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2026 Repress
The ocean- the infinity, the beauty, the colour, the sound: a truly seductive place. With the sound of ocean waves Smallville's beloved artist Moomin invites us to enter his second full length album A Minor Thought". A selection of wonderful tracks initiate some exciting house music moments at our favorite clubs, improved at Panorama Bar, Robert Johnson and of course the Golden Pudel among many others.. Engaged with a fantastic collection of analogue synths and drum machines, Moomin is always on a hunt of the most delicate samples. After his big first album The Story About You' and a number of beautiful works on his own imprint Closer", he was already back on Smallville's new little baby Fuck Reality' to deliver a 12 for the 2015 summertime. Of course Moomin was also part of the Smallville 10 years Compilation Smallville Ways' and delivered again for Smallville 46. Now he appears with another string of beauty- A Minor Thought. There will be a lovely fullcover artwork package with printed Inlays for the vinyl version by Smallville's one and only Stefan Marx.

2026 Repress
The ocean- the infinity, the beauty, the colour, the sound: a truly seductive place. With the sound of ocean waves Smallville's beloved artist Moomin invites us to enter his second full length album A Minor Thought". A selection of wonderful tracks initiate some exciting house music moments at our favorite clubs, improved at Panorama Bar, Robert Johnson and of course the Golden Pudel among many others.. Engaged with a fantastic collection of analogue synths and drum machines, Moomin is always on a hunt of the most delicate samples. After his big first album The Story About You' and a number of beautiful works on his own imprint Closer", he was already back on Smallville's new little baby Fuck Reality' to deliver a 12 for the 2015 summertime. Of course Moomin was also part of the Smallville 10 years Compilation Smallville Ways' and delivered again for Smallville 46. Now he appears with another string of beauty- A Minor Thought. There will be a lovely fullcover artwork package with printed Inlays for the vinyl version by Smallville's one and only Stefan Marx.

Foreign Tongues, das neue Studioalbum der Rolling Stones, umfasst 14 Songs und folgt weniger als drei Jahre nach dem vielfach ausgezeichneten Vorgänger Hackney Diamonds, der weltweit Spitzenpositionen in den Charts erreichte und mehrfach mit Platin ausgezeichnet wurde. Eingeleitet wird das Album von der beschwingten und eingängigen Lead-Single „In The Stars“. Foreign Tongues entstand innerhalb eines Monats in den Metropolis Studios in West-London, wo Mick Jagger, Keith Richards und Ronnie Wood erneut mit dem Grammy-prämierten Produzenten Andrew Watt zusammenarbeiteten. Das Ergebnis ist ein dynamisches, zeitgemäßes Album, das den charakteristischen Sound der Band aufgreift und zugleich neue klangliche und inhaltliche Akzente setzt.

Neben den zentralen Beiträgen von Jagger, Richards und Wood sind auch langjährige musikalische Wegbegleiter wie Darryl Jones, Matt Clifford und Steve Jordan auf dem Album vertreten. Darüber hinaus enthält das Album einen besonderen Beitrag von Charlie Watts, der während einer seiner letzten Aufnahmesessions vor seinem Tod im Jahr 2021 entstand. Ergänzt wird das Projekt durch Gastauftritte unter anderem von Steve Winwood, Paul McCartney, Robert Smith und Chad Smith.

The first release in the Between Dimensions vinyl series, BDREP001 , presents Oi Zé EP by Lipp — a deep and hypnotic journey rooted in minimal grooves, organic percussion, and timeless underground aesthetics.
Crafted for intimate dance floors and extended listening sessions, the EP balances raw rhythmic energy with refined textures, delivering a warm and immersive sound signature that reflects the identity of Between Dimensions.

On the A side, “Atleta Do Ano” and “Oi Zé!” explore stripped-back grooves, subtle melodic movements, and rolling low-end pressure. The B side features a special reinterpretation of “Oi Zé!” by Barac, transforming the original into a deeper and more atmospheric late-night tool.

BDREP001 marks the beginning of the Between Dimensions wax journey — a carefully curated series focused on timeless electronic music, connecting artists from different parts of the world through a shared vision of depth, rhythm, and dance floor storytelling.

Credits
Original Tracks
by Filipe Rodrigues Bezerra
Remix by Nicolae Barac
Mastering by Rob Smalls
Visual art by Steph Gar

Gold Panda returns with TON UP, a brilliantly stubborn new album for Studio Barnhus: eight rough-hewn dance tracks and two cozy little service-station interludes, all crafted with the robust determination of a producer who knows that 140 bpm is not so much a tempo as a way of life.
Made with Derwin Dicker’s unmistakable sampler-bashing touch, the tracks on Ton Up carry the raw knock of old-school hip-hop instrumentals, pushed through pumping house-music machinery and ready to cause absolute trouble on any half-decent sound system.
Here you’ll find zero of that dreaded, over-explained “maturity” usually demanded of beloved electronic artists several albums deep into the game. Instead, Gold Panda just sounds as happily locked in as ever, carelessly chasing the physical joys of pressure, swing and repetition.
TON UP is functional, funny and oddly tender club music, arriving just when the world needed it the most (June 26 that is.)

2026 Repress

Field Records proudly presents the first complete vinyl edition of Monolake’s seminal excursion into experimental dub techno, Hongkong. Originally released on the now-classic Chain Reaction label in 1997, this collection of early singles by Robert Henke and Gerhard Behles has gone on to become a vital listening experience in its own right - a genre classic alongside the other groundbreaking works from the likes of Porter Ricks and Vladislav Delay.

The tracks which make up Hongkong were made while Henke and Behles studied computer science and immersed themselves in Berlin’s techno scene. Their early forays into computer-based music production were enabled by the use of the Max/MSP programming environment, forming a backdrop to the landmark work they would undertake in developing the Ableton Live DAW. Henke and Behles travelled to Hong Kong in 1996 to attend the annual International Computer Music Conference, and while there recorded extensive field recordings. These recordings became the glue that pieced together their collaborative tracks into a fluid listening experience for a CD-compilation at Chain Reaction’s request.

While absolutely rooted in the embryonic sound of European dub techno, Monolake’s early work possesses a back room, headphone-ready demeanour which lends itself to the album listening experience. In the cascade of rhythms created by precision engineered delays and subliminal, expansive spatial world building occurring throughout Hongkong, the stage is set for a full and thorough immersion. Before the Monolake sound progressed into a more pointillist form of computer music as Henke’s solo project, Hongkong presented a gritty, grainy sonic still tied in some way to the traditional methods of techno production, even as the artists’ ideas were sending the sequencing and arranging in exciting new directions.

Remastered and presented for the first time as a complete double 12” package, this is the definitive edition of an essential work in the evolution of experimental techno. As Henke himself explains, “twenty-five years later, this record still holds immense value to me in many ways.”

Much like the fusion resulting in the output of light and heat within a star, the last seven years for Dave Sumner, aka Function, have been defined by immense change and an outpouring of creative energy. What began in late 2016 as a period of burnout from a relentless touring life became a catalyst for the most prolific recording era of his career. At the time, the studio became the only viable escape, a space to transmute exhaustion into a gestalt work.
Aeternum (Existenz) serves as the missing element in this creative arc. It acts as the final chapter of a cycle, that began with the 2019 album Existenz and moved through Subject f (Transcendence), Awakening from the Illusory Self, and Green EP. Drawing inspiration from the seven stages of alchemy, this mini-album represents a cathartic process; a natural end point of a psychological cycle and the beginning of a new curve.
Across the six tracks on the mini-LP, recorded 2016-2019, Function builds a unique world, one which underlines his place as one of the luminaries of contemporary techno. Opening track, Ascent, traverses the space between ambient and techno; second track City Of Luz almost fades into itself across its twelve minutes before Transmutation brings around a reawakening with a beat that would not have sounded out of place on an early Rephlex or even a Sähko release. Final track on the 12”, Growth Cycle is fittingly a re-version/re-vision of a track on the Existenz LP; Robert Owens’ soulful vocal now Stefanie Parnow's floating Siren-like voice with music that feels reborn: fresh, strong and insistent. The digital pack contains two further tracks, the deep electro of November 29, as well as Rubedo, a spacial ambient track that feels like the final glowing red embers of a fire turning to ash as the sun rises to reveal a new, golden dawn.
Aeternum (Existenz) is the final chapter of the soundtrack to Function’s spiritual awakening, the closing of a door and the clearing of a path. It’s a sonic manifestation of the Magnum Opus completed, a moment of total integration, where the leaden weight of the journey is finally perfected into the incorruptible gold of the spirit.
It is dedicated to John Mendez, aka Silent Servant, Sumner’s dear friend and lifelong collaborator.

For thirty years, Alden Tyrell has been at the forefront of electronic music. This analogue alchemist has concocted heady grooves that transmute genres: acid, disco, electro, house, italo and techno; no style left unturned. Under his Tyrell Corporation moniker, he returns to the Bordello with a sound forged for dancefloors. Midnight Machines is a warm embrace that melts electro‑disco with star‑gazing synthlines. “Midnight Machines Pt. 1” balances robust melodies and incising snares with soulful undercurrents and joyous breaks. Past energies are re‑channelled. Arpeggiators rumble as beats throb. Beneath it all, there is a greater consideration of the interplay of elements.

This focus pulsates through speaker cones on the needle‑drop of “Love in Decay.” Elated key changes and bright shifts are tempered by bittersweet moments, early‑morning light piercing fresh mists of grey. Tempos rise on the flip with “Midnight Machines Pt. 2.” Sci‑fi‑scored disco lifts ever higher as scaling notes untether themselves from the floor and soar above vibrant rhythms. Coy and alluring, the bright “Romance Obscura” closes the record. Cowbells and bending wavelengths open into an expansive, intoxicating melody where keys search the horizon as arms fold around celestial bodies.

Dave Mech presents Berlin Seite on 12" vinyl and digital. A powerful LP featuring 10 tracks loaded with robust and elegant Techno. The first four tracks deliver modern Techno sounds, with celestial pads that wrap around you from the very first beat. A record that will become a permanent piece in your DJ bag. The release is completed with six additional digital-only tracks, recorded live in different clubs across Berlin, capturing that raw and untouched magic.

New Flesh Records returns with its 34th release, bringing together two long-time affiliates: Boris Divider and label mastermind Umwelt. On the A-side, Boris Divider delivers "A New God", a hypnotic slice of stripped-back electro built around his signature robotic vocoder work and a tightly coiled arpeggiated loop that borders on obsession. Umwelt's remix sharpens the edges, injecting a cold, metallic sheen that amplifies its physicality, engineered for peak-time impact without sacrificing the original tension. Flip to the B-side and Umwelt steps forward with "Digital Ruins", a dystopian song that thrives on contrast: powerful, driving rhythms collide with soaring, almost melancholic synthwave textures, giving the track its emotional charge. Boris Divider's reinterpretation leans further into austerity, reinforcing the rhythmic framework while steering the piece into colder, more abstract territory that privileges atmosphere and textural nuance over immediacy, yet remaining firmly anchored in his established sonic identity.

After their recent LP Mirages (Kraak Records, 2025) with French turntablist Guilhem’All, the group continues to explore collaborations with artists and instruments from diverse musical traditions. Building on decades of uncompromising acoustic exploration, Razen delves deeper into their practice with five improvisational pieces that unfold slowly in time and space. The duo’s radical core - Brecht Ameel and Kim Delcour - finds in Van der Harst a longtime kindred spirit, united by the impact of sound, intonation, and the sheer joy of playing.

To be released on April 24 via VIERNULVIER Records, the artwork for Stained Glass Starling was created by American visual artist Robert Beatty (Oneohtrix Point Never, Christina Vantzou, The Weeknd, Tame Impala). The physical release comes with a 16-page booklet including artwork and an interview.

A long-standing artistic kinship lies at the heart of this project, with first encounters dating back to the early 2000s in Belgian musical improv theatre. Van der Harst’s lifelong experience in improvised music and music theatre, spanning back to the 1980s, combined with a vast arsenal of rare and historical instruments, opens new tonal territories within the Razen universe.

These explorations are not incidental: his family roots in the former Dutch East Indies — through his great-grandfather — provide a quiet backdrop to his enduring affinity for Asian musical traditions. Instruments such as erhu, Javanese kacapi, and others introduce timbres
that bring the music its most pronounced Asian inflections to date.

Yet despite this shift in colour, the underlying ethos remains unmistakably Razen. Working from sound rather than form, the ensemble approaches music as painters approach a canvas: adding layers, contrasts and shades with care. There is no soloist’s ego here; all voices are equal, echoing principles found in gamelan traditions.

Over the decades, Razen and Dick Van der Harst have crossed paths repeatedly, notably through cult theatre productions by Belgian theatre maker Eric De Volder, including Zwarte vogels in de bomen (2002) and Huis der Verborgen Muziekjes I–II (2000–2006). Recording an albumtogether had long been a shared aspiration — a wish that crystallised after a 2024 concert at Concertzaal Miry in Ghent, part of the Ruiskamer series by VIERNULVIER Art Centre.

Digi Dub re-enter the vinyl world with a handful of archival 10” releases, the first collating tracks harvested from four releases which originally came out in the early 90s.

The Aliens EP provides a perfect showcase of the adventurous and experimental approach that the label took at a time when breakbeat hardcore was starting to fragment. Taking none of the paths that their peers took, the artists in the Digi Dub stable infused their breakbeat science with a playful dubwise methodology to create idiosyncratic dance music operating at the interstice between modern dub mechanics and rave dynamics that was a premonition of much of the experimental bass music that the UK has become known for.

The first track comes from the trio L.S. Diezel whose Alien In The Woods marries cosmic interference with a steppers reinforced breakbeat and a tough digital bassline. The Diezel boys are joined by label owner Lee Berwick under his Launch DAT pseudonym for the second track Rougher Than A Lion. Beginning with what sounds like a sort of distorted tribal ritual, the track erupts into a symphony of skittering breakbeats, processed jazz lines, bursts of acid and discombobulated ragga chat.

On the second side the collaboration between Diezel and DAT continues with Poor Mans Glory that sees a weighty sped-up funk break allied with a suitably robust dub bassline overlaid with bursts of rasta invocation rattling around in the echo chamber. L.S. Diezel’s Get Your Spear Out rounds out the package with a clangorous proto-dubstep breaker forging the link between a Jah Shaka dance and Horsepower Productions.

With the original 12s now rare as rocking horse shit, grab yourself a 10” and make your bass bins smile.

LBD Issues continue with their quest of reissuing music from Eastern European region previously unavailable on Western markets. The third release is a compilation that showcases the collaboration work of duo Eva Hurychová and Jan Neckář. The two met in 1982 and Eva started performing with Jan's band Bacily. Jan was already established and hugely successful musician and producer, mainly for his brother Václav, who was a real pop superstar in former Czechoslovakia and still remains very popular to this day. Eva was a composer and lyrics writer for other successful artists too. However, the duo soon started recording stuff on their own, experimenting with electronic productions and the sound not at all common for its day in Czechoslovakia. This compilation cherry-picks the tracks from various different singles released between 1984 and 1986.

Monaqee are multi instrumentalist / pianist Bencze Molnar and producer Jules Hiero.
Vanis is a bassist based in Budapest, deeply rooted in the city’s vibrant underground culture.
Bencze and Vanis are members of the jazz fusion group Jazzbois.
Being rooted in the underground hip hop and jazz scenes,the artists started this project to create a distinct sound, blending jazz, hip hop and lofi elements in a sophisticated way, that stands out from the crowd.
The only feature on the Album is from Domenico Lancellotti, a pioneer of Brazilian beat culture.

Robo Wars is a project born from three years of spontaneous sessions in Budapest. Over this time, the trio captured their best moments, weaving them into a smooth tapestry that blends jazztronica, hip-hop, and lofi beats into an analogue experience. Driven by electric bass, drum machines, and an arsenal of synthesizers including the Prophet, Juno, Moog, and the new UDO designs, Robo Wars feels alive, raw, and deeply musical.
Each track breathes improvisation:
Most of the material was captured live during jam sessions, with only minimal overdubs. The result is a project that preserves the spirit of freestyle creativity, much like a true jazz performance, later sculpted into structured songs by Jules Hiero.

SELF Distribuzione is proud to present one of the most presgious publicaons dedicated to the
history of Italo Disco: "WHY / MISS YOU – 40th Anniversary Edion," the new double A-side by
STYLÓO®, available in two exclusive collector's versions.
This release will be offered on stunning Transparent Green vinyl, aimed at enthusiasts of the
format, and in a presgious Collector's Edion on Gold-colored vinyl, created to celebrate forty
years of career and designed for the most discerning collectors and lovers of Italo Disco.

"WHY" and "MISS YOU" are two authenc classics that defined an era and helped shape the sound
of Italo Disco worldwide. Forty years later, these producons retain their melodic power and ability
to move listeners, confirming their status as meless tracks to this day.
This special 40th Anniversary Edion does not merely reissue the original versions—fully
remastered for the occasion—but is further enriched by new remixes entrusted to highly
presgious names.
Roberto Tura@ and Carl Fath have craAed a new and elegant interpretaon of "WHY," while A.P.
Mono, one of the most highly regarded names in the contemporary Italo Disco scene, has given
"MISS YOU" a new look, maintaining its original spirit while offering a modern, current sound.
The result is a project capable of bridging the past and the present, demonstrang how great
classics can connue to live on and capvate new generaons without losing their identy.
To complete the project, two evocave, previously unreleased symphonic overtures, "Echoes Of
Why" and "I Sll Miss You," serve as a tribute to the composional quality of these tracks. Both
symphonic composions were conceived, wriFen, arranged, and produced by STYLÓO® (Rino
Facchine@) together with Alessandro Bonsignori, with the intenon of demonstrang how a great
melody can be reinterpreted through different musical languages while maintaining its elegance
and expressive force.
This arsc choice tesfies to how true musical quality can transcend me and style, confirming
that a great song can be "dressed" in different arrangements without losing its soul.
With over forty years of history, STYLÓO® connues to represent one of the most beloved and
recognizable names in the Italo Disco universe. This release is dedicated to all those who lived
through those extraordinary years and to those today who are ready to rediscover two songs that
connue to move and make people dance.
Because true classics do not belong to the past. True classics live on.

The irreversible Monsieur Van Pratt is back with more edit magic on a new 12" that offers up a sharp transatlantic pairing aimed squarely at late-night selectors. He begins with 'What You Got', which is all tight groove science and polished uplift, before 'Disco Woman' retools a rare source into driving, peak-time tackle laden with soul. On the flip, Rob Castillo brings Afro-leaning firepower as 'Zig Zag Eoh' rides hypnotic percussion and loose funk swagger, while 'Good Time Woman' signs off with an irresistible strut. Potent weaponry as ever from this always naughty but nice label.

“What Robot Says L” on What Robot Says Records is a deeply immersive Dub Techno journey crafted for demanding listeners who seek atmosphere, precision, and emotional depth beyond conventional dancefloor music. Across four carefully sculpted tracks, the release moves through shifting moods and textures, balancing raw energy with subtle elegance while exploring the deeper and more hypnotic side of techno.

A1. Nicolas Barnes – Dusted Maze opens the EP with a smooth and introspective approach, combining delicate textures, refined grooves, and floating harmonic layers that capture the timeless spirit of classic Dub Techno through a modern lens.

A2. Continuing the journey with TM Shuffle, Monoder – Vihreesametti delivers a warmer and more fluid interpretation of the genre, blending rolling grooves, dub-driven chords, and sophisticated sound design into a deeply immersive experience.

On the B-side, B1. Denizo – Versus follows with dark dub pressure, stripped-back rhythmic architecture, and evolving ambient detail, creating a hypnotic late-night atmosphere filled with tension and movement.

B2. Closing the EP, The Open Circle – Shinkai dives into deeper and more mysterious territory, emphasizing submerged atmospheres, minimal rhythmic tension, and profound spatial depth that slowly unfolds with every listen.

WRSL1 – “What Robot Says L” is not designed for casual listening, but for those who appreciate Dub Techno as an evolving exploration of mood, space, and sonic detail — a refined and highly immersive statement from some of the genre’s most skilled contemporary artists.

but wait a minute.. Does anybody know What Robot Says?

By 2005, the Rob & Si partnership had found its stride. Working from Online Studios in Croydon, South London, Rob Pearson and Simon Copleston (Iteration X) continued to refine their unmistakable take on underground Tech House, combining deep rolling grooves with crisp percussion and slick production skills.

Originally released as EVA015, Just Add Water was pressed as a limited white label release during a period of distributor changes, meaning it never received a full release at the time. As a result, original copies have become highly sought after by collectors over the years, regularly changing hands for premium prices whenever they surface on the second-hand market.

The EP features the unmistakable Original Mix, alongside an alternative interpretation from each producer, with the Iteration X Remix and Rob Pearson Remix offering their own distinctive twists while staying true to the stripped-back, rolling sound that defined the era.

More than twenty years on, Just Add Water remains one of the hidden gems from the early Evasive catalogue and a snapshot of London's underground Tech House movement at its most authentic.

By 2005, Drugsex Recordings had firmly established its own identity within the Tech House scene, providing a platform for deeper, sounds for the heads and also could further push the peak-time cuts for the era. For the label's fourth release, founder Rob Pearson teamed up with Chris Pascoe. Pascoe’s distinctive style had already earned him recognition through a string of acclaimed underground releases and Rob & Chris kept meeting through the underground party scene so friendship and collaboration were a natural step.

The collaboration resulted in One More Time, a beautifully balanced meeting of two production styles. Combining Pearson's trademark rolling grooves with Pascoe's musicality and deep, understated funk, the track perfectly captures the stripped-back sound that defined the best of mid-2000s UK Tech House.

On the flip, Rob Pearson takes centre stage with the solo production Shadow Maker. Deep, hypnotic and effortlessly understated, the track showcases the signature South London sound that became synonymous with both Evasive and Drugsex Recordings—tight percussion, warm analogue textures and an irresistible groove built for long nights on discerning dancefloors.

Ste Roberts delivers his debut vinyl EP for the label — four seriously solid cuts of twisted, underground tech house.

The title track “The Washing Machine” is a driving peak-time workout built around Ste's trademark analogue synths, drum machines, rolling sub bass, sharp drums, bleeps and plenty of weird little twists and turns. It's already had plenty of road testing through Ste's DJ sets, including Houghton and fabric, and it does exactly what you want it to do on a dancefloor.

The A2 “Wong Kei” keeps things rolling with another slick and twisted piece of Ste's production. Clever sound manipulation and a seriously infectious groove make this another one that's going to work hard for Djs.

Over on the flip, Evasive boss Rob Pearson gets stuck into B1 “The Washing Machine”, remixing it into his trademark peak time tech, rolling sub-bass territory and adding a few extra mangled instructions for your increasingly misbehaving washer.

B2 “Shoplifting Like That, Yeah” brings Ste’s trademark electro/breakbeat sound into the mix, with tripped-out vocals, wobbling bass and a groove that’s already been causing a real stir in his live sets. Ste has been using it to open his shows, and it’s easy to hear why — a twisted, energetic way to get things moving.

Four tracks, plenty of character and a record that's perfect to push forward the Evasive catalog in style.

OLC003 brings another slice of late-90s South London tech house back into circulation, with a repress of Swag Records SWAG003 now brought home to the Online Collective catalogue.

“Takedown” from Dave Ivy opens with a distinctly 90s feel, built around analogue synths, punchy drums and processed movie vocals. Raw, driving and full of character, it’s a proper snapshot of the era.

“Diversion” sees Rob Pearson and Lee Humphreys developing their early collaborative sound, with lush Detroit-tinged chords, analogue drum rhythms and plenty of subtle detail. Even the slightly wonky vinyl noise was recorded by Rob and Lee themselves while miking up a wobbling record — a small touch that sums up the hands-on approach behind the track.

On “Checkout” Rob & Lee head into deeper and slightly cheekier territory, with a few familiar voices from a particularly strange night south of the border weaving through analogue hardware textures, resonant sounds and deep bass. A stripped-back late-night groove with plenty of attitude.

Three tracks from a very particular moment in UK tech house history now back with the original artists on Online Collective.

Carly Simon’s No. 1 smash “You’re So Vain” lingers as one of the most clever and famous songs ever recorded. The subject of mass speculation ever since its release, soon after which it occupied the top spot on multiple Billboard charts for weeks, the anthem kept a captive public guessing at the identity of its smug subject for decades. The question surrounding the protagonist’s identity remained perhaps the only mystery on the otherwise sexually open and autobiographically daring No Secrets, Simon’s commercial breakthrough and ‘70s singer-songwriter staple.

Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, strictly limited to 3,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set affords the platinum-certified 1972 effort the finest sonic treatment it’s received on vinyl. Helmed by Richard Perry and recorded at London’s Trident Studios — where Beatles, David Bowie, and Elton John captured landmark LPs — No Secrets touts exceptional production qualities highlighted by this restorative reissue.

Audiophiles and record collectors, take note: This is the first time No Secrets has been available on 45RPM. The wider grooves and dead-quiet surfaces pay instant dividends. Simple, elegant, and disarming, songs seemingly float amid wide, deep soundstages. Simon’s voice takes on a confident, assertive tenor that emerges with accurate imaging, balanced tonality, and palpable presence. String arrangements and backing vocals come through with similar realism.

Enhanced by an all-star cast — Simon’s then-husband James Taylor, Paul and Linda McCartney, Mick Jagger, Lowell George, Klaus Voorman, Bobby Keys, Jim Keltner, Nicky Hopkins, and Bonnie Bramlett are among the renowned musicians who lend a hand — No Secrets advances Simon’s themes of personal introspectiveness, no-holds-barred reflectiveness, and feminist-inspired boldness. She makes every moment of No Secrets worth savoring. Simon invests her all in the songs, handling beautiful ballads, sassy folk-rock numbers, and bluesy fare with calm, composure, and candor.

While acknowledging her own regrets (“You’re So Vain”) and loss (“The Carter Family”), Simon champions the highs (“The Right Thing to Do”) and pains (“His Friends Are More Than Fond of Robin”) of love in a sincere manner indicative of her maturity as both an artist and singer. The New York native distinguishes “When You Close Your Eyes” with deep-rooted spirituality, recalls childhood joys via charming sentimentality on “It Was So Easy,” and and takes ownership of her persona on a cover of Taylor’s “Night Owl.”

“We have no secrets
/We tell each other everything,” Simon sings at the record’s midpoint, encapsulating both the themes and bravura of an effort that was nominated for four Grammy Awards and saw her write or co-write every song but one. Combined with Perry’s savvy instrumental arrangements, her self-assured performances and forthright lyrics grant No Secrets an edginess and relevance immune to the ravages of time.

"Dark Flower" is the new imprint by Robert Babicz, launched in cooperation with Systematic Recordings as a home for his own music. Named after one of the defining tracks of his career, it feels less like the launch of another label and more like the opening of a private room: a place for sound, emotion and instinct, shaped entirely by Babicz himself. With „Electric Love EP" he begins this chapter in full colour. After more than 1.000 released tracks and music on labels such as Bedrock, Kompakt, Systematic and Sudbeat, FLOWER0001 is not about proving anything. It is about freedom.

“Electric Love” opens the EP with punchy breaks, luminous harmonies and choral textures that seem to rise above the beat. It is bold, open and slightly unexpected, electronic music with a pulse and a sky above it. "Cuerpo Con Color” brings things closer to the floor: warm chords, fluent grooves and a calm, driving pressure that slowly pulls the body into motion. Across two versions, “Tease Me” closes the EP with a burning bassline, oriental vocal fragments and a seductive tension running underneath. Strange, physical and unmistakably Babicz.

Australian producer Inkswel is back on the Cosmocities label in France with more of his superbly soulful sounds, this time with none other than Chicago legend Robert Owens. The lush 'Space Love' is a playful deep house jam with the sort of cosmic synths that recall early Fingers Inc and Owens's smoky tones only heighten that feeling. Steve Spacek provides a mix that rides on broken beats with elastic bass but just as much cosmic energy and a Fluterumental gets all loose-limbed and seductive. On the flip side are two Yoruba Soul mixes that bring extra rich soul vibes and shimmering pad work. A classy and timeless EP for sure.

The moment the instantly recognizable intertwined guitar passage on the title track to the Eagles' Hotel California begins, the record's genius becomes obvious all over again. Ranked the 118th Greatest Album of All Time by Rolling Stone, certified by RIAA as the third best-selling LP in history, and considered the foundation on which the Golden State's mid-‘70s music scene was built, the 1976 landmark is a music staple immune to shifts in trends, eras, and styles. Fearlessly addressing the chaos and consequences of American life, its songs remain strikingly prescient and gain creedence with each passing day.

Mastered from the original analogue master tapes, pressed on MoFi SuperVinyl, and limited to 17,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set ensures you will want to permanently check into and never leave this particular Hotel California. Up to the herculean task of standing head and shoulders above all prior reissues, this collectible edition plays with extreme clarity, organic richness, tube-like warmth, massive dynamics, and microscopic levels of detail. You'll be able to practically smell the colitas and feel the breeze in your hair. Songs come across with an epic sweep and feature immersive, front-to-back soundstages that allow the music unprecedented air, roominess, and separation. As for the noise floor? It's basically as invisible as the spirits that waft in the corridors of the unforgettable title song.

Aesthetically, the premium packaging and presentation of the UD1S Hotel California pressing befit its esteemed status. Housed in a deluxe box, it features gorgeous foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the renowned cover art to the meticulous finishes.

Indeed, the opportunity to zero in on all the particulars of the 26-million-selling Eagles record dubbed "a legitimate rock masterpiece" by vaunted Los Angeles Times scribe Robert Hilburn has never been better. A global phenomenon that marked the band debut of guitarist-singer Joe Walsh, Hotel California continues to resonate and connect with listeners of all generations taken by its narrative depth, stark directness, picturesque melodies, daring majesty, and ardent emotionalism. Adorned with a breathtaking exterior photograph of the Beverly Hills Hotel that serves as the simultaneously haunting and alluring cover art, and rounded out by a rear-cover shot of the Lido Hotel lobby that reinforces a notion that teeters between permanence and transience, Hotel California is brilliantly tied to a specific place that functions as a universally understood metaphor for the American Dream.

Confronting the darker undercurrents and oft-ignored constructs attached to that romantic notion, the record's songs revolve around a host of shared themes: excess, mobility, stability, illusion, fame, destruction, and idealism included. Notably, Hotel California appeared at a crucial junction in American history: During the country's bicentennial and amid escalating controversies related to the Vietnam War, energy crisis, and governmental corruption. That the Eagles manage to channel such cultural, social, and economical matters into a cohesive, stately, big-picture statement is alone a stupendous feat. That the album's reach, boldness, vitality, accessibility, and understated intensity have never waned make it a marvel.

Reflecting on Hotel California 40 years after its original release, and indirectly explaining its enduring appeal and increasing relevance, singer-songwriter Don Henley confirmed the record pertains to the "loss of innocence, the cost of naiveté...the difficulties of balancing loving relationships and work, trying to square the conflicting relationship between business and art; the corruption in politics, the fading away of the Sixties dream of ‘peace, love and understanding.'"

It can be argued that Henley and company squarely hit on and drove home those ideas in the surreal title track, chart-topping "Life in the Fast Lane," and grand "The Last Resort" alone. But that would miss the forest for the trees. Experienced as an unbroken whole, complete with the pristinely shot imagery and physical grooves, Hotel California unfolds like a geography-conscious saga by James Michener and plays like colour-saturated movie shot on 70mm film by Martin Scorsese. It's about our collective and individual decisions – and the shape of our past, present, and future. And, just like that conjured by our imaginations, Hotel California continues to take on a life of its own.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Zum ersten Mal seit Jahrzehnten erscheinen DJ Shadows legendäre Mo’Wax-Singles wieder offiziell – in einem umfassenden 8-teiligen Vinyl-Set, das mehrere Stunden bahnbrechender Musik enthält.
Die Aufnahmen wurden in den Abbey Road Studios von Miles Showell halbspeed-remastered und klingen so klar und kraftvoll wie nie zuvor. Die Box enthält zahlreiche bisher unveröffentlichte Mixe und Edits sowie eine exklusive Bonus-LP mit den ursprünglichen Demos von vier Tracks – ein einzigartiger Einblick in die Entstehungsgeschichte des Shadow-Sounds.
Abgerundet wird das Set durch neue Fotografien von Brian Cross (B+), DJ Shadows langjährigem visuellen Wegbegleiter.
Ein essenzielles Sammlerstück für Fans, Vinyl-Liebhaber und alle, die die Wurzeln moderner Beat-Kultur feiern wollen.

"This box wasn’t made for the casual listener,it was made with the hardcore fan in mind. I’ve always felt, if something is worth doing, it’s worth doing right, and every step of the process was
made with this philosophy firmly in mind. I had fun locating and resurrecting these songs, some of which still feel close to my consciousness as though they were made yesterday.”
-DJ Shadow

SKYLAX RECORDS proudly unveils the fourth and final chapter in its epic, conceptual 4-part saga — SKYLAX BLACK 4 – Vision Quest. This secretive series brings together two pillars of French electronic music, ARNAUD REBOTINI and ACID WASHED, in a bold tribute to the essence of rave, electro, and techno. Following the critically acclaimed Winter Sequences and Musical Component, this last installment pushes even deeper into the roots and futures of the underground. On the A-side, Vision Quest opens the EP with a pulsating journey of progressive electronics — cinematic and sleek, evoking the robotic spirituality of Kraftwerk and the expansive textures of early kosmische music. Next, TOI 700-d channels the golden age of acid house with infectious 303 lines and jacking grooves. Think DJ Pierre, Phuture, and Ron Hardy at their most transcendental — raw, euphoric, and timeless. Flip to the B-side and dive into Black Star Liners — a dub techno masterclass in the lineage of Maurizio, Basic Channel, and Chain Reaction. Deep, minimal, and full of ghostly delay, it’s a meditative immersion in pure sound system hypnosis. Closing the EP, Trojan Asteroids fires into classic Metroplex territory — icy, futuristic, and funk-laced. A perfect nod to Cybotron and Model 500, this is hi-tech soul with a razor’s edge. Once again, SKYLAX RECORDS delivers a visionary release — timeless, intelligent, and essential. The final piece of the puzzle is here. The journey ends… or just begins.

Not long after the well-received 'Bottlemess Brunch' and 'Billa' dropped, the FLDIN2 label is back with another killer drop. This one, we're told, draws on Fold producer Rob's early immersion in pirate radio and record-collecting years in suburban London during the early 2000s. Lovers of Ben UFO, Joy Orbison and Floating Points will all be into the lo-fi designs, not to mention the irresistible garage, tech and dub swagger he packs into these jams. 'Lotion' is a crispy, tightly coiled and skeletal UKG sound underpinned with wobbly low ends and sprinkled with chopped vocal fragments that make for a ghostly groove. 'Soft Launch' is fuller, with a more boring emotional impact from the yearning vocal stabs that are teased and buried throughout the mix.

LP,180g, 2027 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

When Alan Parker recorded the killer library soul-funk LP The Voice of Soul with session vocalist Madeline Bell in 1976, some bright spark at Themes decided to also release all of the backing tracks as a separate, and equally innocuously title LP called The Sound of Soul. Thank goodness for bright sparks.
Released as a collection of unobtrusive musical backings in various rhythmic styles', the LP's original description dryly explains these tracks have been issued without melody and are therefore particularly suitable for use behind commentary. Female vocal versions of these tracks are issued on TIM 1021 The Voice Of Soul and it is possible to edit from vocal version to instrumental version or vica versa where commentary or scene changes occur'.Madeline Bell was backed by The Rhythm Section, who were for all intents and purposes the Themes International Music house band. So what we end up with here is entire album of instrumental work-outs by a band comprised of the formidable talents of Alan Hawkshaw on keyboards, Alan Parker on guitars, Barry Morgan on drums, Les Hurdle on bass guitar and Frank Ricotti on percussion.
Without Bell's vocals these backing tracks are given all the room they need to breathe. Each one more than stands up on its own.
The Sound of Soul is a real diggers' delight and, unsurprisingly, a must-have counterpart to The Voice of Soul.
As with all ten re-issues, the audio for The Sound of Soul comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

BOO locks in with some of his strongest work of the decade on this 10 track double. Heads might catch echoes of his RELIEF classics or FINGERS INC., but there's no nostalgia trip here. Deep, hypnotic, groovy forward thinking house at it finest. Do not miss this one.

FNS008 is a split EP from Tbilisi-based Generali Minerali and Marsascala-based Sound Synthesis.

Side A is all Generali Minerali - robotic breaks and rough textures with a direct, stripped-back approach.

Former TES resident and now a key figure at Meteor Studio, he plays a vital role in Tbilisi's nightlife.

Side B features Sound Synthesis, blending ethereal pads with acid-driven elements and melodic synths.

As the creator of Wave Function Records, he has released numerous classic Electro/Acid records.

Mastering - Incision Mastering
Artwork - WrongMeow
Distribution - Vinyl Future

Better Sound 014 hits the summer with a new split Ep within two great producers. Huge welcome back to one of his key artists Dawl, that contributed in the past shaping the sound of the label alongside Rickie, Berlin based Dj & Producer that does not need any introduction, bringing to the label his immersive house and techno style.

2026 Repress!

With recent releases for some of the scene’s leading labels, Fideles (aka Daniele Aprile and Mario Roberti) are an Italian duo on the rise. Their spellbinding ‘Impressum’ EP is both a fine example of the Fideles sound and exactly in keeping with the direction Tale Of Us are steering their Afterlife label. Inspired by the Ionian sea in Southern Italy, low-pitched basslines and soaring synths give the tracks just the right amount of drama, whilst the rich sound-design allows them to make the most of a big system; something Tale Of Us have put to great use in their sets this year. Take the emotionally-charged title track, the rolling, mechanical drums of ‘Kalotypse’ or the more restrained ‘Hadar’. Across all five tracks Fideles’ character shines through the adventurous melodies and distinctive touch, creating an inspiring next episode of the Afterlife catalogue.

Transamericas reissues Atom™’s Kraftwerk-goes-chachachá classic

After 25 years out of print, El Baile Alemán — the cult album by Señor Coconut (one of Atom™’s many aliases) — returns on vinyl via Transamericas. What began as a half-joke (“The only way I’d cover Kraftwerk is as chachachá or death metal…”) became a fever-born epiphany: Kraftwerk’s electronic minimalism recast through a tropical imagination — where chachachá, mambo, and cumbia intertwine with glitch, breakbeats, and distressed samples.

Long before reggaeton and trap filled stadiums and playlists, Señor Coconut was already mapping the fault lines between Latin rhythm and electronic form.
Originally released in Japan in 2000, El Baile Alemán caught the ear of Kraftwerk’s Florian Schneider, who unexpectedly championed the project. This reissue has been cut from Atom™’s 2022 remasters, preserving the album’s detail for a new generation of listeners. In the second half of 2026,

Transamericas will also reissue El Gran Baile (1997), his first outing — a rawer but equally idiosyncratic fusion of what Atom™ was going to frame as electrolatino.

"Cuba Greatest Hits" bringt die Hitze Havannas direkt ins Wohnzimmer und vereint die wichtigsten Klassiker der kubanischen Musik auf einem exklusiven Doppel-Vinyl. Von Son und Mambo bis Bolero und Latin Jazz bietet diese Compilation ein authentisches musikalisches Panorama mit Legenden wie Compay Segundo, Celia Cruz und Beny Moré. Ein atmosphärischer Katalogtitel voller Rhythmus, Lebensfreude und karibischem Flair - ideal für alle, die kubanische Musik lieben.

ALERT: BIG 90s ITALIAN RAVE COMP - a lot of very in demand tunes on here.

Navigators

Franco Falsini and the Interactive Test Universe

There are musicians who follow their time.

And then there are those who seem to move along a different trajectory—like navigators crossing sonic eras without ever truly belonging to any one of them. The story of Franco Falsini belongs to the latter. It is a story that begins long before raves, before techno, before the word “electronic” had even become a recognizable musical genre. A story that moves across continents, technologies, and sonic visions, eventually arriving at a small creative laboratory born in Italy in the early 1990s: Interactive Test. This compilation is a fragment of that universe. But as often happens with the hidden histories of music, understanding it requires going back. Far back.

The Beginning: Machines, Tape and Space

In the late 1960s Franco Falsini leaves Italy and moves to the United States. It is not merely a geographical journey—it is also a journey into a new idea of music. At the time, synthesizers are only just emerging from research laboratories. Multitrack tape recorders allow musicians to build entire sonic worlds on their own. Technology is still far from standardized: every studio is almost an experimental workshop. In Virginia, Falsini builds one of his own. Among cables, oscillators, electric guitars and reels of magnetic tape, a kind of music begins to take shape that resembles nothing else being made at the time. It is not simply rock, and it is not yet truly electronic. It moves somewhere in the space between the two. Out of these explorations emerges Sensations' Fix, the project through which Falsini releases a series of albums during the 1970s. Records that seem to come from a parallel dimension: cosmic landscapes, electronically treated guitars, synthesizers drifting like satellites. Many years later those albums would be rediscovered as visionary works. But at the time they were simply the result of relentless curiosity. A curiosity that would never fade.

The City That Never Sleeps

In the 1980s Falsini’s trajectory leads him to New York. The city is a sonic organism in constant transformation. In its clubs and recording studios something entirely new is beginning to take shape: music built from drum machines, sequencers, and samplers, created for the body before the living room. It is the dawn of modern dance culture. Falsini works as a sound engineer, producer and experimenter. From close range he observes electronic music transforming into a global language. Machines become more accessible, computers begin entering studios, and rhythm takes on an increasingly central role. Yet even in this phase Falsini does not simply follow what is happening. He absorbs. Observes. Reimagines. When he eventually returns to Italy, he brings back not only technical experience but also a clear vision: the conviction that electronic music is an open space, a territory still waiting to be explored.

Tuscany, Early 1990s

At the beginning of the 1990s something is happening in Italy as well. In clubs, abandoned industrial warehouses and clandestine parties, a new scene is beginning to form. It is rave culture: a spontaneous movement bringing together DJs, producers and listeners in a collective experience driven by rhythm, technology, and creative freedom. It is within this context that Franco Falsini, together with his brother Riccardo, creates Interactive Test.

The name almost sounds like a scientific experiment. In many ways, it is. Interactive Test does not emerge as a traditional record label. It begins as a laboratory—a place where ideas, sounds and musical identities can be tested and explored. Around the Falsini studio in Tuscany a small constellation of artists and DJs begins to gather, helping to shape the sound of Italy’s emerging electronic scene. Among them are Andrea Giuditta, Francesco Farfa, Gabry Fasano, Roby Mastelloni, Roby J and many others. Each brings a different musical sensibility. But they all share the same intuition: electronic music is not a genre. It is a language.

The Laboratory of Identities

One of the most fascinating aspects of the Interactive Test universe is its constant play with identity. Franco Falsini releases music under several different names: Open Space, Youth Wave, Agent Fylfoyt, Man Myth Magic. These are not simply pseudonyms.

They are different sonic perspectives, as if each project were a window opening onto a parallel musical universe. Open Space, for example, explores more atmospheric and visionary territories. Youth Wave moves between electronic groove and club-oriented rhythms. Other projects experiment with digital psychedelia or hypnotic techno textures. Interactive Test becomes something more than a label. it becomes an ecosystem.

Domestic Machines, Infinite Worlds

Looking back today at the technology used in those productions, one might almost smile. Many tracks were created on Amiga computers, MIDI sequencers and analog synthesizers wired together in home studios—tools that appear modest when compared to today’s digital possibilities.

Yet precisely these limitations became a creative force. Every sound had to be built, shaped and reinvented. Sequences developed slowly, almost like living organisms. The tracks did not always follow traditional dance music structures; often they felt like genuine sonic journeys. Music built from space.

A Hidden Constellation

Many of the records released by Interactive Test in the 1990s remained for years almost invisible objects, circulating quietly among DJs, collectors, and devoted listeners. Yet it is precisely this underground existence that helped preserve them. Listening again today, one perceives something rare: the feeling of music that does not fully belong to its own time. Music suspended between different eras. Perhaps because it comes from a vision that both precedes and transcends trends.

Continuing the Journey

Looking at Franco Falsini’s entire path—from the electronic psychedelia of Sensations’ Fix to the rave culture of the 1990s—a surprisingly coherent line emerges.

A line defined by exploration.

Each project, each pseudonym, each record appears as a new route within the same great sonic voyage.

Interactive Test was one of its stations.

A laboratory.
A community.
A creative platform.

This compilation gathers some of its traces.

Not as a simple archive of the past, but as a map of a musical territory that continues to expand even today.

Like all true sonic explorations.

Another Taste is back with their follow up album: Another Taste II delivers eight new cuts of boogie, funk, and obscure disco influenced productions, recorded live to tape. Comes with Download code.

After lighting up renowned clubs like KOKO London, Jazz Café London,Tresor Berlin, New Morning Paris, and festivals like Love Supreme (UK), Lost Village (UK), Nuits Sonores (FR), Hamburg Jazz (DE), Lowlands (NL), ADE Amsterdam - the band has surfaced from the studio anew, mixing myth with music.

If their debut record in 2024 was an introduction to their musical range, Another Taste II is the full immersion. The two-sided album plays like a neon-lit cab ride where the radio is set to groove. Expanding their palette with sharper songwriting, denser arrangements, and a fictional universe.

The album showcases Another Taste’s collective at full strength: Barend Lippens, Bobby van Putten, Bob Roche, Teun van Zoggel, Sarina Voorn, Diogo Carvalho, and Florian Verhagen. Together they summon a sound that is electrifying, communal, and unmistakably theirs, joined on “Peace Call” by Arp Frique and the Perpetual Singers, and bolstered throughout by a dedicated brass section.

Another Taste II is engineered and mixed by Bobby van Putten, mastered at The Carvery by Frank Merritt, with artwork and design by Timo ter Braak, Walt van der Veen and Robert Reinartz.

The new album presents a collaborative creation that’s both timeless and unpredictable, pulling listeners deeper into the band’s universe with every spin.

,Rainbow Body" ist das Debütalbum einer außergewöhnlichen musikalischen Zusammenarbeit mit Taylor Goldsmith und Griff Goldsmith (Dawes), Rick Mitarotonda (Goose), Eric Krasno (Lettuce, Soulive), Ross James (Phil Lesh & The Terrapin Family Band) und Adam MacDougall (Chris Robinson Brotherhood, Circles Around the Sun), mit Gastauftritten von Oteil Burbridge (Dead & Company, The Allman Brothers Band) und Nicki Bluhm. Das in Island aufgenommene, selbstbetitelte Album verschmilzt nahtlos Psychedelic Rock, Americana, Soul, Folk und Improvisation zu einem Sound, der sich zugleich zeitlos und abenteuerlich anfühlt. Getragen von Taylor Goldsmiths ausdrucksstarkem Songwriting und bereichert durch die Chemie der versierten Musiker ist ,Rainbow Body" ein facettenreiches Debüt, das den Raum zwischen Americana und Alternative Rock ausfüllt.

Vier Jahre nach ihrem gefeierten Debüt ,International Love Affair" kehrt Tigerbalm (Rose Robinson) mit dem aufregend kaleidoskopischen Album ,Bubblegum Discos" zu Ubiquity Records zurück. Als mutige Weiterentwicklung ihres global geprägten Nu-Disco-Sounds spiegelt das Album ein neu gewonnenes Selbstbewusstsein wider sowie den Wunsch, mit handverlesenen Musikern und Sängern aus aller Welt zusammenzuarbeiten. In lebhaften Klangfarben gehalten, präsentiert ,Bubblegum Discos" Tigerbalms zwei große musikalische Leidenschaften: die brasilianische Musikkultur und Vintage-Dancefloor-Hits vom afrikanischen Kontinent, angereichert mit Anspielungen auf Italo-Disco, Proto-House und Soca. Die erste Hälfte des Albums ist stark von südamerikanischen Einflüssen geprägt. ,Nayar", entstanden in Zusammenarbeit mit Giorgio Lopez aus Neapel, macht den Anfang mit leicht vom Reggaeton inspiriertem Nu-Disco, gefolgt vom brasilianischen Disco-Rausch von ,Diga Me" und dem luftigen Samba-Disco von ,Vera En Paraty". Robinson liefert ihren allerersten Leadgesang auf dem teilweise improvisierten Neo-Boogie-Track ,Coco Makoko". Das Album wendet sich dann Afrika zu, mit herausragenden Beiträgen von Andre Espeut, der in Montreal lebenden haitianischen Sängerin Waahli auf dem hornlastigen ,Do Da Soca" und dem Afrobeats-Sänger Idd Aziz auf dem körperbetonten ,Afro-Disco". Der Abschluss ,Conga" rundet das Ganze mit schweren, afrozentrischen Disco-Rhythmen und tiefem Dub-Bass ab. Actiongeladen und makellos produziert: ,Bubblegum Discos" ist der Sound einer Künstlerin, die ihr frühes Versprechen mehr als nur einhält.