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Hot Creations Autumn 2025 Vinyl Sampler featuring four of the Hottest recent release on Hot Creations.

When Jamie Jones and Nicole Moudaber first collaborated on Hot Creations in 2020 with ‘Pepper Shake’, five years on, the pair return with ‘Where All My People’, a powerful anthem that merges Jamie’s signature groove-led style with Nicole’s unmistakable drive and energy. The record is further elevated by the infectious vocals of London-based duo House Of Molly, ‘Where All My People’ is a celebration of rhythm, anchored by a rolling bassline and crisp percussion that form a tight, understated groove. House of Molly’s commanding vocal hook runs through the track like a thread of energy, adding a human touch that feels both intimate and anthemic. Marking his second outing on Hot Creations, OMRI. is back with ‘Release The Pressure’, a pulsating, groove-driven heater made for full-throttle moments featuring Benny Ola on vocals. Crisp percussion, hooky vocals, sharp synths, and low-end pressure come together in a track that simmers with controlled intensity.

On the flip Joshwa makes a much-anticipated return to Hot Creations with ‘Lost In Music’ which reimagines a timeless disco classic through a contemporary house lens, delivering textured percussion, sparkling funk-laced synths, and an infectious groove that captures the euphoria of sweat-drenched dancefloors.As Hot Creations celebrates its 15th anniversary in 2025, label co-founder Lee Foss makes a long-awaited return to the imprint for the first time in half a decade with a powerful new collaboration alongside Colorado based talent GS5. ‘In The Ghetto’ hits with low-slung swagger and vibrant vocal energy, channelling a bass-heavy strut and hypnotic vocal loops that nod to early Hot Creations flavours while pushing into contemporary terrain.

Limited to 200 pieces. Each record comes on heavy 180g vinyl, handnumbered and with an exclusive art print inside. Launching both his debut record and the very first release on brand-new label Tennis Is Good, Justus Rokah kicks things off with the Disco Fizz EP.

The title track blends soul, funk and disco into a sparkling groove – a Motowninspired homage to Sektmate, evoking rooftop sunsets and live jam vibes straight out of the ’70s. Warm, musical, and made to get you vibing.

On the flip, Tennis Is Good (the duo of Justus Rokah & Flemming Bassedow) strip things down for the floor: a raw, driving house rework with pumping bassline, grinding kick and Detroit-tinged chords. Pure underground energy designed for peak-time moments. A strong first statement from Rokah – bridging soul, disco and house in his very own style.

Sourires is back on Saint Wax. This time with a mix of fresh sounds and disco references on one side. On the other, he delights us with the soul samples and old school beats that set him apart. To be leaving is a must-have album if you want to be transported in an instant from a dimly lit aperitif
to a sparkling dance floor.

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.

The classy house heads at B2 Recordings hand things over to Those Guys From Athens for another quartet of silky sounds. 'Triple Double' kicks off with nice lazy drums and sparkling synths that are perfect for early evening warming up. 'Father's Groove' gets more lively with some steely drums macing away beneath loose percussion and 'They Couldn't Stop Me' then gets dee with smeared vocal sounds and hip-swinging drums. Lastly, 'Never Been In Chicago' plays with filters and gently swaying groves to lull you into a reverie. These work on the heart and head as much as heel.

Having carved out a place in the contemporary club scene with releases on Glitterbox/Defected, Boogie Angst & Lovemonk Records amongst others, Madrid's Casbah 73 recently shed his skin and is now ready to introduce The Jade, a live ensemble that prioritises emotion, excitement and the art of the song. Led by Oli Stewart (Casbah 73), the project brings together a remarkable group of players. At its core, this is about people: musicians in dialogue, shaping rhythms and melody, singing songs from the heart, that shared pulse based on a timeless musical vocabulary.

Opening with the exuberant 'Let The Light In', this is sizzling hi-jazz and sunny soul, shot through with a dose of funky Afro-Latin rhythms for good measure. Josh Hoyer leads the charge, delivering a powerhouse vocal performance, while Nia Martin and Deborah Ayo bring that gospel glow. As, indeed, they continue to do so throughout, especially on the deep, soulful standout 'When Love Left' or the shimmering, street soul meets Brit-funk feel of 'Change!' Experience the spontaneity and playful nature of tracks like 'Si No Me Quieres Esperar' (with Cuban maestro Ale Gutiérrez on vocals) infused with funky Latin and Brazilian rhythms, as well as sparkling, alien disco dub in the form of 'Space Lines'. There's no-holds, hands-in-the-air, fluid disco club grooves on 'What It Takes' and driving, riotous soul-jazz on 'Being Seen'. Just when you think you've got it figured out, the band change it up and stretch out with beautiful jazz-funk instrumentals like 'At The Queensboro' or lush sonic gem 'On That Strange', a track that feels like a long, blissful afternoon fading into evening, with things left unspoken in the air and mystery in its kinky grooves.

The Jade's sound is post-pout, studs up, raw soul, free from modern dancefloor tyranny.It's intimate disco, dead-selfie freedom, Afro-Latin jazz-dance and Iberian funk all rolled into one, rooted in emotion and shot through with a healthy dose of funky bad ass groovism. Genres that blend and bleed into each other following one simple idea: songs and the expressive power of live instrumentation.

Energy Fields is Gus Paterson’s vinyl debut. One of the brains behind Bokhari Records, this four tracker melts disco, italo and house into a creamy funk fondue. Staggered bleeps and crisp percussion introduce the title piece, samples echo as a squelching thick bassline drops. Countering the fudgey strings are sparkling synthlines, bold brassy analogue bursts tethering the track to the floor. Although tempos drop for “Emotive Feel,” the energy remains high. Robust keys are further fortified by blasts from vintage machines, a free flowing groove lifted into astral jazz. Sharp beats open the flip for “Cyborg Dateline.” Soon, Paterson’s melodic skill takes over. Layers of inspiration are held together by ambling notes. Echoes of cosmic and disco are adopted, a contemporary twist delivered through the complex intertwining of elements. Paterson takes us into the stratosphere for the finale. “Jetpack Joyride” maintains the rhythm of its predecessor, pouring on the funk through daring piano lines and rich strings of double bass. A trip into the beyond from this debutant.

Cataleya reach double digits with a very special cover of a Soulful House classic. Coflo freshens up 280 West’s Love’s Masquerade for modern audiences with the help of Canadian vocalist CEE. Their sparkling cover is backed by mixes from Vick Lavender, DJ Spinna and more from Coflo. Coflo’s Classic mix has the vibe of the 90s mixes, whilst Vick turns the track into a glorious synth addled bumper. Spinna offers his own version, where sturdy beats, vocals and free flowing keys combine. This is a fantastic update of a classic!

The italian disco-funk band "Le Dune" come back with a new version of the single "Sugar", released last summer, and remixed by Fimiani, FrescoEdits, Sparkling Attitude, Costariva. "Le Dune" is a project led by Francesco Fisotti featuring the singer Done and various musicians from Apulia

Brera Groove returns with its second vinyl release, Brera Groove 002, a various artists collection blending late ’70s disco with the early shimmer of Italodisco. Brera Groove, curated by Tamati and inspired by the artistic soul of Milan’s Brera district, expands here with contributions from Luksek & Lucio Balla, The Rejected, and Lillo Carillo, each bringing their own twist to the sound. Grooves, rhythms, and sparkling synths drive an EP made for the dancefloors, echoing the elegance of clubs, cocktail bars, and the neon charm of 'Milano da Bere'.

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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Bordello A Parigi welcome the prolific Kirill Junolainen into the fold. He debuts under his Konerytmi alias with four tracks that join the dots of disco, italo, synth pop and wave.

The title piece, “Super Ekstaasi”, is an analogue rollercoaster of emotive lyrics and sparkling synthlines shot through with distant melancholy. The frosty “Klassikkoelokuva” follows. Contrasting its predecessor, this glacial work of electro cuts crystalline chords with crisp claps and bending basslines. Temperatures rise on the flip. Slow and sci-fi inspired, the thoughtful “Hirvijarvi” explores the cosmos through searching synthlines and probing percussion. The gamut of Konerytmic is on display with the finale being no exception. “Uusiaalto” is both brittle and bold. Refracted computer chirps are draped in soaring strings, pinpricks of drum piercing the stern samples that break the delicacy of the track’s composition. Super Ekstaasi through and through.

We are proud to announce the second installment of our sub label ‘Blanc.’

With a commitment to innovation and artistic diversity, Blanc aims to build on the foundations of Dubøka giving a home for bold creativity for artists.

As promised, our roster will boast a dynamic range of sounds with each release across vinyl and digital platforms.

The second Ep is masterfully created by Silat Beksi, featuring a powerful remix from Fedo. Known for his hypnotic soundscapes and finely tuned minimal grooves, Silat Beksi delivers an extraordinary vinyl release that captures the essence of minimal house music

Released Exclusively on vinyl, digital release to follow later 2025.

Silat Beksi - Recognition EP Feat Fedo Remix DBKAB002

Mastered at Cold Water Studios

Repress! Limited to 100 Copies


Garage Hermétique, returns with a new EP of music from Views, presenting the ‘Kyoto Love’ EP. An alias of Atilla Fidan - producer & live performer, founder of the Berlin label Tape Archive, and also known for releases as Waitress/ASWA - each of the four tracks hits a naturalistic groove driven by vintage Chicago-esque rhythms and warm, acidic tones.

On opening and title-track ‘Kyoto Love’, charming bird song flourishes into a rubbery bassline. ‘Go Well (Part 2)’ embarks on a similar tip, before loosening up into a soaring, somewhat new-age atmosphere, while never sacrificing it’s watertight drums.

On the flip, ‘Kimura’ and ‘Systems (Last Mix)’ move in deeper directions still; The former is a sparkling, detailed cut that rolls out nocturnal dance floor depth, while the latter rounds off the release with transcendent choral breaks.

The record captures an expansive performance in Poitiers, France in November 2023. First working together in an unpredictable trio with minimalist legend and eccentric extraordinaire Charlemagne Palestine, Ambarchi and Thielemans quickly established a remarkable musical chemistry that led to an ongoing series of duo concerts, including the performance documented on their LP Double Consciousness (Matière Mémorie, 2023).

Kind Regards finds the duo refining their shared language while continuing to take risks, allowing the music’s gravitational pull to lead them from meditative calm to unexpectedly expressive passages of melodic invention and rhythmic drive.

Recorded in sparkling fidelity and carefully mixed by Ambarchi’s longtime collaborator Joe Talia, the LP contains a single unbroken performance, stretching out for over 45 minutes. Guitar and drums weave together into a symbiotic whole that nevertheless affords us ample opportunity to marvel at the highly personal approaches these two musicians have developed to their chosen instruments through decades of diverse collaboration and prolific performance. The set begins with Thielemans’ hypnotic tom patterns, around which Ambarchi’s wavering, shimmering guitar tones—achieved with the help of the rotating speaker of a Leslie cabinet—flurry and swirl. Thielemans’ drums play subtle tricks with time and perception, adding and dropping beats within repeated patterns to create an effect at once rhythmically insistent and liquified. Growing at first into a rapidly pulsing texture of brushed drums and flickering harmonics, the music builds momentum into an irregular groove over which Ambarchi’s guitar is transformed into haunting, monumental electric organ chords, strikingly recalling the Wurlitzer work of Alice Coltrane, before settling into a section of gentle portamento melody embedded into the tactile clicks and clangs of Thielemans’ percussion.

When Thielemans adopts a more traditional jazz approach to the kit in some of the set’s second half, the results are stunning, demonstrating a feel for shifting accents and sensibility to the touch of the stick on the drum or cymbal that recalls greats like Jack DeJohnette or Billy Hart (one of Thielemans’ mentors). And when Ambarchi turns up the heat, he does so in an unexpected and delightful way, letting loose a swarm of jittering delayed tones straight out of Henry Kaiser’s classic It’s a Wonderful Life, with a more active use of the guitar’s fretboard than his usual approach to the instrument allows. As the performance draws to a close after a climactic episode of distorted harmonic groans and crashing cymbals that manages to be at once thunderous and carefully attuned to detail, it is clearer than ever that, for these two serial collaborators, this is a very special pairing.

Kind Regards shows us the kind of magic that can happen when two masters who have dedicated decades to reimagining their instruments simply begin to play, following the music wherever it goes.

Since launching her own club night, “Motivation,” back in 2018, B.AI has played a key role in bringing the underground’s club sounds to her home country, China. While introducing some of the scene's most exciting artists to her local audiences, she emerged as one to look out for as well: first as a DJ and quickly thereafter as a producer. Her original takes – a sensitive, highly personal approach to melody and a knack for playing with expectations – crystallized in a slew of A+ releases and a couple of international tours. This trajectory, shaped by taking matters into her own hands and self-empowerment, now sees a logical next step, with the inception of a label that will also operate under the “Motivation” banner and features her own “Hope” EP as its first release.

Sparkling mallets, with synth-pop quality catchiness, open the title track. Rather than further evolving, their two-bar arrangement gets looped over and again, serving as the foundation for a slick FM bass rhythm and a variety of hooks. Although these incline to the bright, the overall vibe is melancholic. In vintage B.AI style, the aptly titled “Hope” is more ambiguous than its patches suggest. Similarly, the vocal this type of palette would call for ultimately comes in the form of aloof, covert musings. A bit buried in the mix, they are most efficient – just like the tension that keeps brooding underneath the surface.

“Murderbot Diaries 1991” turbocharges four-to-the-floor synthetic drums with an arpeggiated rolling bass. The blue note melody on top feels sequenced via a pocket calculator, and the dissonant, electroclash-reminiscent stabs that follow might sound even more angular. The tune is frantic, sinister – and perhaps above all tongue in cheek. It reaches fever pitch with the arrival of a tubular bell theme between the two breaks.

“Once”’s slomo cutoff modulation on the 16th note mid-bass instantly creates a sultry atmosphere that meshes greatly with the pastel cool of the gently delayed DX7 leads. The energy drifts between effortless control and uncertain outcome. These contrasts are amplified as the drums alternate amidst moderation and beat-repeat rendered havoc.

On “Only We Know,” a progressive sine lead lays out the central motif. Yet as briskly as it appears, it makes way for detuned, gliding square waves taking on the same theme. This outlines the track’s structure: as slightly morphed repetitions keep getting introduced almost haphazardly, a dreamlike, mesmerizing ambience unfolds. Techy drum rhythms and a 101-type bass make sure everything stays fuelled. Within the ingenious tapestry of melodies and new twists, it never loses touch with the dance floor. It illustrates B.AI’s club savvy neatly and is therefore a perfect closer for this EP.

The Verb EP connects with our core a3iliations of House Music, combining classical
elements like vocal samples and hooks, along with warm basslines, into a sparkling
atmosphere and fresh interpretation.
“Get Me” is without a doubt the track that received the most spins at Dixon's and Âme’s
latest shows. Nevertheless, “Stronger” and “Blue Zone” are energiser and great
examples of how these classical elements can be worked in a way that expresses a new
and exciting touch to the scene.

For the second release , Komplices ask at the Italian artist name’s Deyayu to put all his univers on a full ep. For begining « Complicated Sound » is one track that takes you to 90’s acid house with sounds and psychedelic vocal loops. For the second one « I was, I am » reveals the deeply part of EP influenced by the sounds of 00’s.

On the other side « Planet Synth » , this track has a lightness character with a relentless energy. And for complete the Ep « Dexter’s Laboratory », brings you in a cosmic trip with sparkling sounds.

Ten years after his first full-length effort ‘Man Is Deaf’ landed him firmly in the runnings for DJ Mag’s album of the year, prodigal son Michael Anthony Wright AKA Brassica returns to Civil Music with a deeply accomplished, painstakingly whittled LP of hydraulic electro slickness, rich synthscapes, and hooky, peak-time tearjerkers for the most discerning front-left lifers. ‘Tribeless Gathering’ is a barnstorming testament to Brassica’s stylistic and timbral deftness, touching down in the elusive epicentre of the club/home listening venn diagram with ease.

From the elastic, neon acid pointillism of opener ‘Hop Kweng’ to the mardy, miasmic plod of closing chugger ‘Changa Hill’, Brassica seamlessly segues between avenues of influence, his notoriously omnivorous musical knowledge roadmapping each turn. Raised on a diet of everything from early rave standards to metal, and schooled in avant garde sonics as a student of sound design at LCC, Brassica does a peerless job of sublimating his countless influences into a record of refined, heterogeneous, and most crucially, catchy, club moods.

Less spartan than his more recent oeuvre on Feel My Bicep, and less baroque than his technicolour experiments in postmodern synth pop with vocalist Stuart Warwick, Tribeless Gathering represents Brassica’s triumphant return to the main room, replete with rushy hooks primed for the planet’s finest soundsystems, and passages of heads-down tension bound to draw listeners right to the edge of their seats. Overall it is a concise and refined testament to Wright’s command of spectral sonics and effortless ability to pressurise a dancefloor. It is no surprise that he has also worked as a prolific mastering engineer, tuning music from a plethora of dance disciplines for maximum club impact. This work extends to his own projects (including this one), cementing them as rare expressions of complete artistry from studio to turntable.

As we delve deeper into the record, we are ushered through a series of accomplished and varied club moods, each channelling a unique cocktail of influences, but retaining a warm, ebullient analogue sensibility unique to Brassica’s work. This playful scope of influence calls to mind James T Cotton or Machinedrum’s experiments in dance music form, but Wright manages it all under one roof, wrangling everything from sashaying wub-laden two step to snarling Dillinja-esque FM damage into something inherently his.

Choice cut ‘Change Yourself’ layers an almost Cerrone-like piano refrain over radiant surges of saturated bass, dubby, strobing chords and a jagged, driving break, building to a jaw-clenching apex of dancefloor elation, while the rude, playful half-step of ‘Elevation’ breaks down the vintage speed garage formula into linear fragments, utilising a tight palette of resonant bass slugs, infectious synth leads and Papua New Guinea-style vocal strobes. The aptly named ‘Hold Tight’ fuses heart-in-mouth UK ‘ardkore pads with glissando acid disturbance and surgical snare fills in a formula which recalls the ethereal grit of Nubian Mindz’ 00s experiments in big-smoke break science, while the questing melodic arcs and arpeggiated squarewaves of ‘Pinball Marinara’ could easily have soundtracked an 80s sci-fi epic, beset with sparkling, bare-bones drum programming and hazy beds of sub sediment.

With ‘Tribeless Gathering’, Brassica both irreverently fuses and pays homage to the many unique and weird permutations of UK dance music. The short lived gathering of junglists, ravers and house hotsteppas of a similar name may have long since dissipated, along with the tribes themselves, but across these 11 tracks, he lays a blueprint for a new sound of togetherness.

Doc Sleep returns to Dark Entries with Cloud Sight Fade, an album of ethereal house and techno. Doc Sleep is the alias of DJ and producer Melissa Maristuen. Following 2023’s Birds, her ambient and IDM-leaning debut album, Cloud Sight Fade shows Doc drawing on her years of queer clubbing to bring us seven diverse tracks sitting between muscular New York house, Berlin twilight techno, and funky West-coast breakbeats. Production began in the Bay Area and was completed in Berlin; Maristuen says that this work became a love letter to the West Coast’s magnificent natural landscape, the light of the Pacific sunrise. While draped in dreamlike textures and melodies, this is also a record about embodiment and the memories that live within our corporeal forms. The powerful grooves on the breakbeat-inflected “Lemon Zest” and the propulsive “Cloud Sight Fade” remind us that dance music is for bodies dancing. Meanwhile, tracks like the sparkling album-closer “Enchanted Static” or the brooding groover “Water Sign” plunge us deeper into hypnotic depths. On Cloud Sight Fade, Doc Sleep guides us through slumber and wakefulness, in and out of our bodies, with the mastery of a seasoned DJ and clubgoer.

Sleep Now Forever is the second and final album released by Sorrow, the post-Strawberry Switchblade group fronted by singer Rose McDowall. Originally released in 1999 and long since deleted it is a cornucopia of pastoral, elegiac folk music, swirling atmospherics, hymnal compositions and above it all the alternating towering and fragile vocal performances of McDowall. Recorded in the late 90s with fellow band member and co-songwriter Robert Lee, Sleep Now Forever is the definitive statement by the now defunct group and Rose McDowall’s most complete long-form work to date.
Released through the group’s own Piski Disk Records, Sleep Now Forever was distributed by World Serpent which struggled through the early 2000s with financial woes, eventually folding due to bankruptcy in 2004. Due to the company’s troubles, Sleep Now Forever was never distributed widely and was a victim of the company’s failure. Released on CD only, original copies are now rare and only traded on second hand channels. Remastered by Mikey Young for a limited vinyl release, Sleep Now Forever will be released on April 20th on double vinyl format, with one side an exclusive etching by Glasgow artist Holly Allan.
Despite its rarity, Sleep Now Forever enjoys a firm cult following. The album’s textures are expansive, lush, deliciously detailed and celestial. Recorded in home study Velvet Hole by Rose McDowall and then-husband Robert Lee, the album enlists an array of players from the underground Neo-folk / industrial scene: Nigel McKernaghan (Uilleann pipes, Whistles), Susan Franknel (Bassoon), John Contreras (Cello) and Lawrence Frankel (Oboe, Cor Anglais). The eleven songs here revolve around McDowall’s instantly recognisable voice. Brought up singing in the Catholic Church, McDowall’s vocals are impeccable and angelic, particularly on tracks like Turn Off The Light where her experiences with religion are canted over soaring oboe and guitar backing. By far the most evolved and realised version of Sorrow’s vision, it feels somewhat criminal that music this beautiful could be lost to time until now.
McDowall’s lyrics throughout Sleep Now Forever deal frankly with mental health, depression, altered states, death and redemption. Wave upon wave of harmony drench each song, McDowal’s vocal multi-tracked and imperious. Opener Soldier benefits from Robert Lee’s use of the studio as instrument, summoning forth a lilting group performance of sparkling guitar and percussion that recalls the Velvet Underground. Mikey Love’s master treats the compositions to brand new frequency dynamics and space. Harmonium and string drones form the counter to McDowall’s vocal on Love Dies, a slow, lurching lament that feels transcendent. On Haunting, the arrangement is orchestral and aching, bleeding into Fear Becomes You, with chord and harmony structure that recalls the baroque sixties pop of West Coast Pop Experimental Art Band or the 60s psychedelic folk movement. A towering, beautiful statement, this elegy for times lost and moonlit-illumination is finally resurfacing from the darkness.

On All Centre’s second vinyl outing, label regular Endless Mow and co-boss Simkin join forces for a split EP of adventurous club excursions. Endless Mow kicks off proceedings with two sparkling mutated club jams, whilst Simkin contributes two tracks on the flip that display his aggressive paired back style!

Mysteries Of The World is the stunning final studio album from legendary Philly supergroup MFSB. Expertly co-written and produced with the mighty Dexter Wansel, it features the untouchable, sparkling masterpiece "Mysteries Of The World". The whole album is truly exquisite; a stylish, classy collection of pure Philly soul and orchestral jazz-funk.

MFSB, an acronym for Mother, Father, Sister, Brother, was formed by producers Gamble & Huff of Philadelphia International Records. The band's roots can be traced back to the house band at the legendary Sigma Sound Studios, where they played on numerous hit records by artists like The O'Jays, Harold Melvin & The Blue Notes and The Stylistics. Mysteries Of The World comprises slick jazz-funk grooves, mostly penned by Wansel, who produced a fair chunk of the album in a similar style to his space-funk records. MFSB's smooth sound is retained but it receives a fresh, elegant and jazzy upgrade. While this album is as mellow as the rest of the latter-period MFSB recordings, it never forgets the group's soul music underpinnings.

Swaggering, well-timed horn blasts, sweeping strings and a percolating, hard thumping slap-bassline combine to devastating effect on amazing opener "Manhattan Skyline". It's a sexy mid-tempo instrumental which sets us up nicely for what follows. Essays could be written analysing the perfection of title track. Arguably the finest jazz-funk instrumental ever made, it's absolutely magnificent. Featuring musicianship of the highest calibre, the band play with their trademark tight discipline, cooking up a syncopating rhythm with an array of exploratory keyboard riffs wrapped around a punchy bassline sent from heaven. It sounds like house music, it's that ahead of its time. The string intro is sumptuous, hypnotic and divine and that's all before the beat hits. The track fuses classical, jazz and funk into a musical journey that you never want to end. Absolutely flawless, it's a dramatic disco dancefloor killer.

Says Dexter Wansel himself: "You know, of all the songs I wrote/produced/arranged for MFSB, this is for me the most different. I think it's an experiment in rhythmic, soft sonic synth and live string and harp combinations. I composed it in an effort to blend a funky groove, along with synthesis, and orchestral sounds. There are 3 synthesizers: Oberheim 4 voice, Polymoog, and of course Arp 2600v. And, as I remember, I recorded the track with the rhythm section, string, harp and flute players first. Then I added synthesis."

The profound elegance remains in abundance on the slinky, harp-laced "Tell Me Why"; Carla Benson's beautiful voice truly shines on this sophisticated cut. The side closes out in dramatic style with the string-drenched "Metamorphosis". It's a staccato, Blaxploitation groove workout featuring wah-wah guitar, creeping basslines, rich horn solos and soulful vocals drifting in and out of the mix. The bouncy, irrepressible "Fortune Teller" opens the B side in the bass-heavy orchestral funk style before the beautiful "Old San Juan" glides in, a Balearic-adjacent track with intricate arrangements, building its mellow soul groove around an atypical flamenco guitar hook. Melancholy, guitar-led instrumental "Thank You Miss Scott" is a real highlight, with gorgeous flute, string and percussive elements whilst closer "In the Shadow" works an otherworldly synth line into its bossa nova groove.

An essential record for fans of Philly soul and groovy jazz-funk, Mysteries Of The World was mastered for vinyl by Simon Francis and cut by Cicely Ralston for Alchemy at AIR Studios. The stunning artwork, the work of renowned illustrator Robert Giusti, was restored at Be With HQ to round out this beautiful reissue.

Mr. K takes on two different disco moods in the latest in his long-running series of edits on 45.

Danny Krivit’s edit of Tony Orlando’s “Don’t Let Go” was released in Japan in 2012 and immediately became a sought-after, impossible to find rarity. Orlando’s version of “Don’t Let Go” was released at the height of the disco era, but the song itself was already a well-worn pop standard, having been covered by numerous artists before the pop singer tried his hand at it, switching things up with a percolating disco groove. “I never expected to rave about a Tony Orlando record,” wrote Vince Aletti in his Record World column in June of 1978, “but this one’s really terrific… My pick for a summer refresher.” The Jimmy Simpson mix on the original 12-inch follows the vocals with a long instrumental section that teases the various elements provided by the Muscle Shoals band (guitar, vibes, strings, and above all a sinuous synth) back in over the relentless bass and drums. Danny’s edit, which he’s trimmed down for its debut on 7-inch, works with this instrumental break and more than lives up to Aletti’s description as an addictive warm weather jam.

From the moody instrumental sound of “Don’t Let Go” we move to the bright uptempo vocal track "I Fall In Love Everyday." In spite of the relative obscurity of this fabulous but lesser-known cut, it comes with a sparkling pedigree. “I Fall In Love Everyday” was written by Jay Graydon (whose credits also include “Turn Your Love Around” for George Benson and “Breakin’ Away” for Al Jarreau), produced by Motown ace Mickey Stevenson (who wrote “Dancing In the Street”) and arranged by David Foster, who was just making the transition from session keyboardist to the superstar songwriter/arranger he’d become. The backing track was first used for singer/TV personality Jaye P. Morgan’s version of the song a year earlier, but you certainly can’t blame the team for reusing the music when the band included studio heavyweights like Harvey Mason, Lee Ritenour, Ray Parker Jr., and Kenny Loggins. Danny’s creative edit fashions a clean, DJ-friendly instrumental intro where none existed on the original, and gives new life to a track that’s sure to bring some sunshine to dancefloors.

As always, these unique selections from Mr. K’s personal stash are cut on a loud, club-ready 7-inch pressing.

"Do you feel what I feel too?" Brijean Murphy floats the question at the start of Feelings, the full-length Ghostly International debut from Brijean, her collaborative project with Doug Stuart. Guided by a lush mix of charismatic keyboard chords, grooving bass lines, and radiant bongo-driven rhythms, the "Day Dreaming" lyric doubles as an invitation and a statement of intention. Brijean want you to move, physically, mentally, dimensionally; this is dance music for the mind, body, and soul. With Feelings, they've manifested a gentle collective space for respite, for self-reflection, for self-care, for uninhibited imagination and new possibilities. The album cultivates a specific vibe, a softness Murphy has come to call "romancing the psyche." Growing up in a family immersed in jazz, Latin and soul music, Murphy would become an accomplished DJ, session and live player in Oakland's diverse music scene and one of indie's most in-demand percussionists (Poolside, Toro Y Moi, U.S. Girls). In 2018, she began recording songs with multi-instrumentalist and producer Doug Stuart, who shares a background in jazz and pop in bands such as Bells Atlas, Meernaa, and Luke Temple. Following their first sessions, which resulted in the mini-album Walkie Talkie (released in 2019 on Native Cat Recordings), the duo continued freeform hangs in Oakland, inviting friends Chaz Bear, Tony Peppers, and Hamir Atwal. "We improvised on different feels for hours," says Murphy. "Nothing quite developed at first but we had seeds. We re-opened the sessions a couple months later, after returning from tours, and spent a month developing the songs in a little 400 square foot cottage." Aforementioned album opener "Day Dreaming" is a dynamic celebration of newness: the excitement in finding deeper understandings of yourself as you get to know someone, something, or somewhere new. "Wifi Beach" drops a pin in pure psych-pop exotica. With Atwal on drums, Stuart on bass, Peppers on keys, and Bear engineering, the group improvised the track's intro sequence based on the vision of a lavish 1970s pool party. Establishing the scene is a mid-frequency drum kit disco shuffle augmented by tight congas and timbale effect, as Murphy sings in spurts: "I want to be / Deep in love / I want to be / Say you love me too / I want to be / Honey." The stanzas cut between "reflective moments of wants and being overwhelmed by feelings of the present," she explains. "A lot of the `love songs' I write are to my psyche, self-reflections on how to encourage tender perspectives and make more time for the sweet stuff." Though there is a loose, dance-oriented motif throughout, the material gives way to somnolent turns. On "Ocean," Brijean's anodyne lyrics, reminiscent of Astrud Gilberto's airy croon, float atop a brushed drum pattern, sparkling rhodes lines, and pittering and softly funky woodblock bops. The opening line sets up the rest, "In this gentle space we lay" _ among the album's propensity for movement, tracks like "Ocean" stand out by leaning back for momentary sways of blissful introspection. Murphy calls the charming "Hey Boy" a "psychedelic guide _ the exploration of finding what feels good _ through sorrow, anxiety, apathy." This mentality applies to Feelings on the whole: in these nebulous and verdant worlds of hazy melodies, feathery hooks, and percussive details, the songs simply want us to feel alive. They radiate in wonderful abandon and with a sense of devotion to the self. RIYL: Stereolab, Astrud Gilberto, Air, Little Dragon, Broadcast, Khruangbin, Poolside.

Words from the label:

Our imprint marks its five years anniversary this year and to celebrate it's offering up five special various artist packages across 2019 limited to 250 copies each,
featuring material from the likes of Vid, The Mole, Cinthie, Shinichiro Yokota, San Proper, Akiko Kiyama, Com Sin aka Cosmin TRG, Subb-an and more..

'Series 01', penciled for release in May sees Cosmin TRG return under his Com Sin guise with 'Glass Harps', a fluidly unfolding five and half minutes of pulsating subs, glitching percussion and sparkling harp tones before DJ Sodeyama aka The People In Fog's 'Chapter Zero' takes on a modulating hypnotic feel via psychedelic swells, tension building textures and a bumpy, robust rhythm.

UK duo Yard One join the roster with 'Dream Travel' on the flip-side, employing a more ethereal aesthetic with floating pads, winding chords and a heavily swung drum groove. This project also sees a new design concept for the imprint from London's David Surman's painting installation project 'Paintings For The Cat Dimension' which ''explores the motif of the cat as emblematic of internet aesthetics, a place where all painting styles and modes now exist non-hierarchically as pure information.''

Ark & Pit Spector continue their inspired journey with an extended EP full of groovy jams and absorbing rhythms for Hold Youth. The Frenchmen have formed a potent alliance with a series of expertly-crafted, high-quality releases dropping over the last couple of years. On this new EP they go deeper into their sound explorations with five original works and a remix from their Parisian buddy and Hold Youth member, Le Loup. First up, we go into bumping jazzy territory with 'Chauffage Central', a mesmerising cut with swirling pads, soulful vocal clips and a jaunty b-line. Straight up after that, Hold Youth rudeboy Le Loup gives 'Chauffage Central' a funky little rework, throwing live sounding percussion, Nubian vocal clips, trumpet parps and a pumping bassline into the mix which gives a totally different identity. The final track on side A, is a cheeky teaser called 'Petite Ondée'. Rolling out for just under two minutes the track has a muffled, jazz-esque feel to it with a warm rolling bassline and bright, sparkling piano keys.

On the flip we kick off with 'Air Conditionelle', a lush, retro feeling with those oh-so-familiar heavy-hitting eighties snare licks. The bassline takes you to a New York City street and the whole atmosphere is that of an old school NYC neighbourhood, while a spoken-word sample adds a human touch just before the track comes to an end. 'Sub Tropical' goes a little leftfield with an unusual combination of sounds in tandem with a pulsating low end, occasional sax licks and punchy percussion to give it plenty of energy. 'Averse Et Contre Tous' closes out the EP with a slothish ride into the sunset - Ark and Pit Spector show their experimental side presenting an odd union between blues samples, gruff electronic sounds and piano keys.

Another triumphant effort from Ark and Pit Spector, in fact, some of the finest work to date. Make sure you check it out!

The second chapter of the 'Startup Label' series starts with the dreamy 'OaaS'. It's gravitating ambient body music picks up right where Startup Label 1 left off. The sparkling dust of Quarry_S has
settled, and mutates into a liquid morphing bass drizzle. Moving on to 'Found_Weaver' the hazy synths find a more rhythmical form accompanied by a staccato groove. When the record is flipped a new world gets exposed on the track 'Wolf'. A more consistent and articulate track with a killer groove. Startup Label 2 explores the musical map of clubland travelling further than the dance floor, not afraid of venturing behind the 'Here Be Dragons' signpost.

Re-issue of ABBAs 'Dancing Queen' on 10" black vinyl and limited edition black sparkling vinyl, in celebration of the track's 50th anniversary. Remastered at Abbey Road.

After the wild Afro-jazz fusion of Trancedance (reissued as BT118) and the meditative solo Christer Bothén Donso n’goni (BT133), legendary Swedish multi-instrumentalist Christer Bothén returns to Black Truffle as part of a dream quartet completed by the three members of Ghosted: Oren Ambarchi (guitar), Johan Berthling (bass) and Andreas Werliin (drums). Recorded at a rustic studio built by Werliin and Hans Fredriksson in the sylvan surrounds of Hamburgsund, Sweden across a few days in September 2023, Serpentine offers up four generous slices of hypnotic repetition and shimmering resonance, cut through with wild bursts of Bothén’s bass clarinet.

The depth and ease of the quartet’s rapport is evident from the first moments of the opening title-track. Berthling’s resonant upright bass locks into a head-nodding ostinato that makes sensitive use of a prominent end-of-phrase rest, opening spaces through which Werliin’s continually shifting statements of the pulse shine through. Having worked together in various groups for many years, Berthling and Werliin are masters at playing subtle games of difference and repetition, creating a driving rhythmic flow animated by perpetually changing details: here, you can never step in the same groove twice. Weaving through it all is Ambarchi’s now-signature Leslie-cabinet guitar tone, sounding out long chords at times strikingly close to a Hammond, while also creating intricate cross-rhythms through the play of his tremolo modulations against the bass and drums. When Bothén enters five minutes in, the growl of his bass clarinet at first works deep in the collective brew, carving off brief staccato phrases and twisting them into fragmented melodies. As he moves into the instrument’s higher registers, Bothén’s playing becomes wilder, twinning with Ambarchi’s guitar in shimmering arcs like a 21st century update of the Garbarek-Rypdal pairing immortalised on Sart.

Each of the four pieces explore different possibilities of a shared language. On ‘Antigorite’, another hypnotic bass riff emerges gradually from an atmospheric haze, eventually developing into a frenetic rhythmic workout propelled by Werliin’s cowbell. Berthling sits out for ‘Lizardite’, while Bothén moves from bass clarinet to the Donso n’goni, the sacred Wassoulou hunter’s harp he has studied for half a century; the resulting performance streamlines the approach heard on other tracks into pure modal propulsion, sparkling with harp-like arpeggios from Ambarchi’s guitar. On the closing ‘Chrysotile’, the bottom drops out, leaving a swampy, churning mass of wavering organ-like chords, roaming bass runs, and distant toms, over which Bothén floats bass clarinet figures by turns bluesy and abstract, the whole thing landing somewhere between classic ECM and the most blasted freeform moments of early Amon Düül II. Bearing a delicate calligraphic abstraction by Bothén on its cover and beautiful documentation of the recording sessions on its inner sleeve, Serpentine is a powerful reminder of the magic that can happen when inventive musicians just get together and play.

Through a collaboration with Cincy label Chiefdom Records comes a fresh 45 on Colemine from Doctor Bionic. Both cuts from this 45 feel Colemine-core: funky, dirty drums, jazz keys and guitar, and a groove that just won't quit. Put "Expert Witness" on during your next DJ set and watch the floor fill up. Ohio's take on much of the funky west coast jazzy funk over the last couple of decades. Doctor Bionic is nothing short of prolific, having released over 10 albums in the last five years. Keep your eyes on this up and comer on the scene. And don't forget to flip it over for the nightcap. "Mistake" is a mellow guitar driven tune to close out the night in a melancholy way. Sparkling Rhodes, sparse guitar, and driving drums are the order of the day.

Highly recommended. After a four-year hiatus born out of Berlin’s post-pandemic music shakedown, Restoration is back in action with Alternative für Tirol. Already supported by Ricardo Villalobos, Radio Slave, Tini and Francesco del Garda.In a world of geopolitical chaos, AI anxiety and rising conservative menace, an alternative is possible, and The Analogue Cops are here to prove it.Three tracks of masterful, hi-tech forward-thinking beats. On the A side, ‘The Only Season’ is a vocoder-laced electro meteor: classy, driving, fusing Detroit chords with acidic European nastiness. On the flip, ‘AFT’ delivers breakbeat-infused tech with underground tension, haunting pads and sparkling basslines. Closing the release, ‘Formula Casino’ channels their signature live sound into progressive robotic vocals and high-speed car-drifting energy. Mastering by Marco Pellegrino at Analogcut Berlin

Mesdames et Messieurs! FLEUR is back for one last time with a new release An EP with 4 sparkling popsongs written by the- king- of- garage- pop Mark ten Hoor (THE KRYNG) who also wrote her last album "Fille Sauvage" (2024). Title track "Jour D'ete" is an uptempo breezy pop-gem about summer and being young and in love. "Je Ne Veux Pas De Toi" romps and stomps with FLEUR telling her admirer how things stand in the bongo driven chorus. "Le Temps Nous Le Dira" could have easily been the title track. A super catchy melancholy song with driving 12-string guitar. The delicate, moody and dreamlike "Qu'est-ce Que Je Fais de Mal" is a perfect closer.

Soul Jazz Records celebrate 25 years of working in partnership with Studio One with brand new editions of FIVE of their bestselling CLASSIC Studio One collections all released on limitededition one-off pressing coloured double vinyl. Also available in new limited-edition card wallet CD editions. The new edition featured albums are Studio One Funk, Studio One Dub, Studio One Ska, Studio One Roots and Studio One Classics. Studio One Roots set the standard for Soul Jazz Records’ long-standing series and features many of the classic artists from Clement 'Sir Coxsone’ Dodd’s mighty roster of reggae. This album includes Freddie McGregor, Willie Williams, Cornell Campbell, Alton Ellis, Devon Russell alongside some of the defining in-house groups of Jamaican reggae history - The Sound Dimension, Brentford All-Stars, The Skatalites, New Establishment and more. The album is filled with a mixture of seminal cuts and super-rarities from the vast vaults of 13 Brentford Road.

Stand-out tracks include Alton Ellis’s ‘Blackish White’, a surreal and powerful Afro-centric dream, Count Ossie’s Rastafarian drummers’ genre-defying interpretation of Booker T and The MGs ‘Meditation’, Willie Williams aweinspiring versioning of the Skatalites' seminal Rastafari anthem ‘Addis Ababa’ and many, many more. Original sleevenotes by Lloyd Bradley (author of When Reggae Was King), compiled by Mark Ainley (Honest Jons), high-quality Soul Jazz mastering, wicked images of Count Ossie and the Mystic Revelation of Rastafari on the cover, and a rare image of Clement Dodd and musicians inside the studio at Studio One on the full colour inner sleeves. “There isn't a weak number across these 16 tracks, from the Gaylads’ ode to ‘Africa’ and Devon Russell's version of the heavyweight ‘Drum Song’ rhythm, to stunning instrumentals such as Jackie Mittoo and the Cyclones with nyahbinghi drummer Count Ossie on ‘Meditation’, Lenny Hibbert’s sparkling vibe work over Mittoo's ‘Ghetto Organ’ and The Sound Dimension’s ‘Congo Rock.” Pitchfork “The music of this compilation is of a rare, rare beauty and is essential to anyone's reggae collection.” All Music

Debut vinyl release from San Francisco indie pop trio The Kitchenettes. After a quietly beloved 2024 demos tape, The Kitchenettes return with their first vinyl release: a sparkling three-song 7" that updates the timeless indie pop template of Marine Girls, The Cat's Miaow, and Lois for 2026. Across the three tracks, the band moves gracefully between tender, jangling pop and brighter, upbeat moments, revealing an impressive range of mood, tempo, and texture. Formed by Morgan (The Umbrellas, Telephone Numbers) with Emily and Sequoia (The Snogs),writing collaboratively and trading vocal duties, the band crafts effortlessly charming indie pop built on jangly guitars, loose harmonies, and a homespun DIY spirit. Short, sweet, and full of heart, it's a perfect introduction to one of San Francisco's most charming new indie pop groups.

After a short break, Vibes and Grooves is back with Collab Grooves Part 2. Following the success of our initial collaborative venture, we continue our mission of uniting visionary producers under a single sonic umbrella. This time Jemaho, Shaka and DFRA come together for another deep collaboration.
With “Joudia’s Groove (Drifting Away – The DAT Version)” on the A side, we are delighted to have Jemaho on board. He delivers an outstanding, warm and soulful vocal house cut driven by a smooth, uplifting groove and rich musical depth. With its unique tape sound aesthetic, a true masterpiece. Certainly a future club classic.
The B side opens with „Sparkling Soul“ from label resident Shaka. A jazzy house affair that blends vibrant piano melodies, a hypnotic lead synth line, and a tight bassline. It radiates warmth, sophistication, and an ever-present sense of romance.
The second track comes from DFRA, the man from Buenos Aires, who is already well known on the label for his outstanding tracks from the latest Collab Grooves. With “New York Style”, DFRA delivers a deep house tune shaped by warmth, restraint, and a steady underground groove. Subtle textures and raw rhythms create a smooth, flowing atmosphere that feels natural and unforced.
Timeless in feel and refined in production, Collab Grooves Part 2 captures an effortless flow that speaks directly to both the heart and the dancefloor.

This is the age of post-factual lies, which is reflected in MESH's album title "The Truth Doesn't Matter" and a dark undertone that occasionally seeps into their new songs. What remains entirely true is the fact that the UK duo has a nearly uncanny knack for writing electronic hits that are as elegant as they are captivating. "The Truth Doesn't Matter" bursts out like a sparkling firework while subtly referencing three decades of electronic music spanning from GIORGIO MORODER, YAZOO, and DEPECHE MODE via GARBAGE and MASSIVE ATTACK to more contemporary artists. At the same time, MESH always maintain their easily recognisable and unique musical identity as well as the trademark sounds that they have cultivated since their beginnings in the early nineties. With "The Truth Doesn't Matter", MESH climb yet another rung on the ladder leading to electronic music heaven. Each song wriggles its way happily into the brain and sticks around leading to spontaneous whistling of melodies and the public singing of extremely catchy chorus lines. You have been warned: "The Truth Doesn't Matter" is highly infectious and leads to a happier life!"

When Henry Street & Sacred Rhythm Music join forces for a remix outing, it should be obvious the source material and resulting productions are of the utmost caliber. This record proves such a case in point: Johnny "D" DeMairo & Joe Claussell team up for two takes on Candi Staton’s 1979 disco opus 'When You Wake Up Tomorrow.’ The original, whose pedigree could be inferred simply by reading Patrick Adams’ and Jimmy Simpson’s names on the label, is a faultless dance floor cut featuring all the elements you’d expect—lavish horn and string arrangements, sparkling synthesizer accents, and plenty of hand-beat drumming—along with with Staton’s peerless voice. Johnny D’s mix starts carefully, the vocal refrain accented with auxiliary percussion until the rug is pulled out from under us, the ensuing chasm making the following thrust of the track that much more powerful. On the flip.

Claussell’s take starts with reinforced four-on-the-floor, along with a studio count-in, perhaps alluding back to his previous ‘It Seems To Hang On’ edit. As the track establishes itself, ample room is afforded for interplay between bass and guitar, with all the interlacing elements aggrandizing the mood with careful shots of delay and expertly-timed pivots in atmosphere. Both sides are proof of what shouldn’t need evidence: two masters of their craft assembling two wholly new mixes that far surpass the banal copy and paste, add and subtract methodology slung by the less blessed. Pressed on white vinyl, with a custom jacket to boot.

Lex Wolf will be a familiar name to those who like leftfield edits and trippy disco sounds, following great outings on the likes of Razor-N-Tape. Here, the producer kicks off new label Changes with four cuts of passionate and throbbing pumps. 'Rhythm Papi' has elastic drums and fat bass with erotic vocal whispers, and 'Everybody' taps into classic sampling with jacked-up house drums and sparkling arps. 'Fall Into A Trance' has old school horns and a steamy energy with yet another bold, potent bassline, while 'Keep Playin' is a bouncy sound with panning melodies and vocoder vocals that blend the past with the future. These are full-flavour sounds packed with character.