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Hypnotone's iconic self titled mini album reissued!

Originally released by Creation Records in 1991, long out of print and now reissued, meticulously remastered and pressed onto pristine white vinyl.

Exclusive liner notes by band member Tony Martin "The Hypnotone Story: From Manchester to Creation" and including after hours favorite "Sub" and Balearic hit "Dream Beam" featuring vocals by Denise Johnson.

Formed in the vibrant milieu of Manchester's legendary Hacienda nightclub, Hypnotone emerged from the creative partnership of Tony Martin and Martin Mittler. Tony, initially involved as the in-house lighting designer, and Mittler, a bar staff member, fused their interests and talents amid the fervor of the late '80s Acid House movement that pulsated through the club. Their musical venture began earnestly after an introduction to Alan McGee, head of Creation Records. This connection would soon lead to a record deal, propelling Hypnotone into the heart of the emerging electronic dance music scene, releasing 2 albums, multiple singles and standout remixes for artists such as Primal Scream, Sheer Taft, and The Lilac Time.

With Creation Records' support, Hypnotone crafted their unique sound combining state-of-the-art digital samplers like the Akai S1000 with a collection of classic analog synths. Their debut self titled mini album includes after hours favorite "Sub" and Balearic hit "Dream Beam" featuring vocals by Denise Johnson. Hypnotone not only shaped their distinct sonic footprint but also influenced the broader trajectory of electronic music. Their journey, marked by innovation anda deep affinity for Manchester's music scene, exemplifies the transformative power of the era's cultural and technological shifts in music.

This is another must have for collectors and fans of early British (pop) house music, and very happy memories.

22REC006 Capitulo VI Parte I: “Sueños y sombras”

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

Next up on our new Toolroom Trax vinyl series, we kick things off with a fresh new banger from Italian talent Nausica who with another deep club cut 'Se Pone Loca'. Featuring rolling percussion, a hooky lead vocal with expertly placed chops, 'Se Pone Loca' is looking to lay carnage on the dancefloor. Nausica's mastered her infectious minimal, percussive sound that has seen the likes of AAA talent support her music from John Summit, to Jamie Jones, MK to Solardo proving Nausica's a name many acts are reaching for in their sets! D.Ramirez returns to Toolroom Trax with his highly anticipated remake of Bodyrox's anthemic 'Yeah Yeah'. Firmly rooted within Toolroom's foundations, releasing genre defining dance music for nearly two decades with hits such as 'Downpipe' in collaboration with label boss Mark Knight and UK pioneers Underworld, 'Colombian Soul' and many more. D.Ramirez doubles up as not only a genius in the studio, but as one of the talented Toolroom Academy tutors, teaching a new generation of producer's fundamental skills in dance music production. Remaking the Bodyrox Electro House classic 'Yeah Yeah'; an era defining masterpiece with an unforgettable synth line, D.Ramirez gives us an essential update for today's dancefloors. Label favourites, Sllash & Doppe return to Trax next with their unique style of uplifting, feel good house music. Their music is regularly found in the sets of artists like Fatboy Slim, Solomun, Bedouin, Blond:ish, Martin Solveig, Roger Sanchez and more, and the playful cousins are now conquering the world, from deck to deck, with an energetic and exuberant style that has won them favour on the dancefloors.

Closing out the sampler is Saison with their signature house sound. The London based duo have been solidly in the game for the best part of a decade perfecting their unparalleled sound of raw, feel-good house music at it's very best. With numerous releases on revered labels including Defected, Nervous, Big Love and of course their own imprint, No Fuss.

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

Future Romance presents the 2nd edition of their vinyl release series called „Collector“, featuring the labels most wanted and most sucessful tracks. This collector's release is a sonic journey through the realms of melodic house & techno, featuring four captivating tracks by different distinct artists. Each composition has already garnered widespread acclaim and massive DJ support from across the globe. "Collector" is a testament to Future Romance's commitment to delivering unparalleled musical experiences on the beloved vinyl medium. Part II gives us wonderful tracks by Solee, Drumcomplex & Frank Sonic, Off Night and Paul Angelo & Don Argento.

Former member of Ganymed (a seminal Austrian space disco band active in the late 70s) multi-instrumentalist with boundless talent and dozens of excellent recordings ranging from jazz to pop under his belt. Italian-based musician, singer, and composer Daniele Prencipe is definitely to be counted among the most underrated, despite clear proof of his fine skills with solo projects and behind Surprise where he leaves an indelible mark.

In particular with the tracks like "Wow" and "Singin' And Steppin'" thanks to the pioneering use of the Minimoog combined with a Vocoder. Here the arrangement is on another level and the original 7" released by Polydor back in 1983 is one of the rarest of its kind. Finally reissued by Babà Records, fully licensed by Daniele Prencipe himself.

DJ Support: Jamie Jones, Reboot, Dennis Cruz, Raresh, Reelow, Dimmish, Fabe, Archie Hamilton, Rich NxT, Chicks Luv Us, Christian Burkhardt, Terry Francis.

This EP is inspired by love and dreams and continues her quest to find the perfect blend of emotional yet minimal melodic beats. Opener 'L'Amour' radiates Lazic's signature sounds with a slick bassline and melodic chords that convey meaningful emotions under female spoken words. It's a seductive world of warm pads and silky beats that cast a hypnotic spell. The fantastic 'Todo El Universo' features the vocals of Lazic's Spanish friend Monica. The title translates as 'all the universe' and is a favourite line from Paulo Coelho's novel The Alchemist about accomplishing your dreams. It's a deep and comforting groove with soft drums and pillowy pads that soothe the soul and are perfect for more intimate dance floors.
Remixer Nu Eau is a pivotal part of Romania's minimal scene with a meticulously crafted sound that has taken him to the likes of Gettraum and Memoria Recordings and he also co-founded the Uvar imprint. His version of ‘L'Amour' is more up tempo but no less heady, with lush cosmic synths doing an elegant dance over the compelling beats.

Spanish pair Los Suruba have done it all over the last 20 years - released hundreds of tracks, played thousands of gigs, established their own network of record labels, held residencies everywhere from Ibiza to London and crafted countless underground hits. Their remix of ‘L'Amour' is serene and cerebral with paranoid voices drifting through the mix and rippling chords keeping you afloat in the cosmos.

Having plied his trade around the world for more than three decades, German guitarist, bandleader and musical explorer Jan Whitefield has always instilled in his craft a natural aesthetic of authenticity, a key component which has seen him amass a sizeable and varied catalogue of material which has remained timeless where some of his contemporaries have faded away.

In the early 90s, as various UK bands were signed up by sizeable labels and enjoyed even mainstream chart success in the Acid Jazz and rare groove boom, Jan and his brother Max formed the Poets Of Rhythm, self-releasing their own uncompromisingly hard-edged take on 70s street funk on the then completely unfashionable 7" single format, forerunning the Deep Funk scene by almost a decade. 30 years on, in spite of a legion of retro-focused bands having followed in their wake, few have yet to come close to matching the energy and spirit of those early Poets 45s.

Since then, Jan has applied himself to all manner of new incarnations and innovative side-projects, releasing further funk surveys as the Whitefield Brothers before leading his own band under the pseudonym Karl Hector, with releases on labels such as Stones Throw, Daptone, Ninja Tune, Mo'Wax, Strut and more. An avid music lover, explorer and record collector extraordinaire, Whitefield's music has effortlessly absorbed his expanding interests along the way, particularly drawing influence from Ethiopian Jazz and West African funk and highlife, as well as Kraut-rock and ambient via his Rodinia alter-ego.

More recently, Whitefield has begun to venture into the astral planes of what's now commonly referred to as 'spiritual jazz', and this is very much where we find him manifesting on 'The Infinity Of Nothingness'. A set of mature, delicate and meditative orchestrations, like much of Whitefield's best work the album is studiously true to its key influences - and in this instance the twin figureheads of Sun Ra and Pharoah Sanders are particularly preeminent - but also completely avoids falling into a trap of mere tribute or facsimile. With subtle yet diverse accents of Hip Hop, Library and the Avant Garde appearing wholly unobtrusively, the album is unified by a marked trance-like feel, beginning with the sparse, processional opener 'Nothingness' through to the 3 part 'Infinity Suite' of 'Time', 'Space' and 'Energy'.

As he did as a schoolboy with the Poets of Rhythm, with 'The Infinity Of Nothingness' Whitefield achieves that exceptionally rare feat of creating music that is not only worthy of sitting alongside that of his overarching influences, but will also stand up with it against the tests of time.

Incredible new album from our new signing to BDQ records ZAN on the Boogie - Jazz Funk tip, due May. We’re so happy to be releasing this fabulous album.


Zan’s beautiful voice is an abiding part of the Australian music landscape. In the 80’s, she came to prominence out front of Melbourne’s iconic pop funk band
I’m Talking with Kate Ceberano, Zan’s lead vocals shine on one of the bands biggest hits ‘Holy Word’, which is still considered a trail-blazing Australian classic today. She loaned her vocal
talents to some of the most memorable Australian songs including The Models “Out Of Mind Out Of Sight” and “Barbados”. She appears in numerous videos singing backing vocals for a number
of Australian artists.

Zan appeared with I’m Talking in the classic music film Australian Made directed by Richard Lowenstein of Dogs in Space and Mystify fame. The film captured the incredible concert tour, which featured a plethora of major Australian performers such as INXS, Jimmy Barnes, The Divinyls & The Models. In her time with the I’m Taking band and as a solo performer she has made countless appearances on Australian TV including the legendary music programme Countdown.


In the 80’s she even performed for Princess Diana and Prince (now King) Charles at the
Rockin’ the Royals concert, at the Arts Centre in Melbourne, meeting the Royal couple after the show. Zan was bitten by the soul/R&B bug at an early age. Born in London of Sri Lankan heritage,
arriving to the shores of Australia as a young girl. Her love of music took her from Australia to New York and London, where she lived in the 90’s and early 2000’s regularly performing and recording with top international session musicians/artists. She’s also
had the extraordinary honour of performing live with both U2 &
B. B. King, Zan’s self-titled solo album was released through Amber Records in Germany in the mid 90’s and she also toured with UK Acid Jazz band
Mother Earth throughout Europe & Japan, eventually returning to the city she calls home, Melbourne.

Since being back in Melbourne, Zan has performed at various popular music venues such as The Night Cat, Memo and The Espy and in 2019, to the delight of 80’s music fans, Zan sang once again with the re-formed I’m Talking, playing a number of shows supporting Bryan Ferry on his acclaimed Australian tour. The re-formed band received several rave reviews for their shows. Zan’s new material is influenced by her considerable experiences, her rich musical history and the songs and artists she grew up on - soul and R’N B singers such as Chaka Khan, Renee Geyer and many others of that genre. Her new songs are steeped in 80’s dance/boogie funk/soul & pop flavours, re-capturing that feel-good factor from the era whilst bringing to it a new unique and contemporary edge.

A continuation of the extensive research project initiated last year between Sound Metaphors, Transmigration and surviving eye-witness/historian Ray Castle. An in depth analysis of the dancefloor landscape that developed in Goa during the 80s' and early 90's well before "Trance" became the unfortunate dirty word it is today. Before "trance" was even a genre, Goa was brewing a scene with unparalleled aesthetics, with a constant influx of dedicated collectors and DJs coming and going to this tropical underground dancefloor haven, filtering through vast amounts of emerging electronic music of the times and distilling only the finest of "Special Goa Music". Here is another compilation of our chosen most impactful tracks that would have been soundtrack to a very special and pure moment of freedom in dancefloor culture before the bastardisation of what we now know as "Goa Trance". A highly sought after selection of New Beat, Proto Techno, early Progressive/Trance, Industrial, EBM and House Music. Featuring photographs of the events presented in a double LP gatefold with poster and liner notes by Ray Castle himself. Re-mastered at Manmade mastering in Berlin. A generous body of research essential to any well rounded record collection.

Pianeti Sintetici presents AI-37, entitled ‘Space Opera’. Conceived by Italian artist Davide Perrone, the Pianeti Sintetici (“Synthetic Planets”) project hypothesises the creation of future synthetic worlds as told through sound. Although split across two parts, the album is a singular organism that narrates a journey of boundless cosmic exploration. A sonic tapestry woven of intergalactic atmospheres, Space Opera’s imaginative sound design contributes to a richly spatial and haptic experience.

Taking place in the dimly lit crevices of deepest space, a swirling pool of chemical abstractions and extraterrestrial transmissions spumes out from the darkness. Elements weave through broad washes of drones and scintillating textures, contrasting a sparse backdrop with dense and multilayered passages. Composed with the use of modular synthesisers and intense audio manipulations, ‘Space Opera’ comes to life as an entity that transports the listener on an immersive journey into the mysteries of alien worlds. 

Contains a third track that remains secret :p.

Dive into the electrifying world of Jellyfish with the latest release from BUD Records,"Je Series 5." Prepare to be transported to the neon-lit dance floors of the 80s with this infectious Italo Disco anthem. With pulsating rhythms and catchy melodies, "Musikman" is a testament to Jellyfish's mastery of the genre.

The party continues on the B-side with "Musik," a modern take on disco infused with elements of nu- disco. Groove-inducing basslines and funky guitar riffs converge to create a sonic landscape that is both nostalgic and fresh. Prepare to be amazed as Jellyfish takes you on an unexpected sonic journey.

But be careful, it may not end there...you might even find a special surprise, a hidden gem, an incredible track that defies expectations and pushes the boundaries of conventional disco.

As Token gears up for its 126th release, the time has come to invite a label favorite - Inigo Kennedy. The Englishman responsible for Token 1 readies us for three tracks of pure grain and warbling melodies packaged as 'The Calling' - a hypnotic yet stomping club record that highlights his unique production style full of character.

Taking up the entirety of the A side, 'Magnitude Seven' pulses itself through the first part of the ep. Melodic yet dissonant as many of Kennedy's best records, the track calls on a stripped down acid line to support a saturated groove and noisy synthwork. Epic in construction, 'Magnitude Seven' comes in waves of unsettling intensity emphasized by a powerful double kick sequence. The B1 takes it up a notch as the title track appropriately named 'The Calling'. A frantic four to the floor rhythm pushes along sustained notes, settling in a certain pressure. Harmonic sections breathe more life in an otherwise nail biting record that defines the Token sound accurately and Kennedy uses this arrangement to distance himself from the classic loop based template used by most producers in his field today, confirming the ongoing relevance of a longstanding career in club music. Ending with a bit of a twist for most, longtime fans will be unsurprised by the choice to wrap things up with 'Out of the Woods' - a fitting electronica closer that departs from 'The Calling' with a focus on introspection. Drifting notes and a shuffled percussion line are reminiscent of his UK roots and fit perfectly as an epilogue to his previous techno tracks. Ethereal as ever, Inigo Kennedy offers us another masterclass in out of the box production techniques in soulful electronic music.

Returning with our anniversary vinyl, the flamingo present us with a release with the legends Yaya, Nacho Bolognani, alongside with remixes from our good friends that recently playing and party with us Dimmish and Rich Nxt. Enjoy

Pitch Dark is a new VA series brought to you by Berlins Pure Hate Trax. For this the 1st in the series they invite 3 new Artists to the label but by no means new to the scene in Codex Empire, Maedon & 7CIRCLE. Also making a welcome return after his debut on VHXX1 is STRISC. Codex Empire – Since 2014, British born, Vienna based Codex Empire has built an international reputation for dark and intense techno productions and live shows. Combining this background in dark electronic music with heavy rhythmic elements makes Codex Empire an intense and simultaneously danceable experience both live and on record. Codex Empire has performed over 100 live shows across Europe, Japan, Korea and Canada, as well as numerous appearances in Berlin at Berghain, Tresor, Arena Club, Suicide Circus and BoilerRoom. Maedon – A native of notoriously grimy Baltimore who spent some seasons in filthy Philadelphia learning the craft, her arrival in New York City circa 2018 signalled a shift in development, one confirmed by the emergence of her Maedon moniker and her partnership with Brooklyn/Berlin techno powerhouse Sonic Groove and its head Adam X. Fast forward three years to Berlin, two albums, a residency at Tresor and an entire world later, Maedon forges ahead to the next phase of a rapidly building career. Assuring her future as the world falls apart, Maedon’s bracing sound and undeniable skills are a story now unfolding, with its beginnings already written in grit.
7CIRCLE – At the helm of Destroy to Rebuild, 7CIRCLE is a musical project without boundaries. Drawing from post punk and metal roots, 7CIRCLE navigates across all genres including Techno and Industrial without compromise or frills. The journey through the discography of 7CIRCLE is a fascinating path filled with darkness and aggressive sounds which are sometimes embellished with a melancholy touch to satisfy lovers of strong emotions. STRISC. – Hailing from the East Midlands, UK and residing in Berlin for the last 8 years, STRISC. is an Artist, DJ & Label Owner who has been making waves due to a relentless output of no-compromise productions that have garnered him the respect and attention of Techno aficionados and peers alike.

A kaleidoscopic sonic riot, Nandakke? is the hotly anticipated debut album from Japanese-Belgian duo Aili. Featuring 10 tracks of surreal electro-pop, joyful electronica, house music and more, Nandakke? is a euphoric album that sees Aili Maruyama and Orson Wouters more than fulfil the promise of their acclaimed debut EP.

Recorded over the course of six months in Orson's studio, packed full of vintage synths, Nandakke? captures the spontaneous spirit and creativity of those sessions. Exchanging riffs and rhythms, bouncing sounds and samples off each other, Aili and Orson would let the music take them where it wanted. The result,an album full of wild ideas and bold, playful experimentation.

More than anything an exhilarating feeling of discovery courses through Nandakke?, leaving you never sure where it will go next. One minute a pulsing electro-pop number featuring Aili's dad discussing his takoyaki (battered octopus) recipe, the next an explosive high energy workout song like Up & Down.

Certainly Aili was surprised to find herself singing in her own unique version of Japanese again.

"I thought that I was done with that after our debut EP, but apparently not as I speak even more Japanese on the album!" said Maruyama. "Every time we were in the studio these words would just tumble out. It's a complicated language but I just love to play with it.

"In many ways I'm an outsider, I left Tokyo aged 7, so there's a lot I notice as someone who is not a native speaker and it doesn't always make sense, there's a lot of mistakes in it.But in a way that sums up the whole philosophy of the album and how Orson and I work together."

That notion of duality, a sense of belonging but feeling apart, of being between two worlds and inventing your own captures the spirit of Nandakke?, itself a Japanese word that roughly translates to "Well, what was it?".

"It's something you say when you're looking for a word, like you know it but have forgotten how to say it. That's literally how I communicate with my dad the whole time," Maruyama explains. "The main feeling I have when I go to Japan is that I know the language, I can speak it, but part of me still feels like it doesn't have all the vocabulary. There's a gap there that nandakke has always filled for me. All the lyrics come from that place, that seven-year old trying to speak Japanese."

Whether Aili's singing about the language she invented with her father over the years to bridge the gap between them (Nandakke?), the idiosyncratic Japanese relationship to fashion (Fashion) or riffing on children's playground songs (Yubikiri) the result is a remarkable album that defies easy categorisation.

Bursting onto the Belgian scene in 2021 with their acclaimed debut EP, Dansu, its lead track spent 8 consecutive weeks at the #1 spot of Radio 1's VOX list and saw the band nominated for Studio Brussel's De Nieuwe Lichting ('New Generation') award. Since then Aili have appeared playing live on the Belgian TV show Roomies, been tipped by the likes of Rolling Stone, become regulars on tastemaker stations like KEXP and KCRW in the US and Nova in France, toured across Europe and, just recently, played their first sell out shows in Japan.

Recorded on the edge of Berlin in a semi-deserted building complex formerly used by the East German Sociality party, André Uhl's debut on the label taps into the spectral frequencies of the space and the ritual practices of recording.

Created in isolation amongst this decaying structure and surrounded by lakes, dense forestry and the sounds of boars and unknown wildlife outside, Every Step Causes a Crack is a title that reflects Andrés connection to the environment around him and the death or glory stance of the artist, with field recordings, electric doom synthesis and lurching drum tracks temporarily fracturing the darkness before being pulled back through the void.

Limited vinyl release of 150 copies.

inc. Tedd Paterson Remix

The final release of the year on his Afroterraneo imprint, Kiko Navarro presents a brand new version of 'Mama Calling', his timeless collaboration with Buika, featuring a remix by Ted Patterson.

Originally issued in 2004, Kiko Navarro and Buika revisited the 'Mama Calling' while preparing for a live show in November 2023, and their new version of the song became a highlight of the concert. Apart from those distinctive horn stabs, this is a brand new update of the energetic and life-affirming song, perfect to help propel dancefloors into the New Year and beyond.

Around 2003 Kiko Navarro first met House legend Ted Patterson, playing together with him at Pacha Ibiza, and Ted was so enchanted by 'Mama Calling' that he asked for a pre-release copy then and there. It took a few years for Ted to remix the song,
and it was then only ever released as part of a compilation in 2010. Finding favour with DJs across the globe, including heavy rotation from Honey Dijon over the years, it felt like the right time for a new mixdown and master for Ted's classic remix too,
which we present here in single form for the first time ever.

The Late Night Tales compilation is a bit of a ‘stealth’ project for me personally. I’m very proud of it, but at the time, I probably didn’t appreciate it as much as I do now because there was so much going on. You do these things in-between touring and you don’t really have time to reflect on them because you’re immediately onto the next thing. It’s nice to know that it’s getting re-released. George Evelyn - Nightmares on Wax May 2024 This ain't no normal nightmare, kid. This is Nightmares On Wax, aka DJ EASE, aka George Evelyn. Born under a bad sign, with lino in hand, Mr. Evelyn went forth into the world and breakdanced (brokedance?). It's what you did in the 80s when you were young, loved hip hop and couldn't rap for toffee. When house arrived they turned their clever hands to it. Bleeps and beats is what it was. That's what everyone said. But there was always a bit more than a bunch of bleeps to what Nightmares On Wax did. The north never really took the name very seriously (Sweet Exorcist even named their album Clonk as a pisstake). Then George flipped the script and went and did Smokers Delight, the beats not so much seminal as semolina: gloopy and slow and sweet and lovely. And now we have this: a 2024 reissue of his seminal Late Night Tales compilation. Tom Scott's 'Sneakin' In The Back' — one of the most sampled beats in hip hop — makes an appearance in its full glory, while Quincy Jones, the inspiration for NOW's 'Nights Interlude', backs up the classics with ‘Listen (What It Is)’. Evelyn's hip hop sensibility is to the fore throughout and nowhere is this more evident than on ‘Intergalactic Throwdown' by former Freestylers' DJ, Mad Doctor X. And can we forget the sublime version of the Classic IV's 'Spooky' by darling Dusty? No, we can't. Finally — oh, finally! — there is the now-traditional cover version, with George serving up a soupy version of 'Brothers On The Slide' that gives a nod of respect to the original British funk soul brothers, Cymande. This ain't no nightmare at all: it's Nightmares On Wax.

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


Kicking things off on our next 4-track vinyl sampler series is Toolroom's very own Martin Ikin who returns to the label with ‘Make U Sweat’! He was the Best-selling Tech House artist on Beatport in 2020 and 2021 and has over 1m monthly listeners across streaming platforms. Recent studio collabs have included Noizu and Joshwa and tours have seen him travel far and wide to the US, Brazil, Bali, Ibiza, Italy, Croatia and of course, his hometown of London. This new record is the follow up to 'Oscill8' that dropped in March 2023 and sits in a similar lane, in that it's pure, unadulterated club weaponry! Next up is Italian house legend Flashmob with the frenetic, high-energy club vibe of new cut ‘My Body’. Flashmob's sound, production and go-for-broke DJ sets have changed with the game, embracing the vitality of new house music rather than hankering after sentimental sunsets. His ethic and aesthetic move relentlessly forward, using the old and new to craft unique sonic alchemy from big festivals like Tomorrowland to the intimacy of small clubs on the international circuit. ‘My Body’ is typical of Flashmob's current sound, combining solid drums and some insane synths and fx, alongside an earworm vocal sample that results in yet another memorable club cut from an established master. Canadian Tech House maestro Nathan Barato debuts on Toolroom kicking off the B-side to the vinyl alongside studio partner, Matheo Velez with 'Weapon'. A record that has already caught the attention of the underground elite with Michael Bibi premiering the track at his first appearance back at DC-10 in Ibiza last Summer. Both artists are enjoying great success across key labels such as Viva, Circus, Snatch and RAWthentic. This is an addictive, bumpy club track

that packs a huge punch on the dance floor and actually features Nathan's very own 'Move me… Rock me' vocals! Rounding things off is UK DJ/producer duo, Jenn Getz & Alfie who are residents at Dubai's #1 nightlife destination, Soho Garden, where they warm up for legends such as Sonny Fodera, MK, Claptone, Solardo & Fisher on a weekly basis. In their relatively short 3 year career they have already released on Solotoko, Abode and Toolroom Trax and now debut on Toolroom with 'Vibration'. Both girls are incredibly passionate about house music and are also big advocates for a life centered around well-being and meditation, and the idea of this record was to combine their 2 passions in life, so they proceeded to co-write these original lyrics to accompany the track, which in itself is very inspiring! This is a super cool club record that will excite fans and DJ's alike, welcome to the Toolroom Family, Jenn Getz & Alfie!

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

These tracks are among my absolute favourites in the realm of house music. Their haunting grooves seamlessly blend into house, techno or even garage sets. Despite being recorded about 30 years ago the sonic quality remains unmatched for its time, embodying the essence of timeless music.

However, I’ve never been entirely satisfied with the sound of the original pressings. The vinyl limited total time length compromised the audio quality. Thus, I’ve long desired to remaster it in my studio and properly cut them, which led to our decision to undertake this endeavour.

I am immensely proud of this release and thrilled to include it in our exquisite collection on Pariter. YA

Live artist Innellea dropped his limited vinyl deluxe album . ‘The Belonging’ including two bonus tracks, poster and colored vinyls. The LP forms part of a conceptual storytelling project. The album features focus track ‘Shelter’ w. CamelPhat & Monolink, along with diverse and significant collabs with Grammy winner Flowdan, Swedish indie singer/songwriter Karin Park, live musician Juan Hansen. Additionally the deluxe vinyl album includes Innellea´s feature with Paris Paloma 'under Earth'

‘The Belonging’ project is a cohesive multi-media concept, comprising the album heralded by a series of singles, multiple music videos. All of this will evoke a ‘collective catharsis’ after charting a personal and universal journey. This says Innellea: ‘As personal crises are part of life, we want to go through this journey collectively, from a silent, burned out state of ‘Where do we belong?’ Together, we will go forward forever through all the insanity until the certainty that ‘We belong here!’ as each track charts a step away from crisis, towards this feeling of belonging.

A veteran of the great Malian orchestra, the Super Biton de Ségou, Mama Sissoko is an accomplished musician. His music traverses Mandingo, Bambara, Sarakolé, Songhai, Bobo, Peul, Malinke and Bozo traditions, all while flirting with jazz. On stage, Mama Sissoko is a purist who engages with the audience bringing his energy, urgent vocals and truly inspired guitar solos throughout the concert. ‘Live' brings together recordings from a concert given in Paris at La Villette in 1998 and takes us back to a high point in Mama Sissoko's career.

In ‘Live’, we find tracks from Mama Sissoko's second solo album 'Soleil de Minuit', which was released in 1999 by Buda Music. As on the album, the different guitars overlap without compromising the unity of the music, rendering an earthy atmosphere despite being very complex. The recording of this concert was superb. We can hear every note, every nuance, every instrument and voice in the many-layered compositions.

As on the album ‘Soleil de Minuit’, this live recording opens the session with ‘Diarabi’, followed by ‘Safiatou’. Both are up-tempo love songs in which Mama Sissoko's powerful voice sings with all of the passion that such love songs deserve over a clean rhythm driven by the percussion of several guitars. The heavy bassline of ‘Safiatou’ adds to the urgency of the song. After these two beautiful renditions, the energy continues with the guitar-driven ’Fisiriwale’ and then a surprisingly original version of Super Biton’s famous song, ‘Iri’. We are then treated to a lively version of his ‘Soleil de Minuit’, called out by the artist as a ‘salsa Africana’ with a shout out given to Cuban salsa mid-way through when he calls the song ‘El Sol de Medianoche’ in perfect Spanish.
Throughout this concert, Mama Sissoko’s deep and melodic voice seems to emanate effortlessly from his body and soul. Multiple guitars back up his signature solos adding depth to the music that harkens back to the traditional music of Mali. Perfect examples of this are given in the songs ‘Douga’, ‘Manssane’ and ‘Hommage a K’. The last song, before a rousing second version of ‘Soleil de Minuit’, is ‘Boma Ma’, a truly modern rendition of a traditional Malian hunters’ song with multiple guitars, shakers, lively djembe and an outstanding vocal duet with Toussaint Sainé, Mama Sissoko’s long time musical collaborator.

Accompanied by incredible musicians, including Toussaint Sainé, his partner in the Super Biton orchestra, "Live" plays in the timeless way of Malian music. What's more, it gives us the gift of its most direct and powerful dimension, that of live music, as if 20 years hadn't passed.

SPR003 - Double Trouble, another vinyl only gem from Munich!

For his third release analogue synth aficionado and owner of the label Superpartyrecords Niko S. joined forces with established DJ and emerging producer Ninja Hagen.

Together, they let their creativity run wild and delivered four progressive/trance-infused peak time tracks that honor pioneering technologies in the history of sound engineering.

SPR003 is a true ode to ‘High Fidelity’ and ‘Superparty’-vibes on the dance floor.

LTD Color Repress


After a completely sold out first release by Tom Carruthers and Mario Liberti. TCR. is back with one of the secret weapons inside many DJ bags. Heavily supported by Ricardo Villalobos, Tini, Anthea, Arapu, Alexandra, Velasco, Liquid Earth, Bill Patrick, Josh Baker, Lis Sarroca and many others TCR.002 by ‘Unknown Artist’ has been played on some of the top dance-floors around Europe.

The whole EP is a tribute to an Ibizan band from the late eighties and early nineties.

Extremely limited copies, don’t sleep on this one and remember… Pon, Ponte Bien, Pon Selo, Pon Pin Pon, Pon Amor, El Party Que No Pare.

The Samosa label gets its Re-Funk Head on once again with Part 2 of the exciting sonic laboratory project.

Opening this outrageously good EP are Samosa alumni Dirty Elements & Drunk Drivers feat E.M.E and their all-powerful and energy blasting ‘Disco Ball’ – a track that never even attempts to hide its sassiness. The brass ensemble fanfare (which is truly one of the best disco riffs in the known universe) acts as a victory parade through Samosa City – all tickertape and confetti raining down on smiling faces. A serious, serious groove which has featured in sets by Art of Tones on his Ultimate Mix Show for Glitterbox Ibiza and by Folamour in his Amsterdam gigs in March 2024.

Track 2 is respected Italian Maestro, Moplen and the wonderful ‘Ain’t No Doubt About It’. There’s an immediate dance floor lure to the disco beats and bongo rhythms here. Take a good helping of ‘pew-pew’ laser bolts, cow bells and hand claps; add a masterful bassline and you have some serious, serious disco business. You could be sipping evening cocktails in Club Coco Bongo or taking in a beach at sunrise - this track would make you want to dance regardless.

On the B-side the disco theme continues with the most aptly titled ‘Sexy Thing’ by Jazzyfunk. At 122bpm, this heads quickly into soaring, heavenly strings and punchy bassline territory, enveloping your ears like a warm duvet. The melody is a dance floor dream – it demands that you join the hands-in-the-air crowd and there really is no point in resisting. ‘Sexy Thing’ is one of those rare ‘moment in time’ tunes that could either kick a night off or act as the grandest of grand finales. Pure, unadulterated disco pleasure.

Closing the EP with Track 4 is DeGama himself and ‘Feel The Groove’. Make no mistake, this is a powerful, brooding beast of a tune that bursts out of the traps in no time at all. At a very deceptive 120bpm, ‘Feel The Groove’ starts with a warm, housey vibe that quickly breaks into a jumping, blues inspirerd guitar battle. The solid beat bounces gorgeously in tandem with the filthy rhythm guitar riffs and sultry saxophone in a knee-slapping, somersaulting, backsliding explosion. A seriously filthy tune from DeGama.

Re-Funk Head Part 2 acts as a perfect companion to its predecessor – featuring an all-star cast of some of the best talents to grace Samosa. A must for all serious record collectors.

Repress!

The release of Crosstown Rebels’ SPIRITS compilation is always a bastion moment for the label. The first edition came to prominence in 2017 and we’ve been graced with an annual compilation ever since, showcasing a consistent habit to champion established artists and breakthrough ones alike. Now, Crosstown Rebels’ lauded SPIRITS series will see the light of day once more in June, with the release of SPIRITS V.

NYC-native Layla Benitez leads proceedings with Fides, a progressive-leaning, introspective number that retains an inherent danceability throughout. It kicks off the compilation with a driving energy, one that’s perfectly matched by Trabajar - the Crosstown Rebels debut of recent Hot Creations inductee Mr.Diamond.

A techy-inspired cut, punchy four-four drum patterns create a distinctive late-night feel, as UK-talent Denney soon arrives with Kill The Soundboy. Showcasing the groove-laced house sound with which he’s become best known, the near seven-minute piece is sure to light up many a club setting this year, paving the way for Talk To Me. It’s a collaborative venture between Munich-based artist ASK:ME and El Muerto, with Soulfoot featuring on vocals. Retaining a vintage Detroit style, the fast-paced tempo creates a natural excitement before Romanian-born mainstay GruuvElement’s gifts us the minimal-toned Boom Room.

Building with tribal-like percussion and salsa-inspired instrumentals, it’s a playful excursion into dance music’s outer realms, paving the way for young Peruvian producer Chinonegro with My Moment. Whether it be the pluck of a guitar string or a jazzy trumpet solo, there’s an inherent authenticity to the six-minute piece, as a mid-track breakdown gives way to whispering hats and a rhythmic underlying backbone.

The penultimate offering comes from French-born, London-based regular Maglia, who serves up the enchanting Rayiys. The chirping of birds resides atop an ever-changing bassline, leaving us open and ready for the VA’s closing saga: Thanks Moon, by Spain’s I AM JAS. A heady combination of beautiful lyrical contributions combines with softly moving electronic elements, to leave us in a state of calm, inward reflection. Rounding off proceedings on a note of quietude, it reminds us of the final moments in clubland, transporting our psyche to sunrise, fond memories and everything in between.

Over a period of nineteen years, Damian Lazarus’ Crosstown Rebels has evolved into a world-renowned institution, garnering global audiences thanks to a consistent schedule of quality releases. In years since it’s earliest beginnings, the likes of Maceo Plex, Art Department, Seth Troxler, Ali Love, Mathew Jonson, Pier Bucci, Acid Pauli, Dennis Kurtel, Francesca Lombardo, Glimpse, Aphrohead, Fur Coat and a plethora of other figureheads have all found their home on the label.

The roster is international, showcasing how Crosstown has shaped a truly global scene. Releases are born in different continents by artists who hail from different countries, resulting in a sound that resonates worldwide. Perhaps most pivotal to the label’s success is its musical output: no part is governed by boundary or genre. It’s underpinned by a truly eclectic sound, one that reflects the diversity of Damian’s love for music itself. An album from drum and bass icon DJ Krust here, a maiden LP from Audiojack there… traversing genres has been Damian’s forte for decades - and Crosstown epitomises that as a result.

Congratulations is the debut EP for Raji Rags - DJ on NTS Radio, a label head, an A&R or behind the scenes at institutions like Boiler Room, Warp, Bleep, Livin' Proof and now at the helm of his own label, OTIH Records. The EP features instrumentation from members of Speakers Corner Quartet and a collaboration track with Taiwanese producer, Sonia Calico.

Confirmed mixes, reviews, radioplay and press confirmed from RA, DJ Mag, Mixmag, NTS Radio + more launch parties TBA. Limited edition run of 300 hand screen-printed vinyl.

Glasgow based Seated Records return with more 1980s Scottish Post-Punk / New Wave material. In this 8-track mini compilation the label introduces the work of Stirling band 22 Beaches, offering a deep dive into music recorded between 1980-1984 - the majority of which has never seen the light of day!

22 Beaches formed in Stirling in the late 1970s as an evolution of the short lived group ‘Alone at Last’ - drummer Fred Parson’s and guitarist Stephen Hunter being the two who spanned the divide. Out of the six members of 22 Beaches, many were school friends, and the rest naturally fell together. The band toured extensively and played at a truly diverse set of venues across the UK: from a local swimming pool boiler room, to small nightclubs and university parties, to several fundraisers for the miners strike. Maybe most notably of all, drummer Fred Parsons described playing at what he calls “the Grangemouth International”, organised by local promoter Brian Guthrie and which featured an all-star lineup of 22 Beaches, The Exploited and the first incarnation of The Cocteau Twins. A coach was hired to ship the audience to Grangemouth from Stirling, the cost of which was included in the ticket. The gig then paused halfway through for a 'help yourself' buffet. Young promoters take heed. This is how it's done!

Over the course of the 80s the band released music on three different, and now sought after, various artists compilation cassettes. “What Day Is It?” and “Sadie When She Died” were released on a compilation of local Stirling artists 'The A.N.K.L.E File'. The track from which the current record takes its namesake - “Dust” - was initially released on a compilation-tape for the fanzine 'Another Spark'. And ‘‘Zoo” (also featured on this record) was first released on Glasgow label Pleasantly Surprised via compilation, 'An Hour Of Eloquent Sounds', where 22 Beaches rubbed shoulders with early music from Scottish names Primal Scream, Cocteau Twins, The Wake and Sunset Gun. Unfortunately, 22 Beaches never met the same level of commercial success as these others and decided to retire the project in 1984 - leaving their recordings and demos to gather dust (hehe)…until now!

This compilation, “Dust: recordings 1980-1984” follows the band's journey and the changes in their sound over the years. It moves from the raw, punk energy of early DIY recordings through to the A Certain Ratio style Balearica of their later pieces. The record's opener and title track “Dust” is perhaps the most shining example of the latter. Characterised by the plenitude of sonic space in the mix, “Dust” has an almost dub sensibility that is communicated through centrality of Parsons’ drums, McChord’s percussion, and Fildes’ Bass while the harmonising vocals of Sharkey and McGregor chant over the top to give the track its distinctive psychedelic edge. This is an atmosphere only exacerbated by the lofi quality of the recording which sits the vocals in the same aural realm as much 1960s psych-folk. On “Cartoon Boy”, the band strips things down further. A droning bass line persists through the tape fuzz and is accompanied by the sounds of a sole looping guitar chord sequence and McGregor and Sharkey’s vocals - respectively and carefully dancing around one another before harmonising in the most beautiful way. The result is a haunting and abstract Marine Girls style heartbreaker. ‘That Girl’ again delivers a dub adjacent rhythm section similar to that of “Dust”. However, on this instance crisp guitar chords, a distant, phased organ and blue-eyed soul vocal delivery, produce a track that could easily have been a lost Orange Juice recording from their sessions with Dennis Bovel. On “Somebody Got It Wrong” and “One Of Us” the band employ a more macro approach where a jangling guitar with an almost highlife-influenced tone, vocal ad-libs and syncopated percussion give the music a Talking Heads-esque swagger.

Taken together these tracks illustrate a clear trajectory in the band's sound, moving from from the high energy no-wave quality of early recordings towards a more dub influenced, and stripped-back sound - a sonic trajectory followed by so many bands of the time, not least those emerging from the diaspora of Manchester’s Factory Records.

On “Breathing’’ we hear the beginning of this transition, with the strong influence of the oddball NYC disco styles of Was (Not Was) and ZE records. All of this is meshed together with the residual punk rock energy of 1980s UK. This combination is employed to excellent effect with the addition of the distinctly Scottish (and what the band confirmed to me to be spontaneous) vocal delivery of: “Do you love me? Do you want me?” “Aye!” “Do you love me? Do you need me?” “Naw!”.

On the record’s closing tracks, “Zoo” and “Talent Show”, we hear early examples of the band’s work, playing with their rawest all-in-one-take live energy where Hunter’s spiralling guitar riffs and McGregor's distorted vocal exclamations lead the charge. The band recalls that these initial-forays did not always translate so well into multitrack recording and overdubbing: “the deconstruction took away some of the band's natural feel”. On “Talent Show” the record ends with Sharkey delivering an almost unintelligible spoken word section over the top of the track, making for one final, disorientating, almost manic slice of post-punk.

These tracks from 1980-1984 chart the progress of a unique contribution to the world of Scottish Post-Punk and New Wave, encapsulating not only the musical trajectory of 22 Beaches but also echoing the broader sonic landscape of 1980s UK, a testament to the adaptability and creativity of the UK’s underground music of the time.

“Omni – meaning all-encompassing – is an apt title for celebrating over a decade of music on Blue Hour Music. Marking the musical diversity and longevity of Blue Hour’s imprint, the Omni V/A series brings together a wide range of artists from the full electronic music spectrum, plunging into a pool of techno, trance, breaks and everything in between.“

*** Sides C-D are vinyl exclusive until Autumn 2024 when Part 2 will be announced ***