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Originally released by Time Capsule in 2021 and long out of print, Stories From Another Time 1982-1988 returns in an upgraded edition following years of demand and rising collector prices on the secondhand market. Widely regarded as a modern cult classic, Mário Rui Silva’s visionary recordings blend acoustic folk, cinematic soul, spiritual jazz and saudade-filled Lusophone rhythm into a deeply timeless and universal work that transcends genre and geography.

This new edition features half-speed mastering cut at Metropolis alongside an expanded 4-page insert with a tribute essay and unseen photographs following Silva’s passing in 2024.

Double LP + 4-page insert

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The roots of Angolan popular music explored in the meticulous guitar studies of Mário Rui Silva. For fans of Naná Vasconcelos, John Hassell’s Fourth World ambient, Eduardo Mateo’s psychedelic folk and Cameroonian electronic music visionary Francis Bebey.

Whether on mesmerising acoustic ballads or hypnotic groove-led tracks, the music of Angolan guitarist, researcher and intellectual Mário Rui Silva has a beguiling, melancholy quality, woven into the dynamics of his deft guitar playing.Rhythmically complex yet supremely effortless, the music collected here stems from three albums Mário released in Luanda in the 1980s that reflect his diverse range of influences, from traditional Angolan and West African rhythms to European jazz and classical instrumentation. It is united by a sense of low-key beauty, whether on the chugging opener ‘Kazum-zum-zum’, the jazz-funk keys of ‘Lembrança Dum Velho’, or the twinkling, late-night poly-rhythms of ‘Kizomba Kya Kisanji’.

Born in Luanda, Angola in 1953, Mário dedicated his life to Angolan popular music. His fifty-year career has seen him live between Angola and Europe, rub shoulders with Cameroonian musicians Francis Bebey and Ewanjé, record the seminal album Angola ’72 with fellow Angolan musician Bonga, and draw influence from Brazilian guitarist Baden Powell.

It was the teaching of Angolan legend and Ngola Ritmos co-founder Liceu Vieira Dias that Mário gained a technical, political and spiritual understanding of Angolan musical culture. In the hands of Liceu, the traditional Angolan semba and kazukuta rhythms of the 1940s and ‘50s helped create an emancipatory sense of national pride and collective agency that awakened its listeners to the racism and tyranny of colonial rule, underpinning the country’s push for independence in the process.

What might sound like the intonations of Brazilian influence are what Mário attributes to the “African rhythms taken by the slaves which gave rise to other musical cultures” around the globe. Instead, this music emerged from a collective instinct to assert a cosmopolitan Angolan identity free from the patronising falsehoods of Lusotropicalism.

“There was a need within me to contribute in doing new things,” Mário describes. “In the sense of solidifying the music of Angola that was the result of the meeting of two cultures, and wanting to value the Angolan part whenever possible.”A selection from Mário’s three 1980s albums, Sung’Ali (1982), Tunapenda Afrika (1985) and Koizas dum Outru Tempu (1988) have been compiled here as a 2xLP release by Time Capsule’s Sam Jacob and Kay Suzuki. Together, they provide a snapshot of one man’s journey to the core of his nation’s music, charged with the search for a culture uprooted by colonialism

Maximum Exposure Inc. presents Joy Rider, the debut album from Down Town, the Toronto duo of Ian Elias Afif (bass+effects) and Maxwell Cecil Stover (soprano saxophone + electronics).

Produced and mixed in collaboration with Tony Price in Toronto, Joy Rider portrays a new vision for low-end music as sculpture. Liquid bass paintings, alloy tone abstractions — a virtual still life formed out of fretless aluminum bass, specular soprano saxophone cybernetics, and metallic rhythm architectures.

These pieces belong to a lineage of post-minimalist, low-end experimentalism that treats electroacoustic improvisation and ambient synthesis as mutable sound matter - Joe Zawinul's circuitboard cartographies, the insurgent bass guitar mutations of Bill Laswell, Mick Karn, and Robbie Shakespeare, Evan Parker's recursive multiphonic sax investigations, the most textural sides from the ECM catalogue and the sonic holography constructed by Jon Hassell and Michael Brook during their sessions with Eno and Lanois Hamilton, Ontario.

The album unfolds like a series of suspended environments - music for inside a city.

From his birth place in Tokyo, to New York and now Germany, Nao Katafuchi’s sound has travelled across many terrains in music. A dichotomy of tight staccato beats overlaid with sweeping gestural melodies, he leaves an electronic imprint on the mind of the listener, transferring a world of lyrical possibilities from his imagination to ours, bringing us synth full of expansive romantic sensibility.

What changed between Av. General Roçadas and Junkeira? Seven years in people's lives — yet the team's commitment remains untouched, and the steady hand on the plumb line that keeps dance music (still) upright holds firm. Years of sustained research and field work from both producers, with their own records, mutually independent and independent too in how they brought them to life. Moreno Ácido has been navigating detours through a conceptual yet grounded underground — in sound and in format (two self-released cassettes since 2019) — while keeping one eye on the floor. His post pandemic reawakening carries a clear message: Call to Action is the label that in 2023 put the still-in-demand Trash/Treasure out on vinyl. Diogo keeps Discos Extendes as his shelter, gathering talent and retreating into it. At the same time, a disseminating vocation — that talent turned outward, on a mission to champion the different sensibilities that can converge in music made for dancing.

Junkeira is direct. It hides nothing in its intent, nor does it conceal the origin of its love, nor the way it exercises its fascination with the source. Geography can define movements, described and echoed countless times outside and then inside the net. The signifiers are known to all — it's a matter of applying them with respect and flow. Perhaps the craft in this production really does come down to love, when it comes to it. What is "WTF" if not a declaration of love — at the very least of closeness — to the sonic essence of the English rave? The piano stab, the breaks defining that hardcore state of mind, the string bed lifting feet off the floor. Closing out the EP, "Freak" gathers different emotions — eyes still shut, body in comedown while still moving. Chill. Everything rounded. Bassline, vibes, vocals woven into the rhythm.

Rewinding, the opening track "100 Planos" is a throwback to Roçadas (2019) — harder on the ground, with a 4/4 beat broken up by claps, a circular structure built for DJs, with mix-friendly entry and exit points. Then "Turbo Love" puts the keys in control, foregrounding them, letting a car alarm ring out and balance the beat — a reverential nod to UK Garage felt as raw material, already part of the lineage that has been the continuous evolution from Disco onwards: an evolution that traces a line and its branches, from which you can isolate any chronological point since at least 1977 and combine whatever elements form a personality. The spirit lives, as summer kicks in.

VA – Paradisi Artificiali brings together four distinct sound compositions, each resisting the urge to resemble the others but united by the way they manipulate perception.
Polygonia crafts shifting rhythmic paths where the groove warps and regenerates in real time, maintaining an organic tension that keeps the body in motion without ever truly settling into place.
Feral operates through subtraction, slowing time and excavating sound’s spatial depth. Its tracks don’t progress so much as they envelop, drawing the listener inward into a layered, introspective space.
Agonis introduces a more unstable, sensory thread, weaving transitions and accumulations that build in stages. Frequencies become tangible matter, and the progression unfolds without ever erupting entirely.
Crossing Avenue weaves these directions together without hardening them, infusing the record with a more rooted, almost ancestral rhythmic element that surfaces in the structure of the patterns and the choice of timbre.
The result isn’t a neat synthesis, but a coexistence. The tracks unfold along a shared line without ever converging, articulating a dynamic balance between tension and release. It’s an album that works through gradual alterations, through subtle slippages in perception, as in “Les Paradis Artificiels”. The point isn’t escape, but intensification. The sound burrows deep, reshaping how things are experienced, until a denser, more ambiguous, more alive reality emerges.

Wewantsounds continues its Middle East reissue series with Assa"d Khoury"s 1978 rarity, Electronic Touches Belly Dance. Reissued for the first time in nearly 50 years in partnership with Byblos Records founder Mozart Chahine, the album features Oriental classics reimagined through Khoury"s pioneering electronic keyboards. This definitive edition includes original artwork, remastered audio, a new introduction by Ahmed Khalil (Dikraphone), and an exclusive interview with Chahine, the album"s producer, conducted by Mario Choueiry (IMA)

Step into the golden era of soul-jazz with the long-awaited vinyl reissue of “Vibrations” by Roy Ayers Ubiquity — a record that captures the unmistakable warmth, groove, and sophistication that defined Roy Ayers’ sound at its peak.

Originally released in 1976, “Vibrations” stands as a cornerstone in Ayers’ catalog, marking a moment where his signature blend of jazz, funk, and soul reached a refined, deeply cohesive form. Building on the foundations laid in earlier works, this album presents a tighter, more focused musical vision without sacrificing the lush textures and emotional depth that made his music resonate worldwide.

Roy Ayers was a pioneering vibraphonist, composer, and producer whose influence stretches far beyond jazz into R&B, neo-soul, and hip-hop. Often referred to as the “Godfather of Neo Soul,” Ayers crafted a sound that feels both timeless and forward-thinking, pairing silky vocals with hypnotic grooves and rich instrumental arrangements. His work throughout the 1970s helped shape the sonic DNA of modern Black music, and “Vibrations” is one of its purest expressions.

The album flows effortlessly between moods: from the jazz-inflected elegance of ‘Searching’ to the irresistible funk pulse of ‘The Memory,’ the dancefloor-ready ‘One Sweet Love to Remember,’ and the laid-back, atmospheric title track ‘Vibrations.’ Each track showcases a masterful balance between musicianship and groove, brought to life by a stellar ensemble of collaborators who elevate every moment.

Beyond its original impact, “Vibrations” has taken on a second life through hip-hop. Its grooves, breaks, and melodies have been extensively sampled by generations of producers and artists, becoming a foundational source for crate diggers and beatmakers alike. Tracks from the album have been reinterpreted and flipped by influential names such as A Tribe Called Quest, J Dilla, Dr. Dre, and Common, cementing its legacy as a vital bridge between 1970s soul-jazz and contemporary hip-hop culture.

After almost two decades out of print, we are pleased to present this much-needed vinyl reissue of an essential album in Roy Ayers’ career. Whether you’re discovering it for the first time or returning to a beloved classic, this album remains an essential piece of musical history. Pressed on 180g vinyl.

Available for the first time on vinyl! ESCAPE THE FATE deliver electrifying melodies and shattering screams with raw emotional force. Their staggering Epitaph debut entitled There"s No Sympathy for the Dead has five songs and every one of them is guaranteed to blow you away. Die anderen beiden Alben, die wir als Backkatalog haben, haben sich auf CD über 3.000 bzw. 5.000 Stück verkauft!!

After years of building this project quietly and patiently, ISLA004 feels like a reflection of everything that shaped the island along the way.

Between hypnotic techno, trance, electro and synth-pop influences, this release moves through nostalgic melodies, dark textures and emotional tension balancing moments of introspection with the energy of the dance floor.

More than defining a genre, this VA captures a state of mind: late nights, distant memories and the feeling of getting lost in sound.

A new chapter for the island.

Welcome

Budabeats Records is kicking off the summer season with a strictly limited edition EP that blends disco and soulful house vibes. Three razor sharp edits and remixes tailored and fine tuned for the dancefloor by Hungarian producers Mr. Fiel, Grabosky and Chillum Trio.

Mannequin Records presents a special release that bridges two generations of electronic body music: DAF’s iconic track “El Que” reimagined by French techno and EBM pioneer Terence Fixmer.

A lifelong admirer of DAF, Fixmer has been playing El Que in his DJ sets for years, considering it one of the band’s most enduring and powerful pieces. His connection to the track and to DAF’s groundbreaking legacy is the core inspiration behind these two new remixes, created with both reverence and bold creative vision.

On the “El Que (Terence Fixmer Leather Remix)”, Fixmer remains close to the original’s raw, muscular pulse while injecting a sharp, modern club sensibility. The remix builds on DAF’s unmistakable rhythmics but adds a contemporary momentum that feels like a natural extension of the band’s DNA. “It was like imagining what I would do if I were a member of DAF today,” Fixmer says.

The second version, “El Que (Terence Fixmer Drive Remix)”, ventures deeper into Fixmer’s own territory: darker, hypnotic, and peak-time focused. Tension and release are crafted with surgical precision, taking the original’s spirit into a harder-edged, suspense-driven sound world. It’s a version built for late-night floors without ever losing the soul of El Que.

Fixmer explains:
“I’ve been playing DAF’s El Que in many of my DJ sets for years. It’s a track I deeply loved from the first listen. I’m super proud to have remixed DAF — one of my cult bands and a major influence on my sound and electronic universe. For the "Leather Remix", I wanted to stay close to the original while bringing modernity and club momentum. For the "Drive Remix", I pushed the track toward darker, peak-time and hypnotic techno, keeping the soul of the original intact. I wanted to make versions that make you think: ‘I know this track… but wait — what is this version? I want it!’ When I tested them, that’s exactly what happened.”

DAF remains one of the most influential bands in electronic music history. These new remixes by Terence Fixmer reinforce the timeless power of El Que while offering two striking, club-ready perspectives for a new generation of listeners.

2026 REPRESS

COEO are back on Toy Tonics! After uninterrupted touring around the globe, followed by a short creative break the guys come back with an even stronger sound. With the new EP they go more underground again. Its addressed to the clubs and night owls out there, who turn night into day and won't stop dancing!

The sound is based on classic house patterns and includes a lot of cool saxophones, big piano stabs & rhythmic piano solos. They even go tribal, use arpeggios and switch into breakbeat heaven. The four Originals are a great next step in the COEO evolution. The unique warm, catchy atmosphere of the tracks can create that special COEO euphoria which made them a lot of fans. From Moodymann to Disclosure, Mall Grab to Kenny Dope, the list is long.

It’s fantastic to see how popular they became over the last couple of years. The last COEO vinyl sold over 2500 copies and some of their tracks have millions of Spotify plays. It’s DJ FOOD. Pure bliss!

Personal Bootlegs to shake your booty

There’s this feeling that House Music is sometimes diluted into a pleasant, non-offensive and conformist formula. Well, Jackie Gritness - you may have heard of her big bro Gary - is bringin’ all the sweat, the attitude and the filth down - take it or leave it.

Jackie introduces herself from both sides on this well-strapped debut 12” - the slick swingin’ & sangin’
on the bass-heavy A side, and the raw clave trax and cunty snarls of the acid-laced B side.

No trace of over-production or tired sampling here: this is just Jackie, her mic and her lil’ groovebox -
gettin’ raw in the studio just like she does onstage. Only thing added is some wall-shaking mastering by New York OG Dietrich Schoenemann.

This is the kinda House that’s supposed to make regular folks wanna turn it off. This ain’t rated E for Everyone, it’s rated F for Freaks.

It’s music from the underground, for the underground - as it was first revealed on the runway of Glastonbury’s infamous NYC Downlow last summer.

And if that’s more than you can take - it’s alright. It’s not like Jackie will hold it against you.

Jackie Gritness
“Gary’s little sister.” His studio session resume reads like a House music who’s who - from David Morales to Fred P. He’s also been rockin’ clubs with the Playin’ 4 The City and MLIU crews - but she’s also been seen on Gideon’s fierce Homo-Centric Records. See, this bitch’s true feelings about House are stripped-down, bare-bones, and unapologetically sexual. With a radical ‘live’ attitude, she’s serving the realness with an irresistibly acidic zing.

Bleaching Agent and Miles J Paralysis are two artists who operate steadily in their own lane. They collide on this release to deliver two contrasting originals, each handed to the other to be reimagined.

Both based alongside us in West Yorkshire, we are thrilled to present this shared vision in the form of the first Dream Space 12”.

Bleaching Agent’s Hollis captures the spirit of the bleeps & bass forged in the industrial north of years gone by, elevated with lush harmonies and slick vocal work. One that’s fit for late-night floors and hazy summer evenings alike.

Miles J Paralysis takes Hollis into a different space, chopping the melody into an infectious and hypnotic flow. All melded together with his signature dub-tinged, grooving percussive work.

On side two, Miles drags us into deep territory with Inhibited Orgy. Further exploring the otherworldly sound of his Paralysis moniker, that many of you will now be familiar with after a breakout year.

Bleaching Agent closes off the record with his own take, stoking the energy levels to create a stomping, anthemic chugger that is sure to ignite any dance floor.

Limited to 150 copies.

“Passion” is back! The new track from producer/DJ Beltran and The Flirts (including some “Native Love” by Divine) has quickly become a fan favorite in his sets and online, with 500k+ views already. Now available as a special 12″ vinyl release, featuring an exclusive Ben Liebrand 12″ vinyl version made especially for this edition and only available on the 12″.

The release is shaping up to be Beltran’s biggest since his breakout club hit “Smack Yo’”, supported by Michael Bibi, Mochakk, John Summit, Pete Tong, Dom Dolla and more, and now boasting 100M+ streams. It follows a huge year for Beltran, including tours across the US, UK, Europe, Australia and South America, with standout appearances at Coachella, CircoLoco Ibiza and KOKO London. Expected shipping: 2nd week July.

Tozzi´s new work on non series, with a singular, hypnotic, flawless and effective four tracker ep.

(Extrawelt Remix) The second vinyl installment of 20 shifts focus toward cinematic structure, melodic depth, and genre-crossing reinterpretations. Collaborations and remixes involving Extrawelt, Noga Erez, Perfect Stranger, PRZ, and A. Balter underline Eitan Reiter's refined and flexible production approach.



20 (Part 2) is a 12-inch vinyl release featuring exclusive vinyl cuts that are not available digitally, offering collectors insight into Reiter's evolving sonic language.



LS003 completes the vinyl-only snapshot of 20, presenting carefully selected collaborations adapted for the physical format.

“Duran Duran” aka “The Wedding Album” released in 1993 was a return to form for the band, charting in the top10 on both the UK and US album charts and spawning the world-wide hit’s ‘Ordinary World’ and ‘Come Undone’

Following in 1995, “Thank You” was an album of covers featuring songs written by Led Zeppelin, Bob Dylan, The Doors, Lou Reed and Elvis Costello. The album charted in the top20 of both UK and US charts.

Originally squeezed onto 1LP, both albums are highly sought after as neither have been re-pressed on vinyl since their original release. They are now spread across 140g 2LPs for the best sound. CDs will now be in paper sleeves as opposed to jewel cases.

“The Wedding Album” has a newly embossed sleeve and includes a 12” art card, and “Thank You” features a gatefold sleeve with a fold out poster replicating the original release.

British electronic music pioneers Graham Massey (founding member of Manchester legends 808 State) and Brian Dougans (the mind behind acid house milestone Humanoid and one half of The Future Sound Of London) join forces for their debut collaboration In Place Of Language, released on Belgian label De:tuned.

Both 808 State and Humanoid helped shape the UK's early rave and acid house movement. Here, Massey and Dougans channel that legacy into a beautifully balanced four-track EP that radiates warmth and energy, drawing on more than three decades of experience in electronic music. Inspired by key elements of the '89-91 era while embracing a contemporary edge, the duo merge their distinct sonic identities into a sound that feels both timeless and forward-looking.

In Place Of Language is not a nostalgia trip, but a natural evolution: a meeting point between foundation and future, and a blueprint for a new wave of electronic experimentation!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!