matt 'Radio Slave' Edwards and Joel Martin's second release on the ‘The Quiet Village’ imprint.

Matt ‘Radio Slave' Edwards and Joel Martin's critically acclaimed Quiet Village project follow-up, 2024's 'Reunion' with the Vanessa Daou collaboration, 'Naked Hunger' on September 5th, '25. 'Naked Hunger', which comes in 'Vocal Mix' and 'Spoken Word Mix' versions, sees Quiet Village employ their hypnotic sensibilities to one of house music's most tantalising vocal talents in Daou, resulting in a mid-tempo house cut that completely envelops.

While the vocal mix of 'Naked Hunger' leans into the interplay between Vanessa Daou's cosseting song voice and spoken vocals, with the rest of the track embracing a subtly dubby ethereal musicality, Quiet Village ramp up the instrumentation on the' Spoken Vocal' version with bass guitar and piano flourishes accompanying her sultry poetic delivery.

'Naked Hunger', Daou's first collaboration with Quiet Village, marks her first release since 2019's 'Little Black Dress'. Throughout her illustrious career, the acclaimed three-time #1 Billboard Dance Chart topper has collaborated with Danny Tenaglia, David Morales, Mood II Swing, Ralphi Rosario, Terry Farley (Farley & Heller), Charles Webster, Horse Meat Disco's Severino Panzetta, Hifi Sean, and Eli Escobar.

Friends since meeting at Goldie's legendary MetalHeadz sessions at London's Blue Note in the '90s, Quiet Village, aka Matt Edwards and Joel Martin, began releasing their brand of dubbed-out, balearic-and-beyond tracks in 2005 via NYC's Whatever We Want Records. The duo's 2008 'Silent Movie' LP was a critical smash hit that resulted in remix commissions for the likes of Bryan Ferry, The Gorillas, Leftfi eld, Francois K, Massive Attack and many more. After a few years in the wilderness, unable to use their nom de plume due to contractual restrictions, the pair launched The Quiet Village label in 2024 with 'Reunion', a stunning 6/8-time urban jazz odyssey, a favourite of the likes of Luke Una, Gilles Peterson and Ryan Elliott.

This limited edition of the album is on "galaxy" 180g vinyl and printed inner sleeve.

The third studio album from one of the most acclaimed electronic music projects in Poland.

The duo RYSY consists of Łukasz Stachurko (also known as Sonar Soul) and Wojtek Urbański. RYSY have been making music together since 2015, and the vinyl edition of 4GIVE marks exactly 10 years since the release of their debut LP, "Traveler."

The material encompasses genres such as techno, acid techno, trance, and tech house. Album is incredibly polished and full of danceable energy, satisfying the expectations of both fans of electronic sounds and enthusiasts of more melodic compositions.

The 4GIVE is released by Dyspensa Records with distribution support from U Know Me Records.

Limited repress!

What is it about New York City, that concrete jungle that continually inspires the creative spirit? From Warhol’s Factory to Larry Levan’s Paradise Garage to David Mancuso’s Loft, collectives that celebrate and nurture unfettered, organic artistry have been absolutely intrinsic to the story of this sprawling metropolis. Its latest chapter is being written at the hands of ‘The Maestro’, Grammy Award winner Louie Vega and his Expansions NYC parties, the sound documented in his latest album Expansions In The NYC (Nervous Records).

Starting in February 2019 in Manhattan and Brooklyn venues, Vega’s Expansions NYC parties have their origin not in his revered prowess as a DJ but rather his whole-hearted appreciation of the different elements of the dance floor surrounding him: the dancers, the musicians who bring their instruments to join him ad-hoc on the night, the small, dedicated crowd of clubbers whose ears to the ground keep them informed on the underground party information. The events included 6-hour DJ Sets with Louie under his select curation, and would usually end with 3 AM jam sessions involving keyboardists, guitar players and poets all performing in front of a jam packed crowd. In just a few short years the Expansions NYC events have evolved into an NYC-clubland institution, an intimate celebration of house, funk, disco, afro, R&B and more.

As with his parties, so goes his album. The collective vibe that forms the beating heart of Expansions NYC parties is absolutely front and centre in Expansions In The NYC, Vega drawing in one of the most comprehensive lists of collaborators in recent memory. House heavyweights Honey Dijon, Joe Claussell, Moodymann, Kerri Chandler and Anané rub up against legendary vocalists Bernard Fowler, Cindy Mizelle, Lisa Fischer, Audrey Wheeler and Tony Momrelle. Gospel royalty BeBe Winans and Debbie Winans, pop icon Robyn and rising star Karen Harding sit alongside disco-era champions Unlimited Touch, Cuban jazz pianist Axel Tosca, Nico Vega, Two Soul Fusion with Josh Milan and Vega and underground legend DJ Spinna. At the centre of it all, fingerprint on every beat, touch on every groove, sits a master at work, weaving the individual threads into a rich dance music tapestry.

"In the past few years I’ve found new inspiration both from the musicians I’m working with and the audiences coming to see me at my DJ shows,” Vega says. “So for me this album represents new beginnings, bringing together a beautiful mosaic of artistic perspectives to express musically what we call Expansions In The NYC."

At its heart, Expansions In The NYC is a love letter to New York, as much as melting pot as the city it represents, the scope of its line-up possible only because of the influence and reverence of Vega the artist, the DJ, the producer, the curator. In creating this album, Louie Vega has once again utterly enriched the lives and libraries of music lovers the world over, far beyond the hustling streets of NYC that have so indelibly left their mark on his work.

To celebrate the 40th anniversary of Dancing in the Street, a limited edition white vinyl 12" will be released on 29th August - 2 days after its anniversary, bringing together all of the song's mixes for the first time.

Speaking about the song, Mick Jagger said: ‘’We had such a laugh doing Dancing in the Street with both the song recorded in the studio and the video done in one day. Remarkable how we pulled it off really. The video is hilarious to watch now. We enjoyed camping it up and trying to impersonate each other’s moves, making it up as we went along. It was the only time David and myself collaborated on anything, which is a real shame.”

30% of the retail price from the sale of this single will be donated by David Bowie, Mick Jagger and Parlophone Records to The Band Aid Charitable Trust (Charity Number 292199).

Backspin's new release comes from Obscure Shape, delivering a deep and versatile techno EP that lives up to its title: 'Zwei Gesichter' (German for 'Two Faces'). Across five tracks, the EP explores the tension between raw force and emotional depth, marrying the label's Hardgroove roots with a more introspective edge.

The A-side presents Obscure Shape's first face: It opens with 'Zwei Seiten', a no-frills banger that hits with immediacy and drive. 'Im Angesicht Der Zeit', the single, leans into groove and movement, offering a more fluid, time-aware flow. 'Die Haut In Der Ich Wohne' pares things back into a minimalistic, loopinghypnosis, evoking the idea of inhabiting one's own skin. On the B-side, presenting the producer's second face, 'Spuren Des Werdens' features producer AMIYE and introduces more melody and saw synths, a reflection on growth and transformation. The closer, 'Von Hoffnung Getragen' - also a collaboration with AMIYE - lifts off with ethereal vocals and a bouncing rhythm, embodying the hope that carries us forward.

With the 'Zwei Gesichter' EP, Obscure Shape crafts a powerful narrative through groove, form and feeling, perfectly aligned with Backspin's evolving reinterpretation of early 2000s techno.

We are excited to announce the return of the iconic Totally Wired series with a brand new collection on LP and CD. The first 50 orders will include a special art print of the artwork. We are also doing a limited edition T-shirt to celebrate this milestone!

In 1988 Acid Jazz released its first compilation album ‘Totally Wired: A Collection From Acid Jazz Records’. Compiled by Eddie Piller and Gilles Peterson it collated 11 tracks that summed up the early days of our scene, mixing new label signings, cool new records being played in our clubs and a couple of oldies. It sold well to the then small scene and set the template for a series, that in the wake of the international success of The Brand New Heavies, Jamiroquai, The James Taylor Quartet and others exploded. By the time that Volume 5 appeared, we were selling tens of thousands of copies, with major label artists vying for inclusion.

By that point ‘Totally Wired’ was a phenomenon, that sign-posted changes in both the directions of new music, but of the oldies that were played on the scene. It gave DJs new tunes to play and soundtracked 1000s of Cafés and bars the world over in the age of the CD. It was largely retired at the end of the 90s and as times changed.

Over the years we have been asked to return to the scene of the crime, but it has never quite felt right, until now. With vinyl back, and the need for easy to digest compilations becoming neccessary in the chaos of streaming’s ‘I can listen to anything I want, but can’t think what that might be’ is evident, but also we are feeling excited about where Acid Jazz is right now. New artists on the label are making great records, Matt Berry has a Top thirty album, and The Brand New Heavies are headlining the Royal Albert Hall. It’s easy to make an exciting album when that is happening.

So we are releasing “Totally Wired: A New Collection From Acid Jazz” and treating it like the important milestone that it is. From the Acid Jazz sid we have new and exclusive recordings by Matt Berry, Chris Bangs and new signings Earth-o-Naut and Quiet Fire, there is also a recent white label only 45 cut by the Soul Revivers – released ahead of their new album due this Autumn and featuring Kokoroko’s Shiela Maurice-Grey and Anoushka Nanguy. For the oldies we have dug deep into our own archives to bring you the Acid Jazz Orchestra’s version of Corduroy’s ‘Something In My Eye’ and The Brand New Heavies astounding funk take of Aretha Franklin’s ‘Rock Steady’. These are all joined by recent scene records by Carmy Love – one of the greatest voices in the UK – The Romero Brothers, and BDQ, carrying the series onwards at last.

The original creators of Psychobilly Music, The Meteors began as a reaction against soft neo-rockabilly music of the late 70’s rock revival era. Since then the loud, sneering lovers of horror, perversion and death have released a few dozen records and are still going strong, 40 years into their career of evil. Svart Records are overwhelmed with psychotic joy to present an official reissue of The Meteors’ 2003 album Psychobilly. Long out of print on physical formats, this authorised reissue comes with a secret bonus track, all pressed on pitch black or poisonous green vinyl and wrapped in a gatefold jacket.

2025 Repress

After a short hiatus Deep In Dis intl. is back in the game. This time bringing you a split EP by two young prolific producers who have been in our radar for quite sometime now, Eric OS and Lewis. With both artists being based in Sweden and each one of them with a characteristic sound, we thought it would be a good idea to split our next release between these two cutting edge talents and that's how the Timebomb EP came to life.

We first discovered Eric tunes through a Binh set last year at the Nostromo Festival and we instantly knew we had to get Eric on board for a future project with us and here we are. With releases on System Error, Eya Records and his own imprint Space Trace, Eric brings to the table all those elements that made us get up off the back stage sofa and lose it on the floor. Flipping the record we have the Data Flow head label Lewis bringing us another two special club cuts. Having released a digital EP with us before, we couldn't wait to press some of Lewis analog soundscapes.

A1. 'Eden' is a true dance floor filler , endless groove and quirky sounds penetrating your brain while taking you in a break with some dreamy pads and even stranger synth lines. A2. 'Timebomb' keeps the vibe going, even higher this time. The formula seems to be timeless. Progry melodies, wonky bassline, and solid drum patterns.B1. 'Project Mayhem' invites us to close our eyes and travel without moving with its hypnotic groove, the feeling of pleasure, energy and empathy increases and floats the dancefloor in a never ending way. Closing the EP 'Acid44' spills a lysergic groove on the floor with no possibility of escape or return. Infected synth lines, snappy snares and some serious bassline are the powerful potion of the track.

The KNOW was an early 80's electronic duo, comprised of brothers Garry and Neil Todd from Stoneydelph, Tamworth (near Birmingham), UK. After playing in a conventional rock group and having to deal with the issues of too many cooks spoiling the broth, they decided to stay a two piece while the affordability of synthesisers and drum machines came in handy to replace additional human band members – shall we say for the better in the end?!

Regarding the name, Neil says: “Garry and I came up with this name in relation to the saying, oh you know he’s in “The Know” you know.“ The KNOW released only two tracks “Times Change“ and “Knights of Pleasure“ on a 7“ single in 1982, which is ultra rare now (only being sold once on Discogs for almost €300). Neil used Korg Micro Preset M-500, Moog Liberation, Roland Jupiter-8 synthesisers, and a Roland CR-8000 drum machine to create these two minimal synth pop anthems.

The original masters have been lost over the years, but the recordings have been carefully digitized from vinyl and meticulously restored and remastered and sound better than ever before. Additionally, five cover versions have been added by no less than minimal electronic synth pop heroes BLIPBLOP, doing both tracks, the THE SILICON SCIENTIST adding his dreamy synth pop melancholia signature sound, FLASHBACKS (aka Echo West, Silent Signals) with his icy cold yet playful minimal electronics, and TWINS NATALIA featuring KRIISTAL ANN delivering a rather faithful to the original yet up-to-date version while adding lots of new bits like a choir, vocoder, and one of Dave Hewson's unique synth solos.

All of this is pure and classy 80s electronic synth pop bliss!

Regarded as one of the leading figures within the modern jungle scene, Newcastle’s Nectax returns with his second EP of the year, ‘Star & Shadow’, this time landing on London-based label Up Ya Archives. Dedicating this release to where he grew up, the EP echoes the heart of the North East - industrial spirit, late-night rhythms, and a fierce sense of community.

Blending classic breaks, soulful vocals, and playful pad patterns, ‘Star & Shadow EP’ is another knockout release in Nectax’s discography, following records on Hooversound, Future Retro, Over/Shadow, and his own Stereo 45 imprint. Championed by DJ Flight, Nectax was the first release back on her label play:musik after 14 years with Body Talk EP. At the end of 2024, Nectax was nominated for Breakthrough Producer at DJ Mag’s Best of British Awards, further solidifying his position as one of the scene’s essential contemporary artists.

Released in 1979, "Tutti Fluti" is undoubtedly one of Teddy Lasry’s most unique and poetic albums.
Entirely centered on flutes, of which he is an undisputed master, this record offers a dreamlike dive into
ethereal jazz, naturalistic ambient, and subtle electronic experimentation.
Teddy Lasry, an original member of Magma, is known for his distinctive approach to wind instruments
and synthesizers. As a composer, performer, and texture inventor, he builds here a delicate,
contemplative, and timeless sound world.
On Tutti Fluti, flutes become voices, breath, wind, and a call to the imagination. Accompanied by
luminous keyboards and subtle rhythms, they shape an organic, soft, and introspective music—perfect
for active meditation or immersive listening.
A rare and atypical album, Tutti Fluti now finds its place among the great classics of auteur library
music, between spiritual jazz and the imagined soundtrack of a film never made.
Limited edition – A precious reissue for collectors, dreamer flutists, and sonic explorers.

Released in 1979, "Tutti Fluti" is undoubtedly one of Teddy Lasry’s most unique and poetic albums.
Entirely centered on flutes, of which he is an undisputed master, this record offers a dreamlike dive into
ethereal jazz, naturalistic ambient, and subtle electronic experimentation.
Teddy Lasry, an original member of Magma, is known for his distinctive approach to wind instruments
and synthesizers. As a composer, performer, and texture inventor, he builds here a delicate,
contemplative, and timeless sound world.
On Tutti Fluti, flutes become voices, breath, wind, and a call to the imagination. Accompanied by
luminous keyboards and subtle rhythms, they shape an organic, soft, and introspective music—perfect
for active meditation or immersive listening.
A rare and atypical album, Tutti Fluti now finds its place among the great classics of auteur library
music, between spiritual jazz and the imagined soundtrack of a film never made.
Limited edition – A precious reissue for collectors, dreamer flutists, and sonic explorers.

With "Modern Way", Teddy Lasry delivers one of his most accomplished albums, where analog
synthesizer mastery meets a distinctly modern vision of instrumental music. Originally released in 1981,
this rare record embodies both the elegance of jazz-fusion and the boldness of electronic
experimentation.
Known for his key role in Magma, Teddy Lasry established himself as a discreet yet essential pioneer
of French cosmic music. A saxophonist, flutist, and keyboardist, he began developing a rich and
personal body of work in the 1970s, blending film scoring, sonic science fiction, and synthetic
dreamscapes.
On Modern Way, he explores a new path, at the crossroads of space funk, futuristic library music, and
cinematic synthetic landscapes. Each track evokes a scene: a race against time, a machine-city, a
digital dream... An imaginary soundtrack for an era that still believed in tomorrow.
Reissued on vinyl for the first time, Modern Way is a key work for fans of rare electronic gems,
atmospheric jazz, and avant-garde music long left in the shadows.
Limited edition – The future won’t wait.

CLUB U NITE RECORDS PRESENTS: OUT OF THE BLUE E.P.
This EP starts with infinite depth and warmth - "All That Matters" by Black Chunes Productions has everything that makes a bouncy club track.

"Don't Stop" appears in new splendor and serves up a lot of drive on the dance floor in the "NYC Deep Mix" with percussive organ sounds and a jazzy touch.

Manhattan Project's "Do U Wanna Dance" - no question! No one can resist the rough and pumping shuffle beats on this track with a lot of old school feel.

The second track on the B-side "Time 2 Scat" puts a big end to this EP: pumping drums, dope piano samples, organs and a lot of jazz!

Mysticisms returns, looking to the source, Detroit City, with the beautiful house music of Soiree Records International and their 1995 deep vocal bomb, That's How Lovers Be.

Established in 1990 by Derrick Thompson, Soiree has long focused on the deeper side of house, late night rhythms across over 70 releases. Never making a shout out about it, the label might not of garnered the kudos it deserves while laying down a tight standard of cosmic sonic delight.

Featuring in the main Thompson's own Drivetrain releases, his production skills are deployed on this one time project. Written and sung by Montaze Armstrong, alongside the smooth accompaniment of Merchon Bower, the production is ubiquitous Drivetrain. His main mix sets the scene; hats proffering swing and impetus while bass and chords underpin the vocal interplay to skyward perfection.

Once again the label conjoins a latter day contemporary and admired producer to offer their own retake and who better than the essential producer of all things deep, Nail. A huge influence on the label during the formative years of (free party) house music's ascent, his recent return has been widely welcomed. His 'mix' is full of respect and perfect pitch, adding his distinctive low-end rumble, hypnotic hats, skips, loop and shake.

To close, it's all about the legend that is Scott Grooves. Nothing more needs be said, his 9-minute ride show jazz roots worn firmly. Rhodes, claps, piano and vocal are all that's needed. Loose, funky and soulful from a true master.

Love the Mystery.

New Digital Fidelity steps up with his ‘For The People’ EP on Four Framed Music this september, delivering four standout original cuts that showcase his deep, groove-driven signature sound.

Paolo Aniello aka New Digital Fidelity is a London-based producer and DJ originally from Bari, Italy. Deeply rooted in deep and Detroit house, he made his vinyl debut in 2011 as Peter JD and later co-founded a Detroit techno label with Nico Lahs. Since launching NDF in 2017, he’s released on Snuff Trax, Moods & Grooves, and more, collaborating with artists like Chez Damier, Fred P, and Byron the Aquarius. His music has been featured on HÖR, Balamii, Rinse FM, and NTS. In 2023, he founded Scopic Records, home to his latest EPs and remixes for legends like Hanna.

With For The People, New Digital Fidelity delivers a timeless EP packed with soulful house grooves and club-driven energy. The A-side opens with Believe It, an uplifting house track full of character, driven by a snappy groove and a powerful vocal sample that pulls you straight into the vibe. A soulful statement that sets the tone from the get-go. Next up is In Love With You, a deep and sultry roller where a sensual vocal meets delicate melodic layers. This one breathes emotion and late-night intimacy, perfect for the more introspective moments in a set.

On the B-side, the EP shifts clearly into more club-focused territory. Move Your Body is a straight-up floorfiller with crisp percussion, a hypnotic bassline, and a stripped-back vocal hook that sticks with you. Finally, Step Up closes the record with punch and attitude, a raw groove laced with jackin’ energy, making it the perfect tool for peak-time or late-night sessions.