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Hyper-limited (500 only) vinyl release, deep West Coast jazz-rap future classic, 140g vinyl.

Fast Castle kicks off 2025 with another five-track heater: Stable Units by Gent1e $oul!
Across five tracks, Gent1e $oul hones his signature blend of bass-driven genres, adding more dancefloor-focused cuts to his ever-expanding sonic universe.
The opener, 4TC Boom, came together in a single restless session, crafted as a late-night special for the label’s most recent dance at Fitzroy. Its thick, drippy bassline—born from Digitakt overdrive manipulation—makes it the perfect stalactite cave anthem.
Next up, Paladin—named after the strongest horseback unit in Gentle $oul’s beloved AOE II—marks Gent1e $oul’s second collaboration with recent Femme Bass Mafia production graduate Rolex3k. This jersey-tinged, wubby roller was first road-tested by MSJY at Reef, where it proved its undeniable dancefloor potential.
Who doesn’t love that classic M1 grime flute? +390 pairs its signature "ring ring" sound with rolling UK techno drums, making for a no-brainer DJ tool.
On the flip, Steppe Lancer is a brooding, venomous mutation—headsy, progressive, and laced with heavy, evil energy. An FCHQ favorite and one for the heads!
Closing things out, Parthian Tactics dives deep with a late-night dubstep cut. Powerful enough to shake the subs, yet swaying in half-time for those introspective moments.
For the artwork, our graphic wizard Jonas went all out, creating a stunning detailed Bronze Age–inspired 3D equestrian design. Snag the full-cover printed vinyl via Bandcamp or at your favorite record store.

Quick Guide
4TC Boom, 154bpm – Drippy stalactite cave, peak-time weapon
Paladin, 142bpm – Wubby jersey roller, groovy DJ tool
+390, 138bpm – Grime-tinged dubstep x techno hybrid
Steppe Lancer, 154bpm – Headsy, progressive rattlesnake venom bomb
Parthian Tactics, 146bpm – Deep dubstep for late-night sessions

My debut EP on Rupture LDN, ‘Shades of Rave Vol 1’ was created with my love of raving at its core. I love arriving early doors when the anticipation of the night ahead is at its peak, feeling like we’re on the edge of something new and thrilling. I love dancing when we’re deep in session, everyone has come undone and the power hours are in full effect - the energy is frenzied and wild. I love the golden hours towards the end of the night when the crowd has thinned and we’re exhausted but energised, physically empty but spiritually full.

This EP touches on 4x4 jungle techno, jungle, deep d&b and there’s also a spoken word/ poem track dedicated to our ‘all night long’ Ferry to the Underworld sessions at Corsica Studios.

Inspired by the many moods and energies of the dance floor, I wanted to express the different shades of rave I continue to love and cherish all these years on since going to my first rave at 14.

Viva la rave!!

House Music label Ascension on Wax are proud to present AOW003 - Toronto Hustle & Sean Roman - The Unity EP. This duo have had a real buzz to them of late with strong releases on Wolf, Local Talk and Freerange this past year. Now with AoW, this is another EP which truly delivers for the House heads.
Side A is complimented by vocals from Detroit legend Jovonntte, and a mesmerising remix by 90's Deep House pioneer Abacus. Side B is for those deeper, early morning hours with a hard-hitting dub mix followed by a Deep House roller. This versatile release is for those with a love for that iconic 90's US East Coast sound.
Support from Franck Roger, Dj Deep, Dam Swindle, Philippa, Felipe Gordon amongst may others.

Deraps's sophomore album ''Viva Rock N' Roll'' is a trip back to the greatest years of Classic Rock music. The album features a nostalgic but unique sound & vibe, with dominant guitar riffs & solos, angelic vocal harmonies, deep & emotional, as well as fun lyrics, catchy musical hooks and choruses, and a variety of songs & styles that will keep you excited from beginning to end. With it's raw feel & mix, Deraps bring back authenticity, liveness & groove to Rock N' Roll, topped with a fully hand drawn cover artwork that delivers a powerful message. A breath of fresh air in the Rock genre, and in today's music.

Ltd edition in transparent yellow vinyl!



The Mystery Lights 2nd outing on Daptone's rock subsidiary, Wick, sees them digging deeper into their cavern of influences, taking on tips from Suicide, The Kinks and Television as they look to build on their already party fuelled, raucous sound.

The Mystery Lights story begins in 2004 in the small town of Salinas California when friends Michael Brandon and Luis Alfonso -whose shared fondness for groups like The Mc5, Velvet Underground, Dead Moon, and The Fall (just to name a few) -decided to join forces and craft their own brand of unhinged rock and roll. From there they spent the better part of 10 years touring relentlessly before migrating to Queens, New York in 2014.

With a live show known for its raw, visceral energy and relentless assault –leaving little to no stoppage between songs –they barreled through countless NYC haunts and DIY venues, quickly amassing a fervent local following. The buzz soon caught the attention of Daptone Records execs who were in the beginning stages of launching a new rock-centric imprint, Wick Records. Impressed by the groups’ musicianship, groove, endless supply of energy, and understanding of musical history the Mystery Lights were quickly signed to Wick. Though a rock band at heart, the parallels to what Daptone Records had traditionally looked for in their Soul artists was undeniable. Soon sessions were booked with Producer/Engineer Wayne Gordon, and the release of their debut single “Too Many Girls” b/w “Too Tough to Bear” launched to mass critical fanfare.

Upon the release of their self-titled full-length on June 24th 2016 The Mystery Lights were quickly crowned “one of New York’s finest garage rock bands” by NME. Extensive touring, including multiple stops in Europe, Asia and Australia followed which found the group graduating from support slots at hole-in-the-wall clubs to headlining stages at major festivals worldwide.

After two years of break-neck, non-stop touring, the group settled back into Queens to prepare for their second full-length record, Too Much Tension(out May 2019). With Wayne Gordon in the producer’s chair and several intense writing sessions under their belt the group were back at Daptone’s House of Soul and ready to track. While keeping the hard-hitting approach of the first LP, Too Much Tension finds the group digging deeper into their well of eclectic influences, enriching their sound without echoing the past. Mixing the eerie, insistent synth sounds of groups like The Normal and Suicide, the energy and swagger of punk’s golden age, the pop sensibility of The Kinks, and the stark, deliberate execution of Television -The Mystery Lights are taking their idiosyncratic brand of rock and roll to dizzying new heights.

The promise of a Florry show, a now familiar caravan that has been honed over ambitiously trekked zig zags across America and Europe since the release of Dear Life Records debut The Holey Bible, is the redemptive promise and prodigal joy of rock and roll guitar music. Bred in the crackling warmth of the Philadelphia DIY scene, and forged with the alloys of community action, queer liberation and bedroom poetry, bandleader Francie Medosch and her absolute unit of collaborators have put in the work of sharpening their homespun tools to take up the mantle of the great lip-puckering rock and roll tradition pioneered by the likes of The Band and the Rolling Stones, but with proudly displayed Aimee Mann and Yo La Tengo bumper stickers on the rusty frame of the truck. At any second, the wheels could come off but they are steering just fine. For 'Sounds Like' Florry's sophomore effort as a fully realized band, Medosch and co. decamped to Drop of Sun studios in the nest of the Blue Ridge Mountains to record with Asheville wunderkind Colin Miller, a critical voice behind the records of MJ Lenderman, Wednesday and Merce Lemon and a powerful songwriter in his own right. Three powerhouse days in late 2023 solidified writing work done by the band earlier that summer in the now defunct Haw Creek compound under Miller's guiding suggestion. The result is a portrait of a ripping band cresting towards the height of their powers, uniquely equipped to capture a wildly loving, barn-burning camcorder clip of a turbulent trip with your best friends, without dipping into nostalgia bait. Lyrically, Medosch's utterances are both careful and excessive, the product of sifting through the rubble of classic good-time media, and finding what works for both her and her community to reach the heights of abandon. "The Jackass theme song was actually a really big influence on the new album" The expansive personnel and continent spanning footprint of Florry casts a wide net for this community. Florry the band rolls deep in the heard of North American DIY, featuring Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Collin Dennen on bass, Will Henriksen on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culture) on drums. Medosch's recent move to Burlington Vermont entrenches the Philly born project firmly within the ranks of fellow alt-country upstarts Lily Seabird and Greg Freeman, and gives them a vantage just outside of Pennsylvania at the thresholds of New England and the Midwest. There is a new life breathed into this music that confirms Florry as equally rooted in place work, and at home on the vast roads of America. For listeners who fell in love with Florry's infectious charm on sweeping tours with the likes of Kurt Vile, Real Estate, MJ Lenderman, Greg Freeman and Fust, 'Sounds Like', provides a refreshing memento of the band that surely left them smiling. If the support behind 'The Holey Bible' provided validation for the insistent vision of these young artists, 'Sounds Like' finds them reveling in and honing their vocabulary. Praise from outlets like Pitchfork, Stereogum, Paste, and Brooklyn Vegan touched on the potential of their wild idiosyncrasies, and accurately predicted that their next steps would see them continuing to write their own story, like a 10 car pileup that you can't take your eyes off if you tried. Florry proves that they can let the car spin just out of control whenever they want, and you are welcome to ride shotgun while Medosch does donuts in the WaWa parking lot. The ceiling, it turns out, is truly the roof.

The promise of a Florry show, a now familiar caravan that has been honed over ambitiously trekked zig zags across America and Europe since the release of Dear Life Records debut The Holey Bible, is the redemptive promise and prodigal joy of rock and roll guitar music. Bred in the crackling warmth of the Philadelphia DIY scene, and forged with the alloys of community action, queer liberation and bedroom poetry, bandleader Francie Medosch and her absolute unit of collaborators have put in the work of sharpening their homespun tools to take up the mantle of the great lip-puckering rock and roll tradition pioneered by the likes of The Band and the Rolling Stones, but with proudly displayed Aimee Mann and Yo La Tengo bumper stickers on the rusty frame of the truck. At any second, the wheels could come off but they are steering just fine. For 'Sounds Like' Florry's sophomore effort as a fully realized band, Medosch and co. decamped to Drop of Sun studios in the nest of the Blue Ridge Mountains to record with Asheville wunderkind Colin Miller, a critical voice behind the records of MJ Lenderman, Wednesday and Merce Lemon and a powerful songwriter in his own right. Three powerhouse days in late 2023 solidified writing work done by the band earlier that summer in the now defunct Haw Creek compound under Miller's guiding suggestion. The result is a portrait of a ripping band cresting towards the height of their powers, uniquely equipped to capture a wildly loving, barn-burning camcorder clip of a turbulent trip with your best friends, without dipping into nostalgia bait. Lyrically, Medosch's utterances are both careful and excessive, the product of sifting through the rubble of classic good-time media, and finding what works for both her and her community to reach the heights of abandon. "The Jackass theme song was actually a really big influence on the new album" The expansive personnel and continent spanning footprint of Florry casts a wide net for this community. Florry the band rolls deep in the heard of North American DIY, featuring Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Collin Dennen on bass, Will Henriksen on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culture) on drums. Medosch's recent move to Burlington Vermont entrenches the Philly born project firmly within the ranks of fellow alt-country upstarts Lily Seabird and Greg Freeman, and gives them a vantage just outside of Pennsylvania at the thresholds of New England and the Midwest. There is a new life breathed into this music that confirms Florry as equally rooted in place work, and at home on the vast roads of America. For listeners who fell in love with Florry's infectious charm on sweeping tours with the likes of Kurt Vile, Real Estate, MJ Lenderman, Greg Freeman and Fust, 'Sounds Like', provides a refreshing memento of the band that surely left them smiling. If the support behind 'The Holey Bible' provided validation for the insistent vision of these young artists, 'Sounds Like' finds them reveling in and honing their vocabulary. Praise from outlets like Pitchfork, Stereogum, Paste, and Brooklyn Vegan touched on the potential of their wild idiosyncrasies, and accurately predicted that their next steps would see them continuing to write their own story, like a 10 car pileup that you can't take your eyes off if you tried. Florry proves that they can let the car spin just out of control whenever they want, and you are welcome to ride shotgun while Medosch does donuts in the WaWa parking lot. The ceiling, it turns out, is truly the roof.

Planet E looks to the heart of Detroit’s club culture for the debut appearance on the label from Motor City mainstay, Mister Joshooa. A DJ and sound engineer closely intertwined with the city’s music scene, regularly found behind the decks at clubs like TV Lounge and Lincoln Factory and having previously appeared on Carl Craig’s celebrated Detroit Love compilation, ‘Settle Down’ introduces four tracks that cement Mister Joshooa’s lucid, far-out take on house.

Lead track ‘Settle Down’ distills the energies and influence of the scene into a rubber-jointed, rolling introduction that vibrates with energy and anticipation, nailing a bassline that could run for hours and injecting trippy effects, live percussion and out-there vocals drawing in dancers. ‘Snake Oil’ meanwhile strips things way back, squeezing plenty of juice for the floor from a tunnelling, lightly psychedelic arrangement, offering bang-for-buck deepness that’s no scam.

‘Stop Me’ continues to drive Mister Joshooa’s productions in even wonkier, even mysterious directions, its oscillating crawl and hypnotic melody primed to create a heady atmosphere, giving surreal or even sinister, depending on each dancer’s perspective. Finally, ‘Step Up’ offers the roughest, readiest ride to close, where classic drum machine programming reverberates against throbbing sonics and all manner of analogue weirdness, transforming into an outsider techno stepper from the darker side.

Man was meant to replace God as the universal measure. The events of the 20th and 21st centuries, however, have brutalized the creature once known as Man beyond recognition. There is no going back. We are left with an erased image, a misnomer-a sacred animal wasting away in a profane world. Man is both insufficient and irreplaceable. Man Under Erasure is a musical exploration of this new, uncertain universe, where the last remnants of humanist hopes and dreams have been reduced to embers-barely legible carvings etched into eroding earth. Our trust in ourselves has been misplaced. Everything we ever knew will be erased. Feversea is a post-metal band from Oslo, Norway drawing on influences from black metal, sludge metal and shoegaze. Their music lies in the intersection of fast black'n'roll ferocity, heavy and fierce metal riffage and ritualistic and ethereal soundscapes. Musically, their debut album Man Under Erasure draws from various forms of metal while incorporating influences from neofolk and post-punk. The album is melancholic, despairing, and cathartic. Haunting and melodic while maintaining a strong sense of structure with recognizable riffs-an element often lacking in atmosphere-driven music. Fluctuating between song and scream, the voice is both from beyond and from below. Lyrically, it is deeply personal but delivered through impersonal images, parables, and riddles-like a spiritualist or Orphic medium carrying messages from beyond. A muffled scream buried under several inches of ice. The album begins in sardonic despair and ends with uneasy, desperate acceptance.

The Ramones were punks before punk rock was even invented. With their catchy, sing-along tunes, iconic hair styles and outfits, Joey, Dee Dee, Johnny and Tommy rewrote rock history and are now, as part of the first wave of US punk, firmly considered part of the subcultural world heritage. In the DUB-cultural world, on the other hand, their footprint has been pretty slim, particularly if one considers their stomping, three-chord songs, instantly recognizable chants (“Gabba gabba hey!”) and laconic humour. There are a few reggae and Latin versions of their songs online, but never before have the Ramones been honoured with an entire album in early reggae style…until now, bang on time for the band's 50th anniversary in 2024. The label Echo Beach, a bit of a specialist for missions such as these with a string of releases including “Bad Brains in Dub”, “Dubby Stardust”, got together with André Meyer (production, bass) and Manougazou (production, guitar). Both were part of the 2008 Echo Beach New Wave/Dub project DubXanne and were involved in the production and subsequent live shows. Also back in the team is keyboarder and DubXanne mastermind Guido Craveiro, who plays Hammond organ and piano on half of the tracks. The other two additions to the core team are singer and all-round instrumentalist Sebastian Sturm and drummer Raul Pfeffer. Together they homed in on the 11 most iconic Ramones three-minute-singalongs, including "Blitzkrieg Bop", "I Wanna Be Sedated", "Pet Sematary" and "Rock'n'Roll Highschool", and treated them to a reggae make-over. The whole process was kicked off by a slightly off-beat question (reggae music does that to you): What if Joey, Johnny, Tommy and Dee Dee had gotten together not in NYC, but in Kingston? And then stepped up to the mic alongside local singing and deejay greats? In musical terms the answer is surprisingly plausible and the line-up is sensational, even for a label like Echo Beach with its unrivalled connections. From up-and-coming youngsters to living legends, everyone is included, albeit with a focus on the elder statemen and stateswomen: the vast majority of the guests are over 60 and look back on deeply impressive careers! The artists come from Jamaica, the USA, the UK and Germany. All contributed one or two songs, and all of them tackle the songs in pairs with infectiously good humour, transforming legendary punk rock bangers into unpredictable dub tracks. Ramones’ classics such as "Blitzkrieg Bop" with its trademark battle cry "Hey! Ho! Let's Go!", "Sheena Is A Punkrocker" and "The KKK Took My Baby Away" are slowed down and underpinned with roots and rocksteady riddims. It almost goes without saying that the lyrics have been adapted to everyday Jamaican life with a great deal of fun and creativity. And amidst all the icons of early reggae, the Ramones also make an appearance: in the opening track "Pinhead", for example, we learn that the Ramones did actually listen to reggae and had even been planning a reggae album. Features guest vocals from Susan Cadogan, Ranking Joe, Ranking Ann, Prince Alla, Welton Irie, U Brown, Earl Sixteen, Dennis Alcapone and more

A SIDE: "Smooth Co-Operator" 124 BPM
Deep within the Co-op laboratory, a timeless classic was lifted from the ether and reborn under the alchemists’ touch. "Smooth Co-Operator"
takes the silk and smoke of Sade’s iconic Smooth Operator and fuses it with the pulse of an uptempo soulful house rhythm. Sprinkled with the
magic dust of hip-hop and funk samples, the track moves effortlessly—grooving on a smooth, rolling bassline, locked into a four-to-the-floor
heartbeat. The result? A dance where elegance meets momentum, where the past is reimagined for the now. Let yourself be carried away—
this is RnB soul jazz, remixed for the future.

B SIDE: "Dream Alchemy" 120BPM
Summoned from the realm of dreams, "Dream Alchemy" is a hypnotic, Kubrickian voyage through sound and shadow. Co-op bends time,
doubling the original tempo into a driving force of tech-house vibes. J Diggns layers ethereal, cascading keys—melodies that flicker like lucid
visions—while Whiskey Drop layers in A$AP Rocky and grounds the experience with a deep, rolling bassline that pulses from the underground.
The groove is relentless, the atmosphere cinematic. Step inside—The dream and the Sandman await.

SAMOSA RECORDS EARTH, WIND & FUNK VOL.2 - Pt.1

Samosa Records comes at you with all the elements for Earth, Wind & Funk Vol. 2 – a succulent double slice of vinyl heaven!

On side A1 label favourites Dirty Elements & Drunkdrivers start the party with the knee-slapping treat ‘Koko’. A bouncing bassline and some sweet clavinet keys act as the starters to this trip around the discophere. Lush strings and sassy vocals provide a delicious cherry on top. Mesmerising stuff.

For A2, Macchianera undergoes a De Gama Re-Groove with ‘Gotta Dance’, a deceptive 115bpm chugger that could travel the tracks for an eternity. Deep, groovy bass and soulful vocals combine perfectly in the build-up to the brass-soaked chorus line. Oh, and you know that rhythm guitar is gonna get you.

Side B1 finds Niels F. ‘Trying To Love’ with a little help from some De Gama Re-Drums. ‘Trying To Love’ breaks out into its stride from the off. With an almost ‘2-step’ vibe at the intro, ‘Trying To Love’ nicely builds to a rag time jam of lush strings, smile-inducing brass and a wicked vocal – all applied perfectly and filtered expertly. Let the good times roll!

B2 brings the Afro inspired delights of MP Soundworks and ‘Gotta Get It’. There’s a tribal vibe in the air at this party, a hypnotic runaway train of a track that makes full use of filtered build ups, looped vocal samples and a wicked, wicked bassline. Bouncier than supper-concentrated Zectron.

In Earth, Wind & Funk Vol. 2 Samosa Records has produced a stunning double slab release, featuring a good mix of some of the label’s most prolific artists and some welcome newcomers.

"The recordings Contained herein are contained here after many years on the shelf..." So begin Michael Hurley's notes to these unbelievably great recordings from 1964...never before heard. Recorded by Fred Ramsey as part of the same sessions that resulted in Michael's First Songs LP on Folkways. Side A starts with What'llya Do, What'llya Say?, a pretty psychedelic classic that can very well put you into some kinda trance. After that we hear The Blues Had Gone Away - a sad drifty little tune, then Pretty Girl On Rollerskates, with a rare Hurley harmonica solo & hallucinatory lyrics worthy of some examination, and then a beautiful alternate take on one of Michael's all time greats - The Tea Song. Side B starts up with yet more alternate takes of songs from the Folkways LP - this time of Intersoular Blues & I Like My Wine. After that we get to hear two great compositions for the first time, & man oh man are they pretty - Hey Hey Hey Hey & I Love You Babe. Real great stuff all around that we recommend for deep into it Hurley fans & newcomers to his art alike. Michael Hurley is a great American song writer with his own unique way of seeing the world & this LP is a great testament to his vision. Co-release with our friends Nero's Neptune.

OONA Recordings is proud to announce the upcoming release of the soundtrack for The Girl With The Needle by Frederikke Hoffmeier. Hoffmeier, whom performs under the stage name Puce Mary, brings a raw, intense and atmospheric score to this Oscar-nominated film, which is contending for Best International Feature. Known for her bold, experimental approach to sound, Hoffmeier’s composition immerses listeners in the film’s dark, emotionally-charged world. Directed by Magnus von Horn, The Girl With The Needle premiered at the Cannes Film Festival, where it earned praise for its uncompromising vision. The film went on to receive a Golden Globe nomination for Best Non-English Language Film and won two prestigious awards at the European Film Awards, including Best Score for Hoffmeier’s hauntingly powerful work. The score to The Girl With The Needle is as dark as it is compelling, a masterclass in creating tension, unease, and raw emotional weight. Hoffmeier’s sound design is equal parts abrasive and intimate, drawing the listener into a world of fractured beauty. Her use of organic textures, electro-acoustic undertones, and dissonant, atonal melodies challenges traditional notions of film music, offering something deeply visceral and unpredictable. The Guardian described Hoffmeier’s score as "nerve-abrading," highlighting the relentless, uncomfortable energy that underpins the film. The Chicago Reader similarly calls the score haunting, noting how it amplifies the film’s stark atmosphere. Drawing comparisons to the intense works of composers like Mica Levi, Awards Radar Magazine praises Hoffmeier for pushing the film’s emotional core to its breaking point, deepening the agony of the protagonist. Throughout the film, Hoffmeier’s score becomes as much a character as the people on screen. Her collaboration with von Horn is marked by a shared vision of pushing the limits of cinema and sound. Screen Daily describes the score as "daring," with its aggressive, contemporary tones standing in stark contrast to conventional film scores. The result is a uniquely modern, avant-garde work that reflects the film's visceral and unsettling nature. Hoffmeier crafts a world of sound that lingers long after the credits roll. The soundtrack’s fusion of organic instrumentation with electro-acoustic elements and bold industrial sounds sets it apart from the ordinary. The British Film Institute notes how Hoffmeier’s "atonal score" creates an "enervating effect," pulling listeners deeper into the film’s raw emotional depths. The combination of brutal sound design and haunting melodies builds a layered, evocative listening experience, one that grows increasingly intense with every listen.

Italian jazz guitarist Andrea Rinciari's 'Soho Sessions', presents eight carefully
curated jazz standards and hidden gems with a stellar quartet featuring tenor
saxophonist Alex Garnett, bassist Lorenzo Morabito and drummer Mark
Taylor
"The album represents a great period of my life where I was playing in Soho every
week with this band and we were able to create a vast repertoire of tunes by various
different composers, from American songbook composers to the most obscure
bebop artists," explains Rinciari. "So, the tracks of this album are a good
representation of those tunes."
'Soho Sessions' features a mix of classic and lesser-known compositions, including a
Barry Harris arrangement of 'Bean And The Boys', a rare John Collins piece ('John's
Delight'), and a reharmonised 'I Can't Get Started' inspired by Teddy Wilson. Other
highlights include a fresh take on 'Tea For Two', Bud Powell's groove- driven 'John's
Abbey', and deep cuts by Freddie Redd and Elmo Hope/Sonny Rollins, 'Time to Smile'
and 'Carvin' the Rock' respectively. The album closes with Rinciari's signature
contrapuntal solo interpretation of 'Polka Dots And Moonbeams'.
Rinciari's dynamic quartet breathes new life into the music while exploring fresh
harmonic and melodic ideas. "This album is a reflection of the magic that happens
when musicians play together regularly. The tracks capture the spirit of our weekly
Soho sessions - improvised, refined, and always evolving," concludes Rinciari. "It's a
tribute to the jazz greats who have inspired me and the amazing musicians I'm lucky
to play with."

This tasteful Spanish label always does a fine line in traditionally inclined deep house. Their latest drop brings together the talents of Andrew Lozano and Trevor Vichas. 'Don't U Feel It' kicks off with a playful skip in the drums and one of those spoken word vocals that add plenty of atmosphere. It's Demuir who remixes this one with even more light-hearted groove and jazzy Rhodes chords. Lozano and Vichas then offer 'With You' which keeps the dubby, smoky, frayed-edge house sounds rolling and 'Feel The Heat then brings a more upright groove with driving hits and swirling pads that speak to the soul.

The Deepshakerz return to Crosstown Rebelswith a new three-track EP, ‘Give It 2 U’. The Italian duo deliver a trio of original productions as they make their second appearance on the label. Italian pairing The Deepshakerz make their long-awaited return to Damian Lazarus’ iconic Crosstown Rebels imprint with their latest EP ‘Give It 2 U’, set to open May in style. The three-track offering signals an exciting return to the label for the Bari-born artists, who have become known for their percussive, groove-led sound across acclaimed releases on Moon Harbour, Knee Deep In Sound, and Glasgow Underground - following on from their label debut ‘Fire’ with Aaron Pfeiffer on the label in 2023. Their ‘Give It 2 U’ EP features three tracks that exemplify the pair’s ever-evolving sound, taking in influences from afrohouse to early Chicago house. The title track ‘Give It 2 U’ kicks things offwith infectious percussion and a driving groove, setting the tone for the entire release. On the flip side, ‘The Beginning Groove’ explores deeper, hypnotic territories with further rolling rhythms and hooky stabs, while ‘Green Light’ featuring Dennis Wonder switches up proceedings, bringing a no-nonsense dancefloor groove with a blend of punchy, skippy drums, uplifting melodies and smooth vocals.

With no compromises on sound quality and an exclusive pressing designed for true vinyl enthusiasts, KRONERT002 is more than just a record—it's a collectible statement of artistry and innovation. Don’t miss your chance to own a piece of this journey.

Pushing sonic exploration even further, KRONERT002 embodies the raw essence of underground house music, capturing its energy, groove, and timeless appeal. This limited Coloured Splatter/Split vinyl is more than just a record—it’s a statement, a collector’s piece for those who live and breathe the rhythm.

Kronert crafts a hypnotic blend of rolling basslines, shuffled drum patterns, and atmospheric pads, seamlessly fusing classic house elements with a forward-thinking approach. The EP’s warm textures and intricate grooves ensure its versatility—whether igniting peak-time dance floors or setting the tone for deep, late-night sessions.

The year 2024 rolled out in a restless haze, leaving everything a bit cloudy. In search of vision, we sought the guidance of our shaman—through the steady beat of a drum, a deep transformation began. And bam, just like that, the balance was restored and everything fell into alignment. Tokyo, Paris, Zürich, and Helsinki—each location now linked in a cosmic force field.

Fast forward to May 2025, and we are presented with a lush underground journey. The eleventh Common Labour 12” features the works of Omar Santis, Flabaire, Thomas Wood and pothOles. So buckle up and enjoy the ride into the depths. Odd Jobs Vol.4 is a labour of love – hand-stamped and numbered, limited to 199 copies worldwide.