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Ein weiterer Schub Frank Sinatra Vinyle. Diesmal "Come Dance With Me" und "Come Swing With Me".
Remastered und auf 180g Vinyl inkl. Download-Voucher.

OG 2002 12”s, Produced by Seamus Haji for Big Bang Theory Productions and Eric Kupper courtesy of Hysteria Productions. Seamus Haji and Eric Kupper do no wrong with this track based around a winning sample from Love Committee's 'Just As Long As I Got You'.

limited picture vinyl of the david bowie classic !!!

Once upoun a time Fat Mike came up with the idea of calling up 101 of the best old and new punk rock band around, have them each record a 30-second long song, then put all the tracks out on one record to make the best punk compilation ever. And guess what, the dream came true. The 101 most famous punk rock bands around doing each a 30 seconds long song Back in print for the first time in ten years! Pressed to Lime Vinyl Features super rare songs (recorded exclusively for this compilation) by Green Day, The Offspring, Blink- 182, Pennywise, Rancid, Less Than Jake, The Vandals, Bad Religion, and more

It's been almost a year exactly since the debut CJP Band 12' was released, Landing just in time for a few nausent plays at We Out Here 2025.

12 months and two more well received 12's later, Most notably of course by festival founder Gilles Peterson, the band find themselves making the short trip from their New Forest homes to the Tomorrow's Warriors stage on Saturday night for their We Out Here debut.

What better way to mark the occasion and round of the (calendar) year of releases with a tasty 7' that perfectly encapsulates festival vibes wherever they might be.

Taking the foot of the gas, For one release at least, Freedom delivers two sides of blissed out summer soul. Heavy drum breaks and the funkiest basslines of course still come as standard with a sweet vocal from guitarist Geoff Lai.

On the flip those trademark CJP strings glide over a stripped back instrumental version for the aptly named String Dub.

Limited Pressing

Hand stamped Sleeve

Don't Sleep

We are honoured and excited to share the fourth Dream Space EP with the world: Domenic Cappello - Celestial Wave.

For more than three decades, Domenic Cappello has been at the helm of Subculture - the innovative and vastly influential Saturday night at Glasgow’s Sub Club. A true master DJ with deep rooted influences from Detroit & Chicago, Dom has consistently pushed things forward over the years and remains at the cutting edge of modern dance music.

Throughout the 90’s and early 2000’s, he put out high-quality records under various monikers on labels such as Soma, 20:20 Vision & Seventh Sign. Fast forward to recent years and Domenic has been on nothing short of a hot streak - releasing music under his own name on Craigie Knowes, Clone Royal Oak and his outstanding ‘Basement Philosophy’ LP on Alien Communications.

He brings the heat once more for this record; blurring the lines of house, techno and electro to deliver four awe-inspiring cuts of electronic music.

‘The Secret Moon Party’ sets things off, nodding to a certain Highland gathering by some of Scotland’s finest purveyors of quality tunes. A warm, gritty bassline carries the track, evolving into a symphony of precise sound design that is in equal parts playful and euphoric.

Dom’s knowledge of the dancefloor shines through on ‘Acid & Love’. This early night floor filler is the alchemy of just about everything you want to hear when things are getting going. Pure warmth and bliss throughout, also holding its place played deep into the late hours.

‘We Loved Your Ears (in memory of Keith)’ is a heartfelt tribute to the one and only Keith McIvor aka JD Twitch of Optimo. Dom wrote this track as something he thought Keith would have loved, and for this one, we’ll let the music do the talking.

Keith was, and continues to be, an enormous inspiration for us and so many others. In his memory, all proceeds from the digital sales of ‘We Loved Your Ears’ and 25% of all vinyl sales will be donated to Beatson Cancer Charity and The Scottish Brain Tumour Research Centre of Excellence.

Closing the EP is title track ‘Celestial Wave’, which does exactly what it says on the tin. A beautiful piece of music and fitting soundtrack for star gazing, moon dancing and dreaming.

Timeless – yet always fresh: Regardless of the whims of the pop business, Planet Yello has been making its rounds for almost fifty years, repeatedly whisking us away to a world where past and future greet each other and James Bond joins forces with the Man in the Moon, Dionysus and Philip K. Dick.

"To the future, through the past"—with their fifteenth studio album, "Time Lab," Dieter Meier and Boris Blank put this maxim into practice more vividly than ever. Blank meticulously crafts his imaginary soundtracks from fresh samples and found objects from his own archive, which has accumulated a vast collection of sonic fragments, riffs, and motifs over nearly fifty years of creative work. Meier immerses himself in these parallel soundscapes, discovering within them his romantic tales of robbers, mysterious night creatures, and Dadaist wordplay. Essentially, every Yello track is both ancient and brand new at the same time. This principle is perfectly illustrated by the first single, "Around the Sun." It's based on a dormant Meier recording that was cut at the last minute from the selection for "Claro Que Si" (1981). Blank gave Meier's sonorous voice a fresh sonic makeover – the result is an elegant and flexible, thoroughly Yello-esque combination of past and present, romantic wanderlust and driving percussion. "Break Out" also plays with stylistic elements that can be traced back to Yello's earliest days: a dangerously prowling bass riff, fiery percussion, and storyteller Meier in hypnotic top form.

Time begins where it ends, or vice versa. Or, as Boris Blank says: "Yello's music doesn't really know time."

Jakob Bro, Brian Blade, Craig Taborn, Chris Cheek, Jesper Zeuthen, Anders Christensen, Larry Grenadier & Marcus Gilmore, playing compositions by Paul Motian and Jakob Bro.
The album was recorded in a single session at New York’s Power Station with engineer James Farber, following a week-long residency at the Village Vanguard.

‘Danish guitarist and composer Jakob Bro is celebrated for his pure reflective expression and penchant for celestial textures, effortlessly distilling and refining quiet sonics. At the Village Vanguard, he leads an impressive group – featuring two bassists and two drummers – for a nearly week-long residency.
‘The perfectly poised, ambient-leaning soundworld that characterizes Bro’s compositions was discomposed and distended by this octet, probing thrilling sounds and providing ample opportunity to create spontaneously. It was an exhilarating jazz night with some of the most esteemed players out there.’ ()

Legendary Children (All of Them Queer)" is a celebrated 1994 dance-pop track by former Frankie Goes to Hollywood frontman Holly Johnson. The song acts as an upbeat LGBTQ+ historical roll-call, honoring historical queer icons from Andy Warhol to Leonardo da Vinci, and was notably performed at London's Gay Pride in 1994. The song is based on the iconic Paris Is Burning and features the brilliant vocals of Helen Terry (Culture Club/2wo Third3). 

Released on the album Soulstream, the song is famous for its spoken-word verses and euphoric chorus celebrating legendary figures like Oscar Wilde, Jean Cocteau, and Joe Orton. The overarching message is captured in its defiant lyric: "The answer is clear, they're all of them queer."

Now 2026 sees brand new versions by Luv Foundation (UK). George from the Sharp Boys, a dear friend of Holly's and Mark Loverush, mentioned to Holly that Luv Foundation (UK) should do the rework. Mark Loverush and Julian Napolitano wanted to capture as much of the original essence as possible, keeping that 90s flavor while giving the remix a big, classic feel reflective of how it would sound today. 

This is a limited edition of 700 pink vinyl, including 2 of the original versions alongside 2 remixes by Luv Foundation (UK).  It comes in brand new artwork by Philip Marshall.

Disco Collected celebrates the dance music which originally developed from R&B, soul, and funk from the late 60s and 70s and turned into a mighty subculture in discotheques, with Studio 54, Manhattan, New York as one of the most famous and extravagant discos all over the world. Disco used a steady four to the floor beat, string sections, horns which created a perfect setting for DJs who mixed their special 12 inches to an eager dance crowd.

Movies like Saturday Night Fever and Thank God It’s Friday contributed to disco’s mainstream popularity. Compiled on Disco Collected are some of the best, well-known and great disco hits by Rose Royce, Chic, Kool & The Gang, The Trammps, Thelma Houston, KC & The Sunshine Band and 16 more guaranteed floor fillers.

The 2LP Disco Collected is available as a limited edition on disco ball silver vinyl and includes an insert.

This album features most of The Searchers’ early hits, along with a selection of album cuts and B-sides—which really come to life in these live recordings. The standout tracks are the ones they never recorded in the studio. What’d I Say was previously released from their 1963 Hamburg Star-Club recordings, but this live version captures even more energy. The album also features radio performances that were never studio recordings, including Memphis, Tennessee, Red Sails In The Sunset, and Let The Four Winds Blow. So, put this record on, sit back and relive the heyday of one of the UK’s finest and most enduring bands: Ladies and Gentlemen, I give you The Searchers!
Sleeve notes by Peter Checksfield

"Lost Weekend" ist das erste Album von Phoebe Bridgers seit dem mehrfach für den GRAMMY nominierten Vorgänger "Punisher" aus dem Jahr 2020. Bereits ihr gefeiertes Debüt "Stranger in the Alps", veröffentlicht kurz nach ihrem 23. Geburtstag, machte deutlich, welch außergewöhnliches Songwriting-Talent in Bridgers steckt. Mit "Punisher" löste sie dieses Versprechen eindrucksvoll ein: Das Album wurde für seine kluge, eindringliche und zugleich fesselnde Komposition weithin gefeiert und etablierte sie endgültig als eine der prägendsten Stimmen ihrer Generation. Wer nun "Lost Weekend" hört, wird jedoch feststellen, dass Bridgers noch einen Schritt weitergeht. Auf dem neuen Album präsentiert sie sich auf dem bisherigen Höhepunkt ihres künstlerischen Schaffens. Mit bemerkenswerter Präzision verfeinert sie die Motive, die ihre bisherigen Werke ausgezeichnet haben, und erweitert ihren Sound gleichzeitig um zahlreiche überraschende Facetten. Das Ergebnis ist ein Album, das vertraut wirkt und dennoch immer wieder neue Wege einschlägt. Vor ihren jüngsten Pop-up-Shows stand Bridgers zuletzt mit ihrer Supergroup boygenius auf der Bühne, die sie gemeinsam mit ihren engen Freundinnen Lucy Dacus und Julien Baker gegründet hat. Für das 2023 erschienene Album "the record" erhielt die Band mehrere GRAMMY Awards, darunter "Best Alternative Music Album" sowie "Best Rock Song" und "Best Rock Performance" für die Single "Not Strong Enough". Phoebe Bridgers verließ die Preisverleihung zudem als meistprämierte Künstlerin des Abends. Ihren vierten GRAMMY gewann sie in der Kategorie "Best Pop Duo/Group Performance" für "Ghost in the Machine", ihre Zusammenarbeit mit SZA auf deren Erfolgsalbum "SOS". Zuvor war Bridgers als Support-Act auf ausgewählten Terminen von Taylor Swifts "The Eras Tour" zu sehen. Davor absolvierte sie fast zwei Jahre lang ihre eigene "Reunion Tour" mit mehreren ausverkauften Nordamerika-Etappen, rund dreißig Konzerten in Europa sowie abschließenden Shows in Südamerika, Asien und Australien. Auch abseits der Bühne prägte Bridgers die vergangenen Jahre mit einigen der eindrucksvollsten Live-Performances im Netz und Fernsehen, darunter ihr viel beachtetes NPR Tiny Desk Concert sowie ihr Auftritt bei Saturday Night Live. Seit ihrem letzten Soloalbum veröffentlichte sie zudem zahlreiche Singles, Coverversionen und Kollaborationen mit Künstler wie Paul McCartney, MUNA, Bright Eyes, The 1975, Lorde, Taylor Swift und The National.

The vibrant genre Eurodance originated in the late Eighties in Europe and combines many elements of rap and rich melodic vocals with strong bass rhythms and cutting-edge synthesizers. The 2LP Eurodance Collected compiles the best hits from Eurodance, including Snap! ""Rhythm Is A Dancer"", Technotronic's worldwide smash ""Pump Up The Jam"", catchy sing-a-long self-titled Captain Jack track, Dutch group Vengaboys' ""Boom, Boom, Boom, Boom!!, Belgium's hit-wonder 2 Unlimited's ""No Limit"" plus 22 other guaranteed dancefloor fillers. Eurodance Collected is available as a limited edition of 2000 copies on pink (LP1) and purple (LP2) coloured vinyl and includes an insert.

Eurodance Collected by Various Artists, released 19 April 2024, includes the following tracks: "Mc Sar & The Real McCoy - It's On You", "La Bouche - Be My Lover", "Vengaboys - Boom, Boom, Boom, Boom!!", "2 Brothers On The 4th Floor - Dreams (Will Come Alive)" and more.

This version of Eurodance Collected comes as a 2xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a pink disc. Another vinyl is pressed as a purple disc.

House is the Religion. The DJ is my Deacon. The Music is my God and James Bangura is cool af.

Genuine, passionate, clear, authentic and real…. He isn’t trying, he just is. And his music is the same. It’s fucking cool. It’s real and authentic and it just is James Bangura. So it’s a real honour to add him to the Shall Not Fade roster; from Techno to Jungle to House and everything between the DC native can extract the true essence of a genre and simultaneously make it his own & pay homage to its roots.

So on Jack Sermon there’s no surprise when he flexes a seemingly generationally inherited knack for all things House (and Techno) and delivers four tracks of raw, real, genuine House music. OG shit.

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‘House is the Religion, and the DJ is my Deacon, but the music is my God” says the Evangelical vocal on title track ‘Jack Sermon’. Never has there been a more aptly named track…This is a jack sermon… an OG inspired Chi town cut channeling early house music’s soulful beginnings delivered with straight up jacking house beat offset with laidback dusty dub chords….. We don;t say this lightly but we’re calling anthem on this one.

‘Scat Pack’ takes a more percussive and drum forward House motif. Thunderous kicks tease techno but this is still house, NY at heart complete with voguing diva vocals . Blown out and choppy we could say ‘this could have been ripped from a late 90’s club recording on a lost tape’ but that would do disservice to the precise but invisible fusion that's been laid down here..

‘Funk To Berlin’ opens the flip side and in Bangura’s journey to explore classic forms of house and techno, this track may well have taken root from Dub techno pioneers from the past. Deep dub chords and deeper subs lead the track but that jacking percussion makes this more than homage. Machine Funk, Machine soul. AA side business.

‘The Green Line’ closes out the EP in style.. rolling it out with skittering synths that work like percussion, ethereal pads and a faint vocal ‘Chicago’ spiralling into itself making this track one you can get lost in. Some might argue that this one is techno but who cares. It’s the journey not the destination. Two tickets please.

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If you don’t know James Bangura’s music already (or even if you do) do some digging.. Look for releases on Mister Saturday Night, K7! and Floorspeed and check his output as part of “Black Rave Culture” with Amal and Nativesun and as a member of Groovedeep with Toronto’s Ciel and fellow DC native Jackson Ryland.

To close, we’ll leave you with this note from James……. told he is cool af.

House music, to me, exists on a wide spectrum. I’m inspired by its many forms: stripped-back minimalism, percussive drive, hypnotic textures, and soulful undertones. Rather than confining myself to one approach, I treat each track as an exploration—testing structure, pushing rhythm, and allowing subtle details to carry emotional weight. The studio becomes a space where groove and atmosphere meet intention. This body of work highlights that process. It reflects how I balance technical precision with feel, tension with release, and tradition with forward motion. Every decision—from drum programming to spatial design—is part of shaping a sound that feels honest and instinctive. - James Bangura

One of electronic music’s most sought-after names, producer and DJ KETTAMA today announces the release of his long-awaited debut album, Archangel, out 3rd of October. The announcement arrives in tandem with new single “Sort It Out” featuring Clouds, and a landmark moment in his career: his biggest ever London headline show, taking over Brixton Academy on Saturday, October 4th, followed by an expansive tour across Europe, North America, and Australia.



A decade in the making, Archangel is the definitive statement from KETTAMA (Evan Cambell), the Galway-born, London-based artist. The 15-track project is a powerful blend of hard-house energy, trance-inflected euphoria, hip-hop sample-based attitude, and unmistakable emotional depth—sonic signatures that have placed KETTAMA at the cutting edge of contemporary dance music.



The album showcases a curated roster of collaborators who reflect KETTAMA’s reach and relevance across today’s underground and mainstream scenes, including Interplanetary Criminal, Fred again.., Clouds, Prospa, DJ HEARTSTRING, Shady Nasty, SØLV and seantommy. Their contributions amplify the project's scope, offering a multi-sided view into KETTAMA’s musical universe.



Among its early singles, the Interplanetary Criminal collaboration “Yosemite” is a high-velocity anthem marrying speed-garage grit with ecstatic rave melodies, while his track “Air Maxes” with Fred again.. And Shady Nasty blends introspective vocal sampling with wide-eyed club emotion. On “If U Want My Heart” with DJ HEARTSTRING featuring KLP, the ensemble channels high-energy trance, breakbeats, and vocal euphoria into a soaring anthem that fuses emotional intensity with peak-time club energy. Meanwhile, his collaboration with Clouds, released today, “Sort It Out” dives headfirst into industrial-techno territory, conjuring a dark, cathartic energy destined for warehouse euphoria. And reigning as one of the undeniable anthems of the summer so far, “It Get’s Better (Forever Mix)” delivers euphoric waves of uplifting synths and relentless rhythm, bringing an irresistible surge of energy that’s become synonymous with this summer’s club moments.



Archangel has already found a home on the world’s biggest stages and radio airwaves, with early support from key tastemakers including Jack Saunders, Danny Howard, Sarah Story, and Tim Sweeney. Simultaneously, a grassroots groundswell continues to bloom across social platforms—where viral snippets and show footage capture the visceral reaction of a fast-growing, global fanbase.



This year, KETTAMA has elevated his status to a full-blown festival phenomenon, performing at major stages including Coachella, Glastonbury, Creamfields, Portola, Seismic, and ARC Festival, to name a few. In June, he played to 20,000 people in Belfast for a b2b with Chris Stussy—one of the UK’s largest DJ events in recent memory—and is currently mid-way through a 16-week Ibiza residency at Amnesia, playing every Monday night throughout summer. Full list of upcoming live dates can be found below.



Perhaps the clearest signal of his surging popularity is the jaw-dropping response to his upcoming Boiler Room live set, with over 15,000 fans signing up to attend— the set’s release is now highly anticipated as a time capsule moment in a breakout year for the artist.



KETTAMA’s rise to prominence has been anything but conventional. Eschewing the traditional gatekeepers of the industry, KETTAMA cultivated an underground following through the likes of SoundCloud and TikTok, where raw uploads, bootlegs, and viral edits generated a tidal wave of grassroots momentum. Over the years, these platforms became launching pads for a fiercely loyal global community, drawn to his unfiltered energy and boundary-pushing sound. This subversive path to recognition has made him not just a fixture of the scene but a symbol of how new-generation artists can forge success on their own terms.



From his humble roots in the Irish underground to the world stage KETTAMA is now pushing the limits of what a next-gen DJ-producer can achieve. With Archangel, he fuses the sound of his native ‘G-Town’ with a futuristic vision that’s unapologetically global—marking a creative milestone that cements his place among electronic music’s most compelling voices.

Raw techno grooves meet sharp electro rhythms, colored by subtle Italo-disco undertones. Analog basslines, crisp drum machines and retro-futuristic synth work built for late-night dancefloors. Dark, hypnotic and strictly club-ready.

Analog Fingerprints Vol. 0 is a compilation bringing together the early 2000s works of Marco Passarani under his Analog Fingerprints alias, collecting key tracks originally released on Rome’s Plasmek and Pigna labels.

For Numbers, the story starts long before the label itself. In their formative years, digging in Glasgow’s Rubadub, Passarani’s records felt like dispatches from a future city. Releases on his own Nature Records and on labels such as Generator and Interr-Ference Communications were mind blowing: rooted in Detroit techno, Chicago house and electro, yet pushing somewhere new. Much like fellow travellers Autechre, who would remix him in 2001, Passarani’s music balanced machine funk with restless experimentation.

Information was scarce, and you would hear these records first on the dancefloor or at listening stations in shops like Rubadub. Print fanzines like Ear and early web outposts such as Forcefield offered only fragments. But there was a palpable axis forming between Detroit techno and a new European wave of record labels including Skam, Rephlex, Clone, Viewlexx and Nature itself. It was the sound that defined Saturday nights at Rubadub’s ‘69’ parties in Paisley, just outside of Glasgow.

Passarani’s records, in particular, were instrumental in bringing together the future Numbers co-founders. Richard had already booked him pre-Numbers; meanwhile Calum (Spencer) and Jack (Jackmaster), then 16/17 year olds working alternate Saturdays in Rubadub, were so enamoured with the Roman sound that they travelled to Rome for the Bitz Festival in 2003 to seek out Passarani and Lory D at their source.

The first Analog Fingerprints release landed as a 12” on Plasmek in 2001, following the fractured, IDM-leaning 6 Katun material. For Passarani, the project marked a recalibration. A DJ first and foremost, he had moved into production via early computer setups, from a Commodore Amiga through primitive PC audio, Cubase and Logic, later experimenting with Ableton. The IDM scene had offered a playground for trial and error, but there was always a tension between abstraction and the dancefloor. Analog Fingerprints became the bridge: still intelligent, but with more dance than distance. After years of broken beats and complex arrangements, he wanted directness without surrendering identity.

Working closely with Francesco de Bellis and Mario Pierro in the Pigneto district, the trio formed Pigna as a vehicle for reclaiming a more accessible dance sound, deliberately steering away from the minimal wave beginning to dominate Europe. Sessions were fast, instinctive, often stretching late into the night with friends dropping by. It was a studio as social space, production as collective energy.

“In that constant search for balance, Analog Fingerprints was my way of expressing something closer to the classic dance floor. The track 'Tribute' - a tribute to my favourite early Detroit techno track of all time, 'First Bass' by Separate Minds - came after I realised I had almost lost my connection with the dance floor. The simplest step was to take inspiration from early Chicago and Detroit and twist it in our Roman ‘Pigna’ way. My goal was to create more accessible dancefloor tracks by mixing my unconscious Italo roots with my teenage love for that early US sound, ensuring the result was as far as possible from the minimal sound that was starting to dominate everywhere.” - Marco Passarani

Technically, the Analog Fingerprints tracks span a transitional era: Roland TR-909, SH-101 and Alpha Juno hardware met early software experiments. A Novation Drumstation rack stood in for the unattainable TR-808, syncing with TB-303 and TR-606. Yet the true secret weapon was Jeskola Buzz, a tracker-style modular environment that allowed step-by-step parameter control and strange melodic constructions, later exported into the audio sequencer. Even the lead on ‘Tribute’ came from an early PPG Wave-style plugin. It was hybrid thinking at a moment when digital tools still felt unstable but full of possibility for technologists like Passarani.

Behind the music sat Finalfrontier, a loose Roman collective orbiting Nature and Plasmek. Distribution and production were intertwined; importing obscure records into Italy built connections with like-minded outsiders across Europe and the US. Expensive phone bills and fax machines forged an “electronix network” that linked Rome to Clone, Viewlexx, Skam, Rephlex, Rubadub and Detroit’s Underground Resistance. There was a shared sense of survival and resistance, of operating against commercial systems.

Passarani recalls “The first time I found a sheet of paper inside an Underground Resistance 12” with info about upcoming releases... and a huge picture of Spock on the back. Imagine that: you love the music, you love Star Trek, and there’s someone on the other side of the ocean sharing those same values and sounds. It was the perfect match. We even gave our original company the suffix ‘Finalfrontier’: that says it all.”

Feedback in that era arrived physically: distributor faxes, conversations with visiting DJs, the experience of playing abroad and meeting kids who had connected with the records. Glasgow became a key node in a scattered outlier network. Passarani personally brought the first two Nature releases to Fat Cat in London, playing them in-store. Shortly after, a fax arrived from Rubadub in Glasgow requesting copies.

“I still remember that phone buzz and the fax paper slowly sliding out, with someone I didn’t know saying they wanted 75 copies of Nature 001. Or like the time we got a fax from the Rephlex crew just saying, “Hello Nature Records, Keep up the good work.” That was how we knew the message was getting through. It was a fantastic feeling; just one piece of thermal fax paper as an analog notification - the mood for the entire week would change.” - Passarani

The connection to Glasgow has since stretched across generations. As Passarani reflects, links often fracture as scenes renew themselves, but in Glasgow something different happened. New and old mixed seamlessly. There was a visible trust in what came before, and a willingness to carry it forward rather than discard it. Observed from Rome, it was deeply encouraging.

Analog Fingerprints Vol. 0 captures that moment of exchange: Rome to Glasgow, Detroit to Europe, experiment to dancefloor. It documents an artist recalibrating his sound and a network of scenes discovering one another in real time, connected by vinyl, faxes and shared intent.

Two ultra-rare Peruvian gems that reimagine the international hits 'Do You Think I'm Sexy?' and 'Saturday Night Fever' through the lens of hypnotic Andean rhythms, full of vibrant winds and pounding percussion. Disco music, reworked with huayno and Andean cumbia flair! Once again, Peru manages to surprise us. From the heights of the Andes come two incredible recordings that show how local folklore has embraced international hits-resulting in fun, unexpected fusions with a distinct Andean twist. 'Do You Think I'm Sexy?', Rod Stewart's 1978 classic, is transformed into a powerful huayno anthem-complete with driving percussion and bold brass that almost echo the sound of a New Orleans street parade. Raw, energetic, and unmistakably Andean. On the flip side, we find a playful nod to 'Saturday Night Fever'-retitled 'El Travoltoso'-infused with infectious rhythms of huayno and cumbia. Once again, wind instruments take center stage in this track, just like in the flip-side cut. Both songs come from some of the rarest and most sought-after records among collectors of Peruvian music. Reissued for the first time ever.

EURODANCE IS BACK! From clubs to radio stations, the Eurodance sound is everywhere, driven by artists like David Guetta, Upsilone, Gabry Ponte, Boris Way, and Ofenbach. TO MARK THE OCCASION, REDISCOVER THE GREATEST EURODANCE HITS OF THE 90S AND 2000S ON DOUBLE VINYL AND DOUBLE CD!

Manzo Edits Vol. 5 trots proudly back into the ring, tail high and hooves tapping, with four fresh cuts to leave the dancefloor gasping for hay. "Rosy" opens the stampede with groovy springtime melancholy: Manzo is lovesick, staring across the fence at a cow he just can’t forget. "Amare Moto" slinks in with sultry swagger, a slow and sexy jam built to get the hips moving. On the flip, "You Have To Cry Tonight" struts in with crisp Italo drums and more attitude than a Saturday night stallion. We close with "Bring Me", an alpine rave of cowbells and yodeling, ready for the pasture.
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The Blessed Madonna began with three magic words, scrawled in shoe polish on a broken - down box and hung on the wall at a small sweaty party: We Still Believe. “I think you have to give up completely to really understand what hope is. It was like 2011? I had spectacularly, monumentally failed. I left the label. I wasn’t DJing. I wasn’t putting out records. I was divorced and living on my Dad’s couch so naturally my friends and I decided to throw an illegal rave. We didn’t have any decorations, so I took a box and wrote, ‘We Still Believe’ on it. I needed to believe that something better was possible and that’s how it all started.” After years of $50 gigs, strung together by gas money and surfed couches, The Blessed Madonna cemented her reputation as a sublime technician behind the decks with a legacy of fluent and dynamic sets, spanning from disco to techno to house and back. One room sweatboxes, circus tents, theatres, massive festival stages and entire city blocks have all served as the canvas for her shows. After a jam packed 2023, from Glastonbury to Sonar to Boiler Room Bali, The Blessed Madonna has been filling the dance floor everywhere she goes and is now releasing her debut album.

Grammy Award-winning band Phoenix returns with their next full length, Alpha Zulu, due out 11/4/2022. This follows their 2020 single "Identical,'' which went #1 at AAA radio, from the Motion Picture "On The Rocks". The project was recorded during the height of the pandemic in Paris, at the iconic Louvre museum. Phoenix are set to perform at festivals like Primavera Sound (Barcelona), We Love Green (Paris) and Austin City Limits (Texas) and will embark on a full headline tour in the US, UK, and EU in Sept 2022. The band has seen over 1.5B+ streams across their catalog, and have previously headlined Coachella, Governors Ball, Primavera Sound, Austin City Limits, and more. They've performed on Saturday Night Live, The Tonight Show with Jimmy Fallon, amongst others.

Die größten internationalen Hits der 80er, 90er und 2000er Jahre in einer exklusiven Doppel-Vinyl-Kollektion! Entdecken Sie die wichtigsten Künstler, die ihre Jahrzehnte geprägt haben!

Fortunea Records is thrilled to present 2 great Italian producers for its 33rd record. DJ Rocca & Mike Riviera will release their 4 tracks packed Night Jamz EP this spring on the Austrian label to shake up the dancefloors with their combined power of raw and snappy warehouse grooves.

The former is a living legend! He began his career in the late 1990s with drum’n’bass-, breakbeat- and future jazz productions under the brand Maffia Soundsystem, which was also a club in Italy where he was the main resident dj. What followed was an impressive work history in the house and disco scene with many memorable tracks and collaborations with artists such as Dimitri From Paris as Erodiscotique or Marcello Giordani under the moniker Supersonic Lovers.

Michele Tessadri aka Mike Riviera resides in Berlin and is mostly known for his italo disco inspired productions with Luc Sauvage. But he released also solo under pseudonyms such as Fratelli Riviera on the labels Slow Motion and Bear Funk and occasionally works on impressive edits of disco- and funk records.

The Night Jamz EP will come out on all the digital stores and streaming services on may 24, 2024 and will be available on limited vinyl shortly after.

In association with DJ Amir and 180 Proof Records, BBE Music presents ‘Strata Records – The Sound of Detroit – Volume 1’, a new compilation taking in just a few highlights from the short-lived but hugely influential jazz imprint.

Two years after his breakthrough debut Drifter established him as one of the most authentic new voices in modern blues, Jovin Webb returns with Son of a Sinner, a raw and powerful follow-up on Blind Pig Records. Produced once again by multi-Grammy winner Tom Hambridge and recorded in Nashville, the 11-track collection finds the Baton Rouge native digging deeper into his Southern roots, where swampy blues, gospel fire, and gritty Southern rock collide. Across songs of temptation, consequence, and hard-won redemption, Webb confronts his past, owns his vices, and reaches for salvation even when he knows he might fall short—capturing the tension between Saturday night and Sunday morning. Son of a Sinner is Jovin Webb at his most revealing: blues music that doesn’t just tell the stories, but lives them.

With Random Constraint Satisfaction Problems, the ever elusive and shape-shifting Thomas Bush offers up a new album of category scrambling song craft. Since earlier solo efforts like Old And Red (2018), Preludes (2022) and The Next 60 Years (2024), Bush—currently based in Malmö—has traced a digressive path that has proven him capable of everything from murky wobbling dirges to uptight head-bopping laments to crystalline synth chords that hang precariously in the air over your new favourite bass line. Like its title, the album's songs/tunes/opportunities for pleasure offer the listener further evidence of a sensibility that is equal parts ambiguity and clarity.

In addition to his solo work, Bush has worked with a range of collaborators in one-off configurations and longer term projects like RAP (with Guy Gormley) and cATHOLIC CHURGH (with Jon Auman). Critical responses to Bush's output have often focused on his predilection for certain folk-ish impulses and instrumentation, but, judging from releases like 2026's guld, his definition of "folk music" seems to have as much to do with A Guy Called Gerald as it does with Shirley Collins or John Martyn.

For all of its diversity, what unites Bush's ever-expanding body of work is its dual commitment to experimentation and a job well done.

“Random Constraint Satisfaction Problems was recorded at Vista Studio 1, Malmö between 2022 and 2025. After creating an account at academia.edu for the purpose of reading a text now forgotten, I began to get emails asking me questions such as ‘Thomas Bush, did you write “Brucellosis and Sacroiliitis: A Common Presentation of an Uncommon Pathogen”?’ or ‘Are you the Thomas Bush who wrote “ATR-dependent phosphorylation of FANCA on serine 1449 after DNA damage is important for FA pathway function”?’, which began to make me wonder if I was, or if not, perhaps I should.

The resulting work is an attempt to find meaning in this, and other chaotic and ambiguous situations through analysis using materials and equipment available to hand. Being sensitive to signs and following them with enthusiasm. Both the source material and evaluation is presented.”

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 homemade 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, mixed by King Tubby and Mr Prince Phillip Smart and another set of scorcher Bunny Lee rhythms.

Repress.

New York-based Patrick Sullivan AKA P-Sol has long proven his credentials when it comes to editing hip-hop joints, mashing together classics, and generally pulling apart favourite jams and rebuilding them with a different perspective. Most of them come on the PS7, as does this new long player, which is a top-shelf example of how to sample properly. Tittle tracks make subtle hints at inspirations if not source material as the works through loopy, sketchy jams that are short but sweet, more club-ready rollers and loved-up beats that drip with sexuality and jazzy sophistication. A great accompaniment to a long journey or lazy afternoon.

The 1970s/'80s duo is most well-known for the most requested song ever on the Dr. Demento radio show, "Fish Heads." The video for the hilarious classic track had national TV exposure airing on Saturday Night Live in December 1980. The clip often aired in the early days of MTV and it has over 6.9 million views on YouTube. Their "Best of" compilation was an early Rhino Records release back in 1987 and this 16- track album features many beloved Demento classics like "Boogie Woogie Amputee" and "Party In My Pants." Includes their version of "What's New Pussycat" from Devo's late Bob Casale and the track "Blithering" from Gerry Beckley from the band America. Also features guest appearances from Steve Perry of Journey, Dewey Bunnell of America and Joseph Williams of Toto on the track "Don't' You Wanna Go To The Moon". The album has never been re-released.

Die hochgeschätzten Euro-Metal-Pioniere Oz wurden ursprünglich 1977 in der kleinen finnischen Stadt Nakilla gegründet. Die Band bestand aus Mark Ruffneck (bürgerlicher Name Pekka Mark) am Schlagzeug, Sänger Ape De Martini (Eero Hämäläinen), Bassist Tauno Vajavaara sowie Kario Elo an der Gitarre.

Fünf Jahre nach ihrer Gründung legten Oz ihr Debütalbum vor. Mit Krachern wie “Saturday Night”, “Capricorn Man” oder dem schlüpfrigen “Second-Hand Lady” avancierten Oz schnell zur HM-Band Nummer eins in Skandinavien.

In der Folge zog man nach Stockholm um, wo 1983 der gefeierte Zweitling »Fire In The Brain« entstand. Die Platte enthielt höchst energetische Heavy-Metal-Hymnen wie “Fortune”, “Megalomaniac” oder “Gambler”. Der kanadische Journalist Martin Popoff verteilte in seinem »Collector’s Guide To Heavy Metal« 9 von 10 Punkten und schrieb: »Fire In The Brain« ist eine düstere, fast depressiv wirkende Platte, die den Hörer wie ein Güterzug trifft. Es ist ein sehr europäisch klingendes Werk – vom apokalyptisch anmutenden ‘Searchlights’ über das zähflüssige ‘Black Candles’ bis hin zum gewaltigen Titelsong werden absolut keine Gefangenen genommen.“

High Roller Records, silver vinyl, ltd 450, 425gsm heavy cardboard cover with 5mm spine, lyric sheet, 12 page booklet, poster