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Childish Gambino is (and isn't) Donald Glover, a recording artist, writer, actor, director, producer and comic who was gifted his alias by an online Wu Tang-Clan name-generator. Originally hailing from Stone Mountain, Georgia - his Mum was a daycare provider and his Dad a postal worker, where TV was banned in the house - Glover first entered the spotlight as a member of sketch-troupe Derrick Comedy, via a stint working on The Daily Show and the invitation to join the '30 Rock' writing staff by Tina Fey before he'd even graduated from NYU. A succession of mini-albums and mixtapes surrounded all of this, parallel to acting roles ranging from The Muppets to NBC's cult hit comedy 'Community'. It was 2011's debut album 'Camp' - his first since signing to Glassnote Records - which marked a breakthrough for Childish Gambino, whose music explores everything from identity, race, and technology to hip-hop culture, class, and family. Follow-up 'because the internet' went top 10 on the Billboard chart, was nominated for 2 Grammy Awards and further assimilated Gambino's multiple disciplines (it was accompanied, for instance, by two films and a standalone 72-page screenplay). Around this time - and between roles in HBO's 'Girls' and movies like 'The Martian' - Glover also announced that he was working on his own TV show: a comedy-drama which he would star in, write and direct, 'Atlanta' premiered on FX this autumn to significant critical acclaim (it's already been described as "Twin Peaks with rappers"). The show was launched alongside the third Childish Gambino, 'Awaken, My Love!', this summer at 'Pharos', a series of secretive, audio-visual live performances which took place in a custom-designed dome in the middle of the desert in Joshua Tree. A second series of 'Atlanta' has already been commissioned, whilst Glover has recently been cast in the forthcoming Spider Man movie and has also been confirmed to play the iconic role of Lando Calrissian in the next Star Wars film (a Han Solo spin-off). His most vital artistic statement to date, Childish Gambino is expected to unveil further music from 'Awaken, My Love!' in the coming weeks. 

Mathias Kaden returns to Rekids with the 'Circulate' EP, featuring a William Kiss Remix.

Mathias Kaden is back on Rekids after 2022’s ‘Blackbird’ EP, this time with the four-track ‘Circulate’ EP featuring a remix from the hotly tipped William Kiss. Kaden’s ‘Freedom’ kicks things off with stripped-back machine rhythm, tasteful stab melodies and a deeply satisfying low-end groove before an iconic gospel vocal joins in. Title track ‘Circulate’ is another infectious low-slung crawler with crunchy synth hits and a hypnotic and classy vibe that will get the dancefloor moving.

On the flip, William Kiss remixes Mathias Kaden’s ‘Freedom’ following his recent EP on Rekids' sibling label RSPX and the release of his collaborative project, Not Without Friends, with Luke Alessi and Jordan Brando on RÜFÜS DU SOL’s Rose Avenue. Kiss turns the track into a pumping peak-time cut with additional percussion and plenty of his signature Jackin’
flavour. Closing out the record, Kaden’s ‘Twisting Shadows’ introduces an acidic bassline and warped, dubbed-out vocals before dropping into an energetic trip.

Active since the mid-90s, Mathias Kaden appeared on Radio Slave’s Rekids for the first time in 2019 for ‘Liberate Drums’. He now returns to the label with the ‘Circulate’ EP, adding to his versatile discography on labels like Dyinamic and Vakant while also remixing work by Matthias Tanzmann, Onur Özer, Anja Schneider, and Trentemöller.

First split EP from Katia & Nizar - one of the most prominent and aspiring duos in underground electronic music right now. High Tide EP delivers 2 collabs and 2 solo tracks from each artist produced over the last 3 years. Mind-tickling, quirky and deep - this record sits somewhere between techy minimal, electro and breaks. Made for the dancefloor, its different moods and contexts.

‘Let’s take a trip’ – with major names on the psytrance scene Avalon and GMS releasing on KNTXT for the first time, combining forces for a full-on attack, 4-track EP ‘The Underground’, out December 11th. Their joint mission? ‘Combining two worlds where psytrance meets techno, a fusion which will take you on a mind-expanding journey! Welcome to The Underground…you have arrived!

London DJ/Producer Avalon was recently awarded the number 1 top-selling psytrance artist on Beatport with over 30+ psytrance chart #1s and 5 top-selling LPs to his name, and performs at the likes of Tomorrowland, Boom, EDC Las Vegas, Glastonbury, Exit, Burning Man, Ultra, ASOT, Ministry Of Sound,... GMS (Growling Mad Scientists) was founded by Dutch Ibiza-based DJ/Producer Riktam with the sadly late Bansi, to establish pioneering psytrance label Spun Records and to have director Tony Scott no less, using GMS tracks on three of his films. A prolific producer with over 300K album copies sold, GMS holds the most psytrance records released overall.

‘I'm beyond honoured to release this stunning four tracker from psytrance legends Avalon and GMS. With this release, friendships were formed and worlds truly started colliding. I have massive respect for both these artists and their long standing impact on electronic music. This release feels like a bridge between generations and genres. It carries an energy that deserves to be heard, experienced, and felt on dancefloors around the world.’ Charlotte de Witte

Title track ‘The Underground’: hyperspeed trance beats support a wild variety of acid-dripping pulsations, spacey arps, otherworldly swoops, mind-teasing stabs, it’s like a lightshow in sound. That transports its listeners into another dimension. On ‘Horizen’, psytrance thrives, while ethereal vocals call, with intricate sound design painting a mythical soundscape. On ‘Machines’, it’s driven by hypnotic acid lines, pulsating Kick & Bass with sprinkles of techno infused percussion! Its choral notes and alien-like spoken lyrics, both gripping and disorientating as builds & breaks come thick and fast. ‘Rave to the Grave’: constant pulsing high synth and vocals with twanging acid together with frantic percussion create a sustained, agonizing build, build, build – until ‘On the 7th day, the Lord said ‘Let the beat drop!’’ Phew!

‘We are very excited about our debut release on KNTXT ‘The Underground’ and can’t wait to share this 4 track EP with you all. We hope you enjoy it as much as we did creating it. This fusion of techno/psytrance is brought together by all of our mutual love for acid & driving hypnotic dance music! Enjoy… Play it loud! Welcome to The Underground… You have arrived!’- Avalon & GMS

A mind-bending EP, with racing beats that give the ‘trance’ in psytrance a huge adrenalin shot. This is high energy reaching new altitudes; hold on to your brain cells, they’re going for a ride!

Silvil proudly unveils its fourth vinyl installment, once again showcasing the distinct sonic fingerprint of Brizman. The new EP delivers three original cuts and a masterfully crafted remix from the revered Romanian talent Crihan, solidifying Silvil’s commitment to forward-thinking minimal and dub-infused house.

Opening the record is “Those Nights”, a delicate yet powerful collaboration with vocalist Nina Noy. Brizman’s signature hypnotic grooves intertwine with Nina’s emotive voice, creating a warm and introspective atmosphere that glows with late-night energy. It’s a track that lingers long after the final note, blending intimate storytelling with dancefloor tension.

On “Akiza”, Brizman dives deeper into his dub-oriented palette. Rolling percussion, textured echoes, and evolving bass patterns guide the listener through a rhythmic journey built for heads-down moments and extended sessions. Minimalist in structure yet rich in detail, it captures the essence of Brizman’s immersive production style.

The B-side ignites with Crihan’s remix of “Roll Thah Deep”, where the Romanian artist reshapes the original into a beautifully restrained, gliding groove. Sleek modular elements, subtle shifts, and refined rhythmic nuance highlight Crihan’s unmistakable touch—a remix that bridges meditative flow with undeniable dancefloor momentum.

Closing the EP is “For The Ones You Know”, a contemplative and emotive piece that resonates beyond the club. Deep bass swells, atmospheric layers, and a stripped-back arrangement showcase Brizman’s ability to craft tracks that connect personally, balancing warmth and precision.

Silvil 004 stands as another milestone for the label—an EP that celebrates refined minimalism, dub aesthetics, and the artistry of two producers operating at the height of their craft.

We're excited to announce 2 stone cold classics from Theo Parrish on Peacefrog - First Floor Part 1 and First Floor Part 2.

Originally released in 1998 "First Floor” is Detroit/Chicago auteur Theo Parrish’s debut album. Released on vinyl in two parts for maximum playability; the raw bluesy, soulful offbeat grooves have long since buried themselves deep under the skin of the house community.
Showcasing Theo’s innovative use of drum programming and effects its uniquely loose but taut knit of minimalist elements worked to maximal, hypnotic effect have solidified its reputation as a contemporary classic and served as a corner stone for Theo’s truly legendary status.
"First Floor” is one of those albums that has transcended generic borders to influence heads of all stripes with its unmistakable soul-nuzzling texture and groove. Essential.

Dedication is Stevie Bensusen and Lashley Todd, two friends born and raised in Seattle, WA, who started singing together in high school. Their dynamic blend was undeniable and it made all the sense in the world to form a band together. And if and when the planets were somehow aligned and they were gifted with adequate financing, go into the studio and record their voices. Convinced that their unmistakable vocal blend would be better served by recording their own material (songs both written and arranged by Stevie) that would showcase their voices, both solo and together. After attending Boston's Berklee College of Music to study theory and composition, Stevie returned to Seattle with a batch of new tunes and arrangements in his portfolio. He and Lash focused on rehearsing the material and looked for a chance to take their sound into the studio. As luck would have it, someone liked their prospects enough to bankroll their studio sessions. They hired and rehearsed the top-notch players that would make up their masterful rhythm section, then booked time at now legendary Kaye-Smith Studios in Seattle to cut and mix their tracks. What came from those sessions are four powerful and sophisticated R&B performances, being made available only on the Final Bell label by Super Disco Edits. Their adventures in the unpredictable world of recorded music are now beginning to unfold. Which brings us to this moment in time when audiences in the UK can finally discover, and appreciate . . . Dedication.

Dedication is Stevie Bensusen and Lashley Todd, two friends born and raised in Seattle, WA, who started singing together in high school. Their dynamic blend was undeniable and it made all the sense in the world to form a band together. And if and when the planets were somehow aligned and they were gifted with adequate financing, go into the studio and record their voices. Convinced that their unmistakable vocal blend would be better served by recording their own material (songs both written and arranged by Stevie) that would showcase their voices, both solo and together. After attending Boston's Berklee College of Music to study theory and composition, Stevie returned to Seattle with a batch of new tunes and arrangements in his portfolio. He and Lash focused on rehearsing the material and looked for a chance to take their sound into the studio. As luck would have it, someone liked their prospects enough to bankroll their studio sessions. They hired and rehearsed the top-notch players that would make up their masterful rhythm section, then booked time at now legendary Kaye-Smith Studios in Seattle to cut and mix their tracks. What came from those sessions are four powerful and sophisticated R&B performances, being made available only on the Final Bell label by Super Disco Edits. Their adventures in the unpredictable world of recorded music are now beginning to unfold. Which brings us to this moment in time when audiences in the UK can finally discover, and appreciate . . . Dedication.

2025 REPRESS ON TRANSPARENT GREEN VINYL


Compiled by Philip King “And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang bang but with a cheap, synthesized, emasculating whimper.” NICK KENT, NME. All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure. Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels that exploded with the advent of punk music in 1976. While the music that sprouted out all over the globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms, ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course) these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother of invention. At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records). The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased track You Will See, released April 12th 2025. There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk / underground music that also featured The Petticoats. Selwin Image were from San Francisco and featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now. Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division instrumentation, previously only released on a long-forgotten and super rare, self-released EP. Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7” and lost until now. The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with doomed chord progressions and massive sounding drums turning into at least 3 different songs in the course of the track. Before you wonder what’s going on the song resolves with a glorious return to the main refrain. The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes imagined a computer programming people to dance - how prescient - and ended up with a propulsive, robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master demands the listener to “come to paradise!” In a frankly terrifying manner. All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School Daze Records describe a much more complicated world: along with the austere, Brutalist children of Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the two things are interchangeable. What if it’s all science fiction?

Brooklyn's elusive Tom returns with the first release on Sweet Breeze Sound, a new label launched by Washington, DC's Marc Meistro of Sol Power All-Stars, aka Glenn Echo. He has already turned heads with a fine set of 12"s on Razor-N-Tape and Sol Power Sound, and here brings some dubby disco grooves and infectious samples. Side A leans into loved-up feels, looping an irresistible 80s r&b vocal over bouncing bass and layers of percussion. The B-side shifts to a more melancholic mood and is run through with a feeling of longing through a single repeated phrase supported by deep dub bass and driving disco rhythm. This is a great inaugural release from a label sure to become essential.

We are excited to present Griffé's next release, a powerful solo debut from BOOH. Following his recent appearance on a split EP with Outdom, this marks his first full solo project. BOOH is also the founder of BooOOo Recordings, a label he created with his sister Bousti. His music, blending electro and techno, is designed for the dancefloor—pulsing, energetic, and meticulously produced. A fresh but prolific talent, BOOH’s sound is one to watch, and you can expect more from him soon on other prominent labels within our scene.

Perros' third installment is a sequel release from various artists that develops the theme Canerêve. Holding the usual multi-functional-tracker mission, this Volume 2 features four dancefloor house-lines facets.

DJ Cream struts with solid drum kicks that mellows into a structure that humps atmosphere dreams through a cheeky R'n'B sample, opening the record with warm charisma. A deep house blowgun truly on point. Following the info side of the record, we found a rising french producer based in Barcelona by the name of Groenogen, setting an elektrisch-soaked trip to tech house, throughout chunky basslines and infectious grooves that move inside a stridulous synth in combo with a sexy vocal chorus.

Artwork side, by the italian painter and tattoo guru FASE, starts with a showcase of layered high-quality projects throughout instruments knowledge and improvisation that just a live-act maestro like Emi Ömar can guarantee. Tribal, Deep, Acid, Electro,Funky. An immersive mixture of textures and emotions that enhances a full storytelling, a whole venture narrated by a hypnotic vocoder. The fourth and final track, comes up with a glimpse criteria, climbing the heights gradually. Then, when DJ Rou finally decides to start, that moment is just a boom! The break comes with energetic grooves, intricate percussions, sci-fi samples bounce all around with both acid and melodic flows of a potential hard-house hit.

Swiss sound artist Zimoun continues and transforms the material from his solo project 'One & Two' with Taylor Deupree on 'Wind Dynamic Organ, Deviations.' Both albums were created entirely from recordings of the Wind Dynamic Organ (Prototype III), an extraordinary instrument housed in Bern Minster and developed by Daniel Glaus and his team at the Bern Academy of the Arts. Unlike a traditional organ, this prototype allows the wind pressure and air volume of each pipe to be shaped in real time and produces tones that breathe and blur at their edges. On Deviations, the pair push these organic tones into new territory by layering, bending and re-contextualising them into evolving ambient structures. A quietly radical exploration.

Das Beste Aus Hagen Redux is an icy transmission from the early circuitry of European minimalism. A revives the pulse of proto-electro with surgical precision—pure voltage, no excess. Cold synth lines snake through monochrome rhythms, delivering drama without decadence. It’s music for neon-lit silence and synthetic nostalgia, built from tape hiss, static tension, and analog dreams. Minimal synth stripped to the bone—resistant, elegant, and eternal. Presented in ONE- OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid WHITE vinyl. All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

EdB keeps pushing deeper into sonic chaos with “La Anarquía Sónica” — a raw, proto, and visceral journey built on hand-crafted beats, deliciously unhinged basslines and immersive field recordings. Music for the restless. For those obsessed with sound. For anyone tired of hearing the same thing over and over again. Dystopian music for a universal shift. This time, EdB joins forces with Belgian synth guru Peter Bonne / Chayell Zenn (Linear Movement, Twilight Ritual) to rework “The Enochian Keepers of Time” — also included in its original version on the EP — into an emo- electro industrial aberration titled “Guardianes del Tiempo.” Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. Includes printed innersleeve. All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Drummer-composer Tom Skinner announces Kaleidoscopic Visions, his second solo album, out 26th September 2025 via Brownswood Recordings and International Anthem

Kaleidoscopic Visions unfolds across two distinct sonic landscapes. Side A presents entirely instrumental compositions performed by Skinner's live Bishara band—bassist Tom Herbert, cellist Kareem Dayes, and Robert Stillman and Chelsea Carmichael on various woodwinds and reeds—with electric guitar on two tracks courtesy of Portishead's Adrian Utley. A drummer-composer bringing his wealth of experience to bear on the role of bandleader, Skinner composed primarily on guitar, embracing the freedom that came with writing on his secondary instrument.
These compositions include "Auster," dedicated to late novelist Paul Auster, and "Margaret Anne," which honours Skinner's mother Anne Shasby, a former classical concert pianist prodigy who abandoned her own promising career in the face of systemic misogyny, only to impart on her son what Skinner calls "the gift of music."

Skinner’s musical world opens further on Side B, where a collection of poised vocal collaborations stretch out from jazz and improvisation towards a more dream-like, soulful sound. The centerpiece is "The Maxim," a ten-minute collaboration with Grammy Award-winning Meshell Ndegeocello, a dubby, spacious meditation on life and death, delivered with a free-spirited grace. For Skinner, working with Ndegeocello—whom he first saw at Glastonbury as a teenager in 1994—represents a full-circle moment, indicative of the indirect paths and inspirational detours that have shaped his life.
The album goes on to feature South Carolina-based singer Contour (Khari Lucas) who appears on the low-lit soul ballad ‘Logue’, and closes with ‘See How They Run’, featuring London keyboardist-vocalist Yaffra (Jonathan Geyevu). It is the album’s most overtly lyrical track, an articulate exposition of jazz-inflected spoken word that speaks not only to the genre-fluid nature of the music but the breadth of Skinner’s palette.
This should come as no surprise. On Kaleidoscopic Visions, one of London’s most vital musical figures gives us a sparkling glimpse of the multi-coloured lens through which his unique sound is now refracting.

Delta Funktionen returns from a 5-year hiatus with a fiery new EP on his own Radio Matrix label. Four powerful, yet deep and somewhat dubby cuts that perfectly balance techno and stronger house. With this new EP, Delta proves he's a unique voice in the world of electronic music, one who maintains consistent quality in his output while being very diverse in his sound palette. The music is often straightforward, though there's still plenty of depth to be found. It's serious, yet very playful. It's grounded, but also very spacey. And all is presented in very solid mixdowns. All these ingredients combined make this an EP that will fit perfectly into the DJ bags of the true DJ soldiers.

»Es ist wie die Essenz von SLEEP.« So beschreibt Max Richter Sleep Circle, die neue Veröffentlichung zum
zehnten Jubiläum seines bahnbrechenden Projekts SLEEP. Sleep Circle lädt ein zu einer 90-minütigen Reise
in eine andere Wirklichkeit – in jenes geheimnisvolle Zwischenreich zwischen Wachen und Schlafen, in dem
sich Träume formen.
Die 24 Tracks sind inspiriert von den Eindrücken und Einsichten, die Max Richter bei seinen Konzerten
einer gekürzten Version seines Opus Magnum gesammelt hat. Mit dieser intimeren und konzentrierteren
Gestaltung von SLEEP rückt das neue Album Stücke wie »Dream 11 / Moth-Like Stars« und »Non-Eternal«
in den Mittelpunkt und spannt einen musikalischen Bogen, in dem sich der natürliche 90-minütige REMZyklus spiegelt.
Aufgenommen im Studio Richter Mahr in Oxfordshire, zeigt Sleep Circle Max Richters einzigartige Fähigkeit,
tiefgreifende menschliche Erfahrungen in Musik zu übersetzen. Ein Raum öffnet sich, in dem das Innere
nachklingen darf.

For years & years & years, I have been trying to get some solo music from Champa B on Future Retro London! This release has gone through so many different forms & iterations to try and accommodate getting him onto a release in some form & it's now finally here as a collaborative release with me.

I'm a huge huge fan of Champa B's tunes, especially his 93 darkside hardcore style that he previously done on releases for Modified Magic, Parallax Recordings & Green Bay Wax. I wanted so desperately to have him do some more music in that vein, but he was busy making other styles of music under his Grief alias as well as being busy with his day job to not really have the time for it.

But eventually, he was able to make some time for getting back into this style & we were able to do 2 collaborations and a solo tune each to get this done. Big thanks to him for his involvement in this release, hopefully not the last you'll see of his darker side!

2025 Repress!

Chain Reaction core-œuvre carefully revisited & luxuriously represented.

Real Lies’ new album ‘WE WILL ANNIHILATE OUR ENEMIES’ will arrive on April 16th 2025 via Tonal. The album is about taking the hand of someone you love intensely and running headlong into the chaos and noise and grinding forces that dominate modern life. It follows gilded 2024 collaborations with Mall Grab, Kettama and Drain Gang’s YEAR0001 label. Lyricist Kevin Lee Kharas and producer Patrick King created the record in their studio, hidden away under a railway bridge somewhere in London’s Zone 3. Three pictures stared down at them from the walls throughout, including an image of a young Sasha Shulgin in the relief print style of Che Guevara t-shirts sold at Camden Market, and a photo of an orbiter fairground ride in flight, taken sometime in the early 2000s. Kharas’ lyrical inspiration comes when he steps away from the tsunami of data flooding his consciousness and paces London’s rain-soaked streets late at night. “I wanted the songs on WWAOE to confront modern reality head-on, unflinching,” he explains. “I didn’t want to whine about a lost past. I didn’t want nostalgia. I wanted to learn to love the modern world, with all its horrors and futility.” After a teenhood spent playing in hardcore bands, the duo found ecstasy at a squat party for the first time, and moved to London. Since then, they’ve made music about finding romance and fun when the moon is up, becoming a cult act in the process.

PROMISE is the latest album from Brooklyn-based producer Ibe Soliman, aka Bad Colours. Known for his blend of house, proto-techno, rap, and soul, Bad Colours delivers a dynamic, emotionally resonant record. Driven by hypnotic rhythms and personal storytelling, PROMISE explores themes of vulnerability, desire, and transformation. It's a versatile album designed for both dancefloors and introspective listening.

PROMISE is the fourth LP from Bad Colours on Bastard Jazz, following 2024's collaborative album with Cor.ece, Been Here Before. Soliman's career spans over a decade—DJing alongside artists like James Murphy, Mark Ronson, and Q-Tip, and producing for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross. His work has received support from KCRW, KEXP (including multiple Midnight in a Perfect World mixes), and CBC Radio 3, and has charted on both the NACC Top Electronic and Top 200 charts. Bad Colours has been featured in press outlets like NYLON, Nonderland, Resident Advisor, Electronic Groove, and Fusicology. His music has appeared in Netflix's Escape from Spiderhead, Hulu's Woke, Disney's Chang Can Dunk, Showtime's American Gigolo, Valorant's Rising Stars, and more.

"Next up in Mr Bongo's Groove Merchant Records reissue series, we present the only solo album saxophonist Ramon Morris recorded as a bandleader. Having cut his teeth playing with the iconic band Art Blakey & The Jazz Messengers and working with other jazz greats, including Reuben Wilson, Shirley Scott, Rashied Ali Quintet, and Woody Shaw, 1973 saw Ramon take the step into solo territory. The resulting album Sweet Sister Funk became a certified classic and a landmark showcase of the cherished ‘70s jazz-funk sound, later sampled by the likes of DJ Premier, The Alchemist and DJ Shadow.

Originally released on Sonny Lester's iconic Groove Merchant record label and produced by Lester himself, Sweet Sister Funk is a jazz-funk masterclass. It features a slick line-up including Cecil Bridgewater on trumpet, Mickey Roker on drums, and Albert Dailey on electric piano. Rich and beautiful, the seven songs ebb and flow in energy, fusing jazz funk and soul jazz with style and swagger. There are bags of groove with Ramon and Cecil trading off on sax and trumpet in an effortless conversation throughout the LP, supplemented by brilliant solos from the rest of the players.

A gold mine of sampling material, the album includes a sublime cover version of The Stylistics' much-loved 'People Make The World Go Round', which was sampled by DJ Shadow on Blackalicious's 'Swan Lake' in 1994. Elsewhere, the percussion and bass intro of the opening track 'First Come, First Serve' is a sampler's delight - a deep, heavy groove with a fine saxophone workout by Ramon. Head to 'Don't Ask Me' and you’ll find the swinging horn intro that formed the basis of 'You Came Up' by Big Pun featuring Noreaga from 1998, whilst 'Wijinia' has echoes of ‘70s indie jazz by labels such as Strata East & Black Jazz.

Here at Mr Bongo, we are proud to be delving into the vaults of Groove Merchant Records once again, reissuing this iconic LP from Ramon Morris."

Don Cherry, armed with a voracious musical appetite and boundless imagination, first made a name for himself - though not always fully understood - alongside Ornette Coleman, playing trumpet or cornet. In Los Angeles and then New York, he stood at the heart of a revolutionary approach to improvisation based on melody rather than harmony, later baptized "Free Jazz," the final structural development of American jazz. Over time, he became a champion of improbable fusions - gradually integrating into his style a whole array of "exotic" instruments, and more importantly, the cultures from which they originated. Among them: India, Brazil, Africa, Indonesia, and even China. The time had come for the emergence of "world music": in hindsight, a patchwork rich in imagination and seduction, but once the novelty wore off, often lacking in substance.

In Don Cherry's case, however, the commitment ran deep - tied to his personal engagement with a global vision of art and the human condition. Ustad Ahmed Latif Khan, from the Delhi gharana (a musical lineage), was part of a new generation of accompanists - percussionists, sarangi players, flutists, etc. - who had extended both the technical and conceptual possibilities of their predecessors to gain recognition as soloists and soon to venture onto the international scene. Among them, Latif stood out for his taste for irregular, highly syncopated rhythmic patterns - rich in variety and originality. Don and Latif had never met before the recording session, but the two quickly recognised one another as kindred spirits - calm, focused... and full of laughter. Don clearly knew what he wanted to create, and nothing seemed to pose a challenge for Latif, who grasped the American's intentions immediately, warmed up his fingers at astonishing speed, and with his perfect pitch, naturally took on the role of tuning Don's diverse instrument collection to match whatever was found in the studio - from concert piano and Hammond B3 organ to chromatic orchestral timpani.

Originally released in 1971, this classic album was the second studio album from the legendary American singer/songwriter Carole King. It is the 81st best selling album of all time, with over 10 million copies sold and is also ranked by Rolling Stone as 25th on the list of the Top 500 greatest albums of all time. A 12 track standard black vinyl, with download code insert (replaces previous version which had a mastering issue). Marketing.

"Like A Gun," originally self-released in 2019, is Laila Sakini's debut solo release, now remastered on limited 7-inch vinyl. The title track blends dark, atmospheric textures with dreamlike moments, while "Life Out Here Is Changing" offers a haunting, introspective soundscape. Features original cover art by Sophie Gemmill, with some copies including a new painting. A must-have for fans of experimental, emotive soundscapes!

REPRESS

Back in 2019 we released Arctor's EP "Soulless" on 12" vinyl. It was an instant underground hit and sold out in a flash. Three wild years later and we've had it repressed. Good news for anyone balking at the enormous Discogs prices for a preowned copy. This modern electro classic should fit nicely into any dance music head's collection.

PAWSA & Adventures of Stevie V’s ‘Dirty Cash (Money Talks)’ Extended Mix marks an exciting evolution of the iconic dance track.

With PAWSA’s innovative production skills and Adventures of Stevie V’s timeless vocals, this release captivates both longtime devotees of the original and a new audience discovering its energetic essence.

On the flip is the classic Sold Out 12 Inch Mix had additional production, and the mix was done by David Morales.

Michael Mayer returns to the Speicher series for his first release since last year’s brain-bursting The Floor Is Lava album. And yes, the floor is indeed lava when Mayer is on peak form, as he is here, with three tracks that oscillate, effortlessly, between the twin poles of Mayer’s music: dancefloor detonation and heart-wrenching beauty. To be fair, there’s more of the former here, but there’s beauty in generous discipline, too, and the unrelenting “Cry Me A Raver” feels, somehow, like it brings together decades of Kompakt pleasure in six giddy minutes – disco-fied arpeggios, glistening and hand-burnished textures, abstruse patterns that fall in and out of step. “Don’t Sync With My Tag” stomps with destructive glee, a beat as undeniable as the shaker cross-rhythms are silkily sexy. There’s always been something practical, functional, and utilitarian about Speicher, but it doesn’t get more everyday DJ-life than this: Mayer tells us the title is “a super-annoying message that pops up every time you open Rekordbox. Nobody knows what it means. It’s a DJ mystery.” But who needs answers, anyway? By the time you’ve started to get close to solving the riddle, Mayer’s taken you to Detroit via Cologne with “It Isn’t What It Isn’t”, a little doffing of the cap to Rhythim Is Rhythim. “You’re May, I’m Mayer, I used to tell him,” Michael chuckles. This made one of our cats almost jump out of its skin, with its stealthy slyness – creeping, amorphous electro noise; percussives that just won’t quit; the whole thing flooded with twitchy strip-light energy and silver-machine flare- outs.

Speicher is as Speicher does, and this is a damn good one. Make Mine Mayer!

Michael Mayer returns to the Speicher series for his first release since last year’s brain-bursting The Floor Is Lava album. And yes, the floor is indeed lava when Mayer is on peak form, as he is here, with three tracks that oscillate, effortlessly, between the twin poles of Mayer’s music: dancefloor detonation and heart-wrenching beauty. To be fair, there’s more of the former here, but there’s beauty in generous discipline, too, and the unrelenting “Cry Me A Raver” feels, somehow, like it brings together decades of Kompakt pleasure in six giddy minutes – disco-fied arpeggios, glistening and hand-burnished textures, abstruse patterns that fall in and out of step. “Don’t Sync With My Tag” stomps with destructive glee, a beat as undeniable as the shaker cross-rhythms are silkily sexy. There’s always been something practical, functional, and utilitarian about Speicher, but it doesn’t get more everyday DJ-life than this: Mayer tells us the title is “a super-annoying message that pops up every time you open Rekordbox. Nobody knows what it means. It’s a DJ mystery.” But who needs answers, anyway? By the time you’ve started to get close to solving the riddle, Mayer’s taken you to Detroit via Cologne with “It Isn’t What It Isn’t”, a little doffing of the cap to Rhythim Is Rhythim. “You’re May, I’m Mayer, I used to tell him,” Michael chuckles. This made one of our cats almost jump out of its skin, with its stealthy slyness – creeping, amorphous electro noise; percussives that just won’t quit; the whole thing flooded with twitchy strip-light energy and silver-machine flare- outs.

Speicher is as Speicher does, and this is a damn good one. Make Mine Mayer!

2026 Repress

The ever enigmatic Deepchord makes a most welcome return to Soma with this, the first single to be taken from this latest full length, Ultraviolet Music. Three beautiful slices have been cut from the album to form this truly outstanding single and shows Deepchord return to a straight up mix of heady, cerebral dub techno infused with more solid rhythms.

UK house veteran Andy Riley, best known as half of Inland Knights, is back with new solo beats on the Frosted Recordings label. Lead single 'Minute By Minute' is a slow, groovy, sensual sound with 90s downbeat vibes and interesting synth textures. Pacific Northwest native Trevor Vichas steps up with his Dark Deep mix which brings a meandering bassline and more uptempo house drums then Canadian export Jason Hodges steps up with two versions. The first is all silky grooves and filtered vocals that bring some warming soul and the second is a stripped-back instrumental. Timeless house from front to back.

Renowned for his visceral work with HIGH-FUNCTIONING FLESH, Greg Vand dives deep into the experimental proto-industrial with his solo project NEWBOY, revealing a darker, looser, and more hypnotically unstable side of the music machines. “The Color of Everything” is a transmission compilation with cracked circuitry, lysergic funk, warped tape hiss, and urban hallucinations.Think Cabaret Voltaire jamming with Bourbonese Qualk, Ike Yard, and Esplendor Geométrico: a mutant rhythm ritual for abandoned clubs and alleyway rites. This is rhythm as both weapon and escape. A dystopian groove engine primed for fans of the avant-garde, the unstable, and the underground, all tuned into the fractured future of dance music.presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl.

Hyperstellar returns on Bordello A Parigi with a nocturnal and deeply magnetic EP. In For a Flash captures the fleeting beauty of a moment stolen from the night, the tension of a glance that will never return, the sensation of having loved inside a dream. The record carves out a singular aesthetic through new wave, shady atmospheres, and early electronic influences.

The eponymous track, In For a Flash, opens the record like a sudden vision: a burst of light in the dark, propulsive, yet already fading. From its fatalist urgency to the longing of The Dance We Never Had, each piece suggests a different facet of the same mirage. Surrender unfolds like a slow implosion, a toxic war between release and control, while L’Amour sur Saturne drifts endlessly in a suspended space, like a tale where the impossible is still imagined.

Influenced as much by Burial as by New Order, the solitude of classical composers or eccentric glam rock acts, Hyperstellar continues to build his artistry on numbers, and intimate constellations.


After several remixes for the label, Sestrica returns with her first solo EP — A Way to Ananda. Across three emotionally charged compositions, Sestrica unfolds an intimate sonic journey that mirrors her own path of transformation.

From the raw energy of “Intuitions” to the emotional depth of “Letting You Go” and “Way to Ananda,” the EP captures transformation, freedom, and bliss.

“This EP is my experience of coming back to life after divorce,” says Sestrica. “Intuition was knowing it was the right decision. Letting You Go was leaving my past behind. Ananda is the new bliss I’ve found.”

Closing the release, Not Even Noticed deliver a sophisticated remix—minimal yet powerful, sharp drums and refined sound design perfectly sealing this chapter.

Everyone knows the story of American disco.
But few are aware that, between the late 1960s and the late 1980s, Italy wrote a parallel one — spontaneous, surprising, and incredibly creative.

It is a story that spans two distinct seasons: the Italian disco of the 1970s — melodic, handmade, sometimes naïve yet always original — and the emerging Italo Disco of the 1980s, electronic, futuristic, and lightheartedly projected toward the future.
Two different languages, yet both driven by the same desire for freedom and modernity. Discoteca Sound — Italian Discoteca Underground 1975–1986 brings together 18 rare tracks — including two previously unreleased — that tell this story of transition: from the orchestral and sentimental disco of Italian dance halls to the synthetic and visionary sound of the first drum machines.
A journey through private archives, local labels, regional studios, and forgotten voices — the sonic map of a country that has always danced, but to its own rhythm. From Mediterranean disco to the first Italo Disco, from the dim lights of provincial dance halls to the early home synthesizers, each track opens a window onto an Italy that dreamed of the dance floor as a universal language of connection during the brief season of revolutionary utopias.

This compilation celebrates ten years of work by Disco Segreta — a decade dedicated to the research, recovery, and appreciation of Italian disco and electronic culture. An act of justice owed to all those artists who had their moment yet were never remembered by history — bringing back to light an essential, still too little known part of our musical heritage.
Because dancing today remains, more than ever, a living act of memory.

Limited edition 2LP, features 2 previously unreleased tracks and a new 2025 version of Coscarella & Polimeno – Station to Station.






f Grazia Vitale – Poi (1975) Previously Unreleased










q Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) Previously Unreleased






f Grazia Vitale – Poi (1975) Previously Unreleased










q Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) Previously Unreleased






f B2. Grazia Vitale – Poi (1975) Previously Unreleased










q D4. Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) [Previously Unreleased]






[f] B2. Grazia Vitale – Poi (1975) [Previously Unreleased]










[q] D4. Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) [Previously Unreleased]






[f] B2. Grazia Vitale – Poi (1975) [Previously Unreleased]










[q] D4. Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) [Previously Unreleased]

To submit or to surrender? Robert Johnson resident Oskar Offermann doesn’t have the answers, and that’s kind of the point. Things change: one moment you’re touring the globe as a recognizable face of one of the greatest clubs in the world, the next you’ve started a new life as a teacher. How do you handle that shift? On this record, Offermann doesn’t offer solutions so much as trace his own way through it, reflecting the whole process in his music and creative work.

Whatever the story, whatever the case, Oskar Offermann can still produce some of the most emotive, bleepy, strange dance music out there and this 12 inch is the proof. Sonically and conceptually it leans into that precise, melancholic German school: at points drawing from 80s wave and experimental music, then flirting with trancey motifs and closing in divinely crafted breakbeat. In just four tracks it packs in a surprising amount of functional range, exactly what you’d expect from one of RJ’s longest-standing residents. The A- and B-sides mirror each other: they open at full intensity, tempos pushed well past the 130 BPM mark, easy to imagine ripping through a peak-time floor – and still both sides land on something far more personal and reflective.

Even inside a framework of high-intensity club tunes, Oskar’s character shines through loud and proud. Think the slightly disjarring yet melodically captivating winds in the middle of the B1 trance induced number “Accepting”, or the masterfully paced build of opener “Planet Interface”. The same goes for A2 “Televise Improvise” and B2 “Sei mal nur lieb”: on paper they should feel like breathers next to the two behemoths, but they don’t. Offermann crams so much substance and personality into them that they become quietly dangerous. There’s that magical mix of squelchy acid, rough low end and naturalistic melodies on B2, and the relentless emotional drive of A2 “Televise Improvise”. Oskar is really, really good at making dance music irresistible.

Character, skill and honesty in one record, meant for the attentive listener and the brave DJ. A rare combination nowadays, get it fast!

VIER - IIII, a project by: Machinedrum x Thys x Holly x Salvador Breed.

Across its eleven tracks, 'IIII' dissolves borders between breakbeat, trap-meets-gabber, skippy UK shuffle, halftime, jungle and cinematic electronica, music that shifts from serious voltage to full-colour euphoria. What ties it together is philosophy, not genre.

The group's working method began playfully in the studio with a ten-minute egg timer: each member would sketch for ten minutes, then pass it on. That rule became a ritual, a way to keep things human, spontaneous and shared. In VIER, every track passes through four sets of hands; every decision is a test of trust. What could have been chaos instead became a flow state, a cycle of surrender and discovery thatdefines their sound.

Following singles such as Frankfurt, Control, Where Were You, Solitu and Vai Pulando, 'IIII' stands as VIER's first full statement, a body of work that feels both playful and deeply considered. Moments of quiet bloom into distorted joy; melody drifts through broken percussion; endings turn into new beginnings.

After teaming up on Smile Sessions with "L'Orologio" last year, JKS and Lacchesi are back at it with their new "High & Dry EP." The four-track project bridges their worlds perfectly. JKS bringing his trademark high-octane energy, Lacchesi diving deep into darker, more textured sound. A sharp mix of dancefloor weapons and introspective moments harmonizing their respective label's artistic directions.

Dropping via both Smile Sessions and Maison Close Records, High & Dry EP is another solid proof of the creative spark between these two French-born producers. Driving rhythms, haunting atmospheres, and a touch of melancholy, all stitched together for an intense, late-night journey.

This holiday season, global hip-hop icon Ice Cube makes a powerful return with Man Up — a brand-new album from a cultural trailblazer whose influence spans music, film, and activism. With over 10 million albums sold and six Platinum plaques, Cube’s legacy is undisputed, from his revolutionary work with N.W.A. to timeless solo anthems like “It Was a Good Day.” Now, sharper and more unapologetic than ever, he’s back to deliver a project that fuses his raw lyrical power with a message rooted in resilience and authenticity.
To mark the release, Man Up will be available exclusively as an ultra-limited vinyl drop this holiday season. Each record features a one-of-a-kind hand-crafted cover — a unique blend of artisanal design and proprietary technology (created without A.I.) — alongside city- and country-specific sleeves that pay homage to Cube’s global impact in places like LA, Tokyo, London, and France. The campaign will be amplified through a global social media rollout, city-focused influencer activations, and Ice Cube’s upcoming North American tour. Major press coverage and podcast appearances will further elevate the conversation, making Man Up not just an album, but a collector’s piece and cultural moment fans won’t want to miss.

lim. 150 blue transparent 180 Gr LP + 7" + Poster / incl. Silent Servant Remix

A cross-cutting label exploring the boundaries between different disciplines based on deep listening and music research, Modern Obscure Music is set to release 'INRI' (INDUSTRIA NACIONAL DEL RUIDO INFINITO) on the 1st December, the new album from Dellarge.

Inspired by the scenic beauty of his studio's surroundings at Lake Pátzcuaro in Michoacan, Mexico, Alejandro Barba, aka Dellarge, delves deep into the depths of his artistic consciousness to craft a spiritual album that encapsulates the essence of the place. 'INRI' stands for Industria Nacional del Ruido Infinito (National Industry of Infinite Noise) and serves as a vessel for Dellarge's innermost self-expression and reflections on the potential of humanity.

A multifaceted artist and veteran of the music industry for over two decades, his latest musical creation is an intimate and personal album and a departure from previous Techno/EBM-orientated Dellarge releases. 'INRI' (INDUSTRIA NACIONAL DEL RUIDO INFINITO) offers a mesmerizing blend of ambient, futuristic, and industrial sounds that transport listeners into a realm of mysticism, futurism, and duality and stands as a testament to Dellarge's artistic growth and his ability to transcend boundaries, offering listeners an immersive experience that connects them to his world.

Drawing inspiration from numerous sources, Dellarge found creative fuel in books such as 'El Arte de los Ruidos' by Luigi Russolo, 'Manifiestos y Textos Futuristas' by F.T. Marinetti, and science fiction classics including 'Congreso de Futurología' by Stanislaw Lem, 'Neuromancer' by William Gibson, and 'Dune' by Frank Herbert. Musically, he delved into the works of Coil, Michael Bundt, The Threshold Houseboys Choir, krautrock legends CAN and Popol Vuh, early Kraftwerk, Arthur Brown, Yello, Esquivel, The Residents, and Hector Lavoe for inspiration.

When asked about the creative process behind the album, Dellarge revealed a disciplined routine that involved immersing himself in the sounds, focusing on minute details that connected with the vivid world he envisioned. Ethereal tracks such as 'Viento Androide' and 'Viaje al Sol' offer a glimpse of a hopeful future, while darker compositions such as 'Corpus de Sangre' and 'Toro de Falaris', explore the wickedness and compassion within humanity. Each piece in the album represents a unique sonic journey.

'Viaje al Sol', the first single to be taken from the album, is set for release on the 27th October, and is also available as an EP which includes a remix from Juan Mendez aka Silent Servant. The remix is also included on the digital version of the album and available on 7" vinyl alongside an exclusive reworking of 'Cascabel' by the founder of Modern Obscure Music, Pedro Vian.