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Emerging from a shared love of long-form storytelling and hypnotic groove, Techfui presents a stunning double album from Ada Kaleh and Wareika, a cross-continental dialogue between two singular visions of deep and micro house.
Romanian composer and sound alchemist Ada Kaleh channels his signature world of organic textures, dub-soaked spaces and slowly evolving rhythms, known from his forward-thinking work on R&S, Apollo and his own Ada Kaleh Romania imprint. His part of the productions unfolds like a ritual: subtle, detailed and endlessly spiralling, built for dancers who like to disappear inside the groove.
On the other side, trio Wareika bring their unique blend of live jazz sensibility, meditative dub and electronic body music, honed over years of improvisation and boundary-blurring club performances. Their contributions lean into fluid polyrhythms, elastic basslines and shimmering harmonies, tracks that feel alive, breathing and in constant motion.
The journey is expanded by a heavyweight remix cast: minimal house icon Thomas Melchior, Techfui founder and Bahrain mainstay Salah Sadeq, whose deep house productions are crafted to move both heart and floor, and the elusive studio force DUST. Each rework dials the hypnosis in further, stretching time and space without ever losing the warmth of the original material.
True to Techfuis ethos of bringing family, friends and fresh talent together to create honest, unconventional art, this double album is not just a collection of tracks, but a deep, carefully produced listening experience, timeless deep house and micro house for late nights, early mornings and every hazy moment in between.

Sodom ist eine deutsche Thrash-Metal-Band, die 1981 in Gelsenkirchen gegründet wurde und neben
Kreator, Destruction und Tankard zu den „Big Four“ des deutschen Thrash Metal zählt. In ihrer 43-jährigen
Karriere veröffentlichten sie 18 Studioalben und touren unermüdlich um die Welt, wo sie vor ausverkauften
Festival- und Clubbesuchern eine treue Fangemeinde begeistern. Auch ihr Fanclub, die Sodomaniacs, ist
sehr engagiert. Ihr letztes Studioalbum erreichte Platz 5 der deutschen Charts.
Diese Neuauflage ihres sechsten Albums „Get What You Deserve“ erschien ursprünglich 1994. Es war
nur in limitierter Auflage auf Vinyl erhältlich und ist seit Langem nicht mehr auf CD verfügbar. Das
Originalalbum wurde unter der Aufsicht des ehemaligen Gitarristen Andy Brings remastert, der auch einen
brandneuen Remix des Albums erstellt hat.
Die Triple-CD-Edition enthält das remasterte Studioalbum, einen bisher unveröffentlichten 2026-Remix
des Albums sowie das neue Remaster und den Remix der EP „Aber Bitte Mit Sahne!“.
Dies ist die ultimative, von Fans initiierte Wiederveröffentlichung dieses Crossover-Thrash-Metal-Klassikers
einer der angesehensten Bands des Genres!
Die Doppel-LP-Edition enthält das remasterte Studioalbum und den Remix.
Die Deluxe-Box enthält die 1993 erschienene Vorläufer-EP von „Get What You Deserve“, „Aber Bitte
Mit Sahne!“, sowie einen bisher unveröffentlichten Live-Mitschnitt aus Frischborn, Deutschland (1993).
Die Deluxe-Box enthält das neue Remaster und den Remix von „Get What You Deserve“, die EP „Aber
Bitte Mit Sahne!“, ein 34-seitiges Softcover-Buch mit ausführlichen neuen Liner Notes, Fotos und Erin-

Blu:sh on the remix, Tifra on the originals. Out 27/02.

Storming into 2026 with Tifra’s debut solo ep on our main label.
A collection of rapturous club trax, showcasing his incredible time withstanding progressive sound—along side the high-intensity, wormhole bending remix on b2 by Blu:sh. Supported worldwide by DJ Seinfeld, Aurora Halal, Mama Snake, Or:la, and many others. This release is a full dose of propulsive club sounds, fully focused on club dynamics with a punch.

From outright no-nonsense prog house made for peak-time on the title track “Caledonia”, to a bumper tech-house leaning cut on A2, “Bliss Monastery”, proving his undeniable talent for making a groove. On the other side we go more direct— we’ve got a fast, trippy, mind-bending beat with “Aquas Calientes,” plus a remix by Blu:sh that pushes up the intensity with his signature fierce, psychedelic sound—ready to put any sound system to the test.

Andre Zimmer’s sold out “Saved My Life” EP gets 4 hot and heavy remixes for the dancefloor, showcasing progressive, euro house sounds that are bringing back the true essence of the 90’s.

Before celebrating its 100th release, Quintessentials is very happy to present another ep from Detroit’s finest Alton Miller (in fact it’s his 4th for the label)! „Last one 1st“ is a driving and building Detroit inspired track, that doesn’t lack elegance. The remix courtesy of french hot shot Life Recorder (check out his full EP on Quintessentials as well) focuses on a proper Detroit House vibe, call it a classic. The b-side is deeeeep! The original version of „give it up“ is a smooth and soulful tune providing goose bumps. Switzerland’s finest house producer Shaka adds some club feel to a beautiful early morning track. Classic release!

repress Start 2026!

Celebrating 30 Years of Cherry Moon with this 5x12" vinyl box set, a collection of some of the most iconic tracks of the club. Dive into the history of one of Belgium's most iconic venues, the "House of House".

AcidReflux for their first release!

the debut release on mule musiq by das spezial.

das spezial is a bold collective of artists crafting genre-defying music that challenges norms and reshapes the uk independent music scene.

this track was recommended to us by henrik schwarz as a perfect fit for a mule musiq release. it is also featured on laurent garnier’s fabric mix cd.

a super-killer track that feels as if isolée and pepe bradock were blended together and then remixed by laurent garnier himself.

the henrik schwarz remix, pitched down, dubby, atmospheric, and deep, is a floor-killer that will be played across the boundaries of house and techno.

Family Portrait EP serves up a powerful team of artists featuring Octave, Origins of Time, Seko, Jay Tripwire, and Amo

PinkPantheress announces a suite of physical products available to pre-order now.

Fancy Some More? sees PinkPantheress bring together an international spectrum of artists, delivering 22 remixes. Remixes come from artists including Anitta, Bladee, JADE, JT, Kylie Minogue, Oklou, Rachel Chinouriri, Ravyn Lenae, Yves, and Zara Larsson; genre-defining groups and collectives such as Basement Jaxx, Groove Armada, SEVENTEEN (THE 8, MINGYU, VERNON.), and Sugababes; and acclaimed producers and DJs including Adame DJ, DJ Caio Prince, Joe Goddard, Kaytranada, Kilimanjaro, Leod, Loukeman, Mochakk, Nia Archives, and Sega Bodega. Each track offers a new perspective to the signature PinkPantheress sound, expanding the Fancy That universe.

Released in May this year and written and produced by PinkPantheress, Fancy That was created alongside aksel arvid, Count Baldor, phil, Oscar Scheller, The Dare and others, bringing together a collective of creative minds to shape her latest sonic evolution. As she steps into her fun and kitsch-y era, rooted in British culture, the 9-track project showcases her signature vocals and genre-blurring sound.

"Kawaru Kieru" by "Cornelius" will be released in a vocal version performed by Keigo Oyamada himself.
The streaming version, "Kawaru Kieru (feat. mei ehara)," is included on the B-side.
This is an analogue 12-inch single. Lyrics by Shintaro Sakamoto (ex-Yura Yura Teikoku), music by Keigo Oyamada.




[d] b2. Kawaru Kieru (feat. mei ehara) [John Carroll Kirby Remix]

Nach weltweit über einer Million verkaufter Einheiten erscheint das legendäre SCORPIONS-Debüt-Album
„Lonesome Crow“ pünktlich zum 60-jährigen Bandjubiläum am 27.02.2026 als komplett neu gemixte Auflage in transparentem Vinyl, als Digisleeve-CD und digital als Dolby Atmos-Mix. Unter der Aufsicht von
Stephan Plank, dem Sohn der 1987 verstorbenen Studioikone, wurden die Analog-Tonbänder in einem
modernen State-Of-The-Art-Verfahren von der Patina der letzten fünf Dekaden Jahre befreit und von
Grammy-Gewinner Hans-Martin Buff (Peter Gabriel, Prince etc.) in einen brandneuen Mix umgesetzt,
zusätzlich wurde das Original-Artwork um zahlreiche unveröffentlichte Fotos sowie jede Menge spannender
Making-Of-Anekdoten ergänzt. Ein Kultalbum erstrahlt in neuem Glanz!
„Es ist spannend, nochmal zurückzuschauen und sich daran zu erinnern, wie unsere verrückte Reise damals
angefangen hat“, erklärt Klaus Meine. „‘Lonesome Crow‘ ist eine Liebhaber-Platte für Die-Hard-Fans, die
tief in die Vergangenheit dieser Band eintauchen und unsere Wurzeln erkunden wollen. Die meisten sind
sehr überrascht, weil sie die Scorpions, die man heute kennt, darauf nur in Ansätzen wiederfinden. Trotzdem ist das Album ein wichtiger Punkt in unserer Geschichte, von dem aus wir uns immer weiterentwickelt
haben. Es ist eine irre Sache, nach 53 Jahren in die alten Bänder einzutauchen, neu zu remixen und neue
Klangfenster im Dolby Atmos-Sound aufzumachen.“

Mit Brazil Greatest Hits veröffentlicht Wagram eine musikalische Reise durch die farbenfrohe Welt Brasiliens - von zeitlosen Bossa-Nova-Klassikern bis zu modernen Latin-Grooves. Auf zwei sorgfältig zusammengestellten Vinyl-LPs versammeln sich legendäre Aufnahmen und internationale Club-Favorites, die den Spirit von Rio, die Leichtigkeit des Samba und den warmen Sound des Tropenlands einfangen. Die erste LP präsentiert ikonische Stimmen und Instrumentalstücke der goldenen Bossa-Nova-Ära - voller Eleganz, Rhythmus und Melodie. Auf LP 2 geht es moderner und tanzbarer weiter: brasilianische Funk-Einflüsse, Remix-Perlen und energiegeladene Tracks zeigen, wie lebendig und vielfältig die Musikszene Brasiliens bis heute ist.

SAM GOKU (Permanent Vacation / Dekmantel / Atomnation)
Paryìa marks its eighth release with Sam Goku, whose contribution showcases not only the creative depth of his dreamy side but also just how club-ready his tracks can be. Rooted in shimmering house and techno yet fluid across a wider spectrum, both Sam Goku’s sets and productions strike a balance between effortless buoyancy
and intricate depth. A distinctive sound that seamlessly blends elements of his roots with everything dance music lovers cherish: richly textured layers, hypnotic repetition, and a subtle sense of unpredictability. This balance is also reflected in his EP on Dekmantel (2024) and Permanent Vacation (2025), shaping a sound that is instantly recognisable and quietly enduring.

Idriss D returns to Memento Records with his brand new track "Oct. 13", kickstarting the label's 20th anniversary in 2026, a year that will see quite a few special events to celebrate this milestone.
True to his musical roots and upbringing, Idriss heads right into experimental territory here, merging different styles and vibes: echoes of the upbeat mid '00s Minimal Techno craze fuse masterfully with sci-fi sounds and robotic vocals, with glitchy percussions and an infectious funky bassline creating an irresistible groovy rhythm. It's a track that boldly encapsulates the history of the label, from its raw beginnings in Italy's underground clubs to the more sophisticated latest outputs, a nod to its past while looking at the future.
Mr. Marc Houle is onboard here on remix duties: the man responsible for tracks like Bay Of Figs and Techno Vocals graces the release with an outstanding production. Slightly speeding up the pace, Marc adds spacey acid synth melodies and frenetic vocal loops drenched in delay, making this even trippier and more energetic than the original.
Black and House Music fan Munir Nadir rounds off the EP with a personal rendition playing squelchy keyboard arpeggios and hard slapping synth stabs, bringing a musical live-session feel to his contribution.

Originally released in 1988 on the compilation Acid Tracks Vol. 3 via Needle Records, "The Other Side" has long been recognised as a potent example of early Chicago acid house. Now, more than three decades later, the track receives its first official 12" release - and, crucially, its first release with the original artists correctly credited. While historically attributed to Maurice Joshua, "The Other Side" was in fact produced by Da Posse (Hula Mahone), with vocals by Martell. This forthcoming release marks the first time that the original production has been properly acknowledged and presented in its intended standalone 12" format, restoring authorship to the artists responsible for the record's creation. The release is issued by Island Life Records, a Bali-based label with a growing reputation for carefully curated projects that bridge foundational dance music history and contemporary club culture. By formally reintroducing "The Other Side" with accurate credits, Island Life Records contributes an important corrective to the historical record of Chicago house and acid house music. Musically, "The Other Side" remains a striking artefact of its era: minimal, hypnotic, and emotionally charged, balancing raw machine-driven groove with an atmospheric vocal presence. It exemplifies the experimental, DJ-led ethos of late-1980s Chicago, where tracks were built for function, feeling, and longevity on the dancefloor rather than commercial visibility. The release is accompanied by a set of new remixes that respectfully extend the track's legacy into the present day. Remix duties come from Island Life Records founder Garry Todd under his Clouds Of Kouros alias, Johnny Aux (one half of Paranoid London), and Age Of Hyperion, with the digital including a remix from Garry Todd, each offering a distinct contemporary interpretation while retaining the spirit and tension of the original recording. This release stands not only as a long-overdue physical edition, but as a historically significant moment: the first time the original production has been released on 12", and the first time the correct creative contributors have been formally recognised.

Following his well-received label debut Sideways, Seliga returns to Trance-Atlantyk with his latest release, Lush. This four-track package features three versatile club cuts alongside a heavyweight remix from fellow mustache-sporting maestro, Pablo Bozzi.

The title track, “Lush,” continues the dreamy-yet-euphoric path blazed on his previous record, expertly blending dubbed-out tech house rhythms with evocative, Orbital-esque soundscapes and sparkling melodic leads. Taking the energy up a gear, Pablo Bozzi delivers a remix that remains respectful to the original’s core while injecting it with his trademark high-octane “bozziness” and playful nods to speed garage.

On the B-side, “Tech House 3000” offers a more direct, straightforward club banger. Reminiscent of the early-2000s tech house sound, the track is seasoned with tripped-out bleeps and classic dub sirens for a psychedelic touch. Finally, the EP rounds out with “That HOR Track,” a piece originally drafted for Seliga’s live set during Trance-atlantyk’s HÖR takeover. It serves as a sophisticated take on classic 90s house, driven by that iconic Korg M1 organ bassline, syncopated percussion, and sweet, luscious synth pads.

(Remix by Komakino) (2025 Replika)
Ein monumentales Stück deutscher Rave-Kultur kehrt zurück: Mehr als dreißig Jahre nach der Erstveröffentlichung erscheint Joachim Witts „Goldener Raver“ im legendären Komakino Remix als originalgetreue 12“-Vinyl-Replika.
Als der Song 1995 erschien, markierte er die spektakuläre Transformation eines der profiliertesten deutschen Künstler in die Welt des Techno und Trance. Die Frankfurter Formation Komakino verlieh dem Track eine hypnotische Energie, die ihn sofort in die Playlists der großen Clubs katapultierte. Seit Jahren vergriffen und auf dem Zweitmarkt heiß begehrt, schließt diese Neuauflage eine schmerzhafte Lücke in jeder gut sortierten Vinyl-Sammlung. Gepresst auf schwerem schwarzem Vinyl (45rpm) und verpackt in der klassischen Disco-Bag mit Loch und Sticker, atmet dieses Release den Vibe der Neunziger aus jeder Rille.

Taroug is the solo project by drummer and electronic music producer Tarek Zarroug with roots in the suburbs of the Tunisian desert and having grown up in Germany. Following the release of his 2020 EP, "Perpetual," as well as a number of notable remixes for artists such as Archive, Taroug has continued to refine his musical aesthetic.

Taroug's debut album Darts & Kites, set to be released on Denovali Records, draws inspiration from the Penrose tiling and explores themes of change and transformation. Fascinated from the pattern's unending possibilities, Taroug incorporated its infinite permutations not only into the album's nine tracks, but also in the cover art design. Darts & Kites showcases a blending of genres and styles, resulting in a sonic landscape, that is both hunting and beautiful. Experimental and abstract soundscapes are enriched by oriental influences, collected field recordings, pulsating dark beats and hypnotic vocals.

The album also features the contributions of other notable artists, including Beate Wolff's cello performance on Jewels I. Benedikt Koch's saxophone adds a sense of controlled chaos with delayed and swelling notes to the track Deguech, while Timo Schieber's piano provides a crucial element of the album's title track, Darts & Kites. Niklas Genschel lends his vocals to Queen of Carthage, which also features the saz playing of Abdallah Abozekry.

Created in collaboration with architect and designer Marie Brosius, the album artwork captures different ornaments reflecting the album's content. Darts & Kites is a mosaic of sound, blending together elements of unfamiliar and familiar.

Red Vinyl

The Communards’ sophomore album ‘Red’ consolidated the genius of the musical partnership between Bronski Beat singer Jimmy Somerville and pianist Richard Coles. Fusing synths and hi-NRG production with lush string and horn arrangements, The Communards straddled pop and the political, the album’s themes set against the political unrest and moral panic of late 80s Britain. A global smash upon its release, this remastered and expanded 35Th Anniversary Edition features an extensive array of B-sides, live tracks, demo versions and remixes, including classic mixes by legendary 80s club doyens Shep Pettibone, Clivilles & Cole (better known as C&C Music Factory) and a euphoric new 2022 remix of ‘Never Can Say Goodbye’ by UK outfit The 2 Bears (Hot Chip’s Joe Goddard and DJ Raf Rundell). Available on Deluxe Double CD , Collector White & Red Double Vinyl , Black Vinyl. All editions remastered , with new sleeve notes.

TrioRox is a project born from the encounter between three leading figures on the Italian music scene (and beyond):
pianist Giovanni Guidi, bassist Joe Rehmer, and electronic musician DJ Rocca (Luca Roccatagliati).
Three individuals boast eclectic and impressive resumes. Guidi, a child prodigy of jazz piano, has released several
albums for the prestigious ECM label and has collaborated with top jazz and electronic musicians, from Enrico Rava
to Matthew Herbert, Joe Lovano, and Ricardo Villalobos. Joe Rehmer, an American living in Italy, is one of the most
sought-after bassists, sharing stages and recording studios with such luminaries as Bob Mintzer, James Moody, and
Danny Gottlieb. DJ Rocca has been a DJ and musician since the 1990s, boasting numerous albums, singles, and
remixes with and for key figures in the alternative dance scene (Andrew Weatherall, Dimitri From Paris, and Howie
B), as well as a stint in the jazz scene, releasing several albums with Franco D’Andrea.
The trio's music is a blend of electronic, dance, jazz, and pop, with hints of groove in house and techno, as well as
blends of electro, classical, and minimalism. A melting pot of styles between Keith Jarrett and Carl Craig. The album
will be released on IRMA Records in September 2024, featuring guests Luigi Di Nunzio, Gianluca Petrella, Dan
Kinzelman, and Jacopo Fagioli.
This EP of remixes is by:
Zed Bias: Manchester-based electronic musician, producer, and DJ in the Garage/2-step, Broken, and Funky
Breakbeat genres.
Alexander Robotnick: Italian record producer, DJ, and composer considered a cult figure in the New Wave and Italo
Disco scene.
Daniele Bladelli: One of the first and most important Italian DJs, famous for pioneering Afro and Cosmic music.
Bjorn Torske: Norwegian house and breakbeat producer. He has collaborated extensively with Röyksopp.

When Soulox sent me a bunch of tracks he had been working on last year, there were some really good bits in there, but I noticed that there also seemed to be a lot of remixes that him & Xtra Spice Mikey (previously known as Phineus II) had been doing of each other's music.

I felt like even though I had no clue what the originals of the tunes were or what they sounded like (or if they even really existed!), that it could make sense to put this all of this together into an 8 track joint release of original productions & each other's remixes. It also gave me the opportunity to include in some older bits from XSM which had never seen the light of day.

Big up to both of them for being up for putting this release together & thanks to Skr0nz for the illustrations used on the artwork.

The mystic duo SB&C, laying low amongst the stone circles of the Scottish Highlands send a message out to the cosmos with remixes from Orgue Electronique and Legowelt. 12" hit of black space, limited run, download code, no digital without the physical, no streaming and no repress.

j C2 Bad (Remix) feat. Rihanna










[j] C2 Bad (Remix) [feat. Rihanna]










[j] C2 Bad (Remix) [feat. Rihanna]

Do You Want More?!!!??! Is the second studio album and the major-label debut from The Legendary Roots Crew. The album, recorded with the original crew, including Scott Storch, was released January 17th, 1995, and was immediately welcomed with open arms by critics, the Chicago Tribune wrote, “This is an impressive display of skills, intelligently arranged and performed.” Do You Want More?!!!??! prepped fans for what The Roots were capable of, and would later show on their magnum opus, Things Fall Apart.

Mit „ALIENS“ schuf Radiorama 1986 einen echten ItaloDisco-Klassiker: futuristische Synths, treibende Beats und purer 80s-Space-Vibe. Der Track zählt bis heute zu den Highlights des Genres. Jetzt wieder als farbige Maxi-Vinyl
erhältlich.

Als besonderes Highlight enthält das Release neben den Originalversionen zwei exklusive Remixe von Flemming Dalum und DJ Tin Tin, die den Kulttrack neu interpretieren.

Ein Must-Have für Italo-Disco-Fans, Retro-Liebhaber und DJs

While Toronto producer Demuir regularly features on a wide variety of house labels, it's always worth keeping an eye on his Purveyor Underground label and its' limited-edition offshoot. He's back on the latter label for this outing, where he shares vinyl space with long-serving Parisian producer (and Robsoul founder) Phil Weeks. Demuir handles side A, delivering two passes on 'The Spark': the lightly funk-fuelled original mix, where woozy jazz samples dance atop a rubbery bassline and vintage Masters at Work style beats, and the more bumpin', cut-up and sub-heavy swing of the 'Some Too Suspect remix'. On side B, Weeks delivers 'Party Time', a typically low-slung and analogue-rich deep house number where classic boogie-era vocal samples and occasional chords wrap around loose-limbed machine drums and a killer TB-303 acid bassline.

The highly anticipated collaboration album “97239 710” by Tokyo-based rap crew TiGht Plump and Olive Oil－who continues to lead the scene with his
one-of-a-kind beat magic－is finally arriving on analog LP from OILWORKS REC!!

Political thriller Je Suis Karl, produced by German director Christian Schwochow, has a strong Czech connection. The soundtrack has been created by Czech musician and composer Tomáš Dvořák, a.k.a. Floex, who joined forces with British composer and pianist Tom Hodge. The soundtrack for Je Suis Karl will be released on September 16, 2021.
"In this project, Tom and I built on music that we wrote together three years ago for the album A Portrait Of John Doe. While this was the first feature film for me, Tom has extensive experience with composing music for movies and series," commented Dvořák.
Co-produced by the Czech company Negativ and filmed in part in the Czech Republic, the movie features characters played by Czech actresses Anna Fialová and Elizaveta Maximová. The picture makes use of the story of a young German girl, Maxi, and her family to draw attention to rising extremism among right-wing nationalists. Je Suis Karl was premiered during this year's Berlinale film festival in the Berlinale Special section.
At the director's initiative, music for Je Suis Karl was composed based on the script before the emergence of the COVID-19 pandemic. “Christian Schwochow asked for a demo, but when Tom and I set to work in Prague, we came up with a huge amount of inspired stuff within a short time, and the music became the foundation of the soundtrack. Because of the pandemic, the music itself was created on a long-distance basis. It was a game of ping pong of sorts," Dvořák added.
The soundtrack for Je Suis Karl features a unique timbre, far from the traditional symphonic sound. Instead, the sonic design relies on a fusion of dark, discordant, dirty sounds that present the symphony orchestra in a novel fashion.
Floex and Hodge created a database of loops, sounds, soundscapes, and sonic experiments with no specific compositional context. In composing music for individual scenes, they used this musical database, remixed themes and versions of compositions, and worked with vintage equipment, such as the Yamaha MT4X cassette player. Considering the large quantity of music recorded, the album contains 14 compositions from the movie itself, plus bonus tracks that did not make it into the film.
Tomáš Dvořák, a.k.a. Floex, is a Czech clarinetist, composer, producer, and multimedia artist, the recipient of multiple Anděl Music Awards. His discography includes two long-play records, Pocustone and Zorya, soundtracks for the games Samorost 2, Machinarium, Samorost 3, Pilgrims, and Papetura, remix albums, and extended-play records. In 2018, he joined forces with Tom Hodge to release the album A Portrait Of John Doe.
British composer, pianist, and clarinetist Tom Hodge challenges the boundaries of contemporary experimental music. He composes music for film, series, documentaries, advertising, and ballet. His most recent projects include the soundtrack for Je Suis Karl and music for the movie The Mauritanian filmed by director Kevin Macdonald. He has released several solo albums, including Piano Interrupted and Second Moon of Winter, and has pursued a long-term collaborative partnership with musician Max Cooper.

A high-energy dance music genre that blends elements of pop, electro, hip-hop, and Latin rhythms, freestyle creates an irresistible urge to dance. It's characterized by fast tempos, complex drum machine patterns, and prominent synthesizers and often explores themes of love, heartbreak, and relationships. On this brand- new compilation, we celebrate the best of Tommy Boy and Easy Street's contributions to freestyle culture. This collection brings together hits from TKA, Jocelyn Enriquez, Information Society, K7, Jasmine and more.

DJ Support: Dennis Quin, Benny Rodrigues, De la Swing, Archie Hamilton, Jamie Jones, Rich Nxt, Roger Sanchez, Ilario Alicante, Jon Cutler, Adriatique

Fabio Santos is a DJ and producer from Rotterdam whose sound is firmly connected to the underground. With inspiration from labels such as Dungeon Meat and Slapfunk Records, his music and sets combine raw rhythms, rolling basslines and a stripped-back energy that reflects the essence of the scene. Fabio approaches DJing with a focus on flow and atmosphere, building tension and release in a way that keeps crowds engaged from start to finish. His style is direct, uncompromising and always aimed at serving the dancefloor.

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’

Bunny ‘Striker’ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby
purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home-made mixing console, and his impressive collection of jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

2025 Repress

Thomas Melchior's beautiful Apariciones EP has been reworked by two iconic pioneers of electronic music, Baby Ford and Ricardo Villalobos.
This is the first time ever Melchior's solo material has been remixed, both Baby Ford and Ricardo Villalobos respect this by producing
two beautiful gems that show the unique characteristic sound of each artist.

Toronto-based musician and producer David Psutka’s long dormant Egyptrixx alias returns, with How Tidal. A compendium of sorts, which retells the story so far, reworks of highlights from his catalogue sit alongside brand new tracks, serving as a bridge between the past and the future, preceding more fresh music in 2026.
With the originals still sounding remarkably current, a straight best-of wouldn’t have been out of question, but ever the tinkering student of sound, Psutka thought he’d break them apart, just to see how he could put them back together again.

The music on is How Tidal is cutting-edge and futuristic, but never difficult, instead offering accessible gems where multiple strains of bass music are infused with a zingy, techno-pop bounce, whilst ambient moments gift sonic lozenges for maximum contentment. Psutka creates optimistically welcoming environments, where synthetic birds chirrup in cyan skies over babbling rainbow brooks, as 15 inch subwoofers boom by.

Egyptrixx gained renown across the 2010s with his hard hitting yet tranquil experimental dance music dubbed ‘celestial jeep music for a Saturn moon’. Colourful sound design was braided with dancefloor structures, creating an exhilarating tension between melodic and dissonant, euphoric and inward. The debut album Bible Eyes was released in March of 2011 to critical acclaim.

As Egyptrixx, Psutka has released four studio albums, collaborated, remixed, and toured with some of the biggest names in electronic music.
The widely acclaimed moniker is foundational to Psutka’s complex body of work that encompasses multiple solo projects, plus a diverse range of collaborative work. He has performed live at Sonar Festival, Roskilde, Mutek, MOMA PS1 Warm-UP and CTM Festival, and presented sound installations at Galeria Civica Commune di Modena and Art Gallery of Ontario (AGO).

In 2015, Psutka launched Halocline Trance as a home for his various sound projects, events and collaborations. In recent years, the label has quietly established itself as a platform that facilitates many of Canada’s most exciting creative music projects.

At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track ‘Unidos’ alongside Sofia Kourtesis), he dropped ‘Sad Piano House’. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry’s ‘Cloudy’ and its subsequent Kelbin remix, something in that song’s makeup having a profound effect when played on dancefloors by Snaith and countless others. ‘Sad Piano House’ deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly’s lead single ‘Waiting So Long (feat. Caribou)’. An unlikely duo - in that both artists are the same man, Dan Snaith - ‘Waiting So Long’ is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It’s simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.

Daphni music has always been Snaith’s way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like ‘Clap Your Hands’ which picks up the energy of ‘Sad Piano House’ and flips it, exposing the gritty and intoxicating underbelly of Snaith’s hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile ‘Hang’’s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. ‘Lucky’ is squirmy and elusively intoxicating, ‘Invention’ skitters down meandering, inviting corridors, ‘Talk To Me’ grumbles and broods in the murk, and ‘Miles Smiles’ could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.

One such club is a good microcosm for the ethos of Butterfly as a whole. “Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany.” Snaith recalls, “It’s kind of, in one sense, the platonic ideal of the kind of club I’d want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don’t get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that’s still most interesting to me.”
This is the feeling that’s most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that – the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith’s bow, exhilaratingly human and unified by one singular concept – simple and joyful exploration.