Suche:st

LAP records is proud to present a new split EP, available on 12inch vinyl, featuring two very promising combos. The A-side kicks off with “Art Boi Sin<”by Click Click & Najeh, a hard-hitting club gem that pays tribute to the New York gay scene. With its catchy vocal samples and driving acid bassline, this track will make you feel like you are in the middle of a wild night out. The B-side starts with “Tabu Subject” by aitch & Brut, a groovy techno tool that samples alluring phrases. This track is a playful and seductive affair that mixes crisp drums, bouncy bass, and cheeky vocals. This EP is a showcase of a timeless sound and a testament to the talent and passion of LAP records. LAP records is a division of PAL Hamburg.

Delving deep into the shadowy realms of filmic soundscapes, Pheeks latest EP is a masterful blend of darkness and texture. Drawing heavy inspiration from moody cinema and the raw, gritty undertones of lofi elements, this collection manages to capture and amplify fond sound textures, seamlessly integrating them within techno structures. At its core, there is an unmistakable cinematic ambiance, an aura that paints a picture of suspense and mystery. But don’t let the atmospheric subtleties fool you. Beneath the misty veneer lies a pulsating heart of energy, with layers that rhythmically surge and ebb. It is a sonic journey that is as intricate as it is evocative, showcasing Pheeks prowess in both craft and creativity. Prepare to immerse yourself in a world where each track tells its own enigmatic tale.

straight up grooving minimalism and acidicted tunes.

Words cannot describe how happy I am to finally return with my own music. It took me a long time to overcome my depressing state and to be able to be creative again.

I think every artist knows how it feels when you are blocked and cannot do music anymore, it is a very sad and frustrating feeling…. .

I am very relieved to be back now with two new tracks. Hope you like them.

On Gift n Curse Principle, Jnn Aprl puts forth her own signature interpretation of “techno”, relying on her art school drop out sensibilities and analog ear. After spending the better portion of the last decade immersing herself in the heartland of electronic music, The Seoul by way of Chicago by way of Detroit by way of Seoul again producer and DJ is proud to present the debut of her new EP as well as her new label, Rene Koala.

Find on the record a set of tracks spanning the gamut, made with the assistance of a MPC 1000, a Prophet Synth, vocal effect and some grit. For the dancers and for the artist alike, each song represents a journey. 'Gift n Curse Principle' employs a minimal beat with raw intention. ‘Freedom Bondage’ taps into a low frequency and steady modulation, emulating a heartbeat. All tracks ask to be heard in their entirety.

This EP was made with support from Piranhahead of Rustbelt Studios and Bill Skibbe of Third Man Records.




c A3. 323 Ear To Ear
[d] A4. DLASM [Don’t Let Anyone Stop Me]

Oro Azul‘s debut offering, ‘Water Seeds,’ takes us through 4 shades of an aquatic garden. Dembow floats underneath the waves while woodblock melodies bubble up through the weeds. Sub bass shifts the tide. Some sounds are moss-like, a protective balm. Other tones come through as minerals and metals, shining in the refracted light from above.

A collaboration between Ultima Esuna and Michael Red, the music of Oro Azul took shape over the course of a year of purposeful and transformative studio sessions. This release follows the pair’s solo releases on DJ Python’s Worldwide Unlimited, Nervous Horizon, and Isla.

Operation_PPRCLP kicks off release SUB010 asking how far will we go in the race for technological advancement, and at what cost? Have we forgotten our humanity as a result? Should we be more focused on how to expand human consciousness rather than trying to command, control and obfuscate or is this just in our habitual nature?

41 Minutes Past Midnight investigates painful emotions around losing loved ones without being able to get any closure, how do we move forward without answers in the face of unexplained, heartbreaking tragedy.

6EQUJ5 aka the Wow! signal first detected on August 5th 1977 shifts the perspective out into the constellation of Sagittarius from where the signal is thought to have originated. In 2022 we learned that 3 distant Sun-like stars within the original antenna-pointed coordinates may provide the answer but at a vast distance of 1800 light years from earth, since then, it's all gone quiet... What world reached out from the cosmos, intentionally or mistakenly...

The final track Celestial Beings asks the age old question of what other life exists across the universe, how advanced are these civilizations that may already be exploring distant galaxies with our shared sense of curiosity and when will we be able to connect collectively with such conscious entities.

Samosa Records roars into 2024 with a sublime four-tracker, the curiously titled ‘(Re)-Funk+Head EP'.

All four tracks have been carefully sized, selected and re-edited by De Gama himself. For those not in the know, Re-Funking is serious business and you can tell De Gama’s laboratory was in full flow in bringing these tracks even closer to the dance floor!

First up on the A-Side are Samosa favourites Dirtyelements & Drunkdrivers with the hypnotic, smokey dim lit club thumper ‘Keep It Coming’. Coming in at a deceptive 115bpm, the bass massages your brain whilst the keys, vocal sample and beats tickle your toes. A deliciously salty and sweet re-edit.

Sneaking up on you is A2 and a track from label boss De Gama himself – the flutey, tootie late night funk bomb that is ‘Some More’. Be warned - this dirty birdie stirs up primordial feelings that are probably illegal in some countries. It’s not an overstatement to say that ‘Some More’ is the definition of pure, adult-orientated funking. Saddle up, put out the camp fire and ride it into town.

A quick flip to the B-side and you’ll find Paul Older’s Sax Francisco (B1) parading down the street in all its splendid glory. Mr Older sure knows how to cook - and served on his sombrero-shaped sun terrace is this fantastic tropical sorbet of a tune. The production is assured and so warm that you lose yourself for the entire 6 mins and 26 seconds in its spell. Expect this to be packed in your summer 2024 suitcase with your Factor 50.

Closing the EP off is the super-talented MB Edit and his deadly groover ‘Got The Feeling’. The serious business of Re-Funking is on full display here – stompy, squeaky clean four-to-the-floor drumbeats, twisted riffs and subtle piano prepare you for the soaring horns, heavenly strings and disco-fied vocal breakdown that used to make lofts bounce and dark clubs heave. A dreamy, relentless journey into the disco ball for those lucky enough to jump in.

(Re)-Funk+Head is another exceptional EP from the Samosa stables and pushes the ever-expanding sonic boundaries with seriously solid production, stone cold grooves and a roster of amazing talent on one EP. A must, must, must have for the record box!!

Ste Hendry Black Light Disco

A year on from the release of his critically acclaimed album ‘Billy Valentine And The Universal Truth’ released in collaboration between Flying Dutchman and Acid Jazz Records, Billy returns with a brand new take on a classic of conscious soul. Returning to the studio with Bob Thiele Jr and the band that is made up Larry Goldings, Pino Paladino, Jeff Parker, James Gadson and John Philip Shenale, he has recorded three new numbers for release on the deluxe version of the album. The first to be released is his take on Gil Scott-Heron’s ‘Lady Day & John Coltrane’ which held audiences in rapt attention when performed live over the last year.

Dominik Krammer's EP, "The Fields As She Left Me," stands testament to his unique style and profound grasp of electronic music and each track within this collection serves as a portal to the human experience. In this musical journey, Dominik Krammer takes the listener on a relentless ride through the depths of longing and the ecstasy of fulfillment. The EP's four tracks, though diverse in their individual flavors, are interwoven by an undeniable red thread—an overarching conceptual foundation consisting of the complex realm of human emotion, ranging from heart-pounding energy and bittersweet melancholy to raw passion and intense rage.


The EP kicks off with its main track, "The Fields As She Left Me," a sonic journey initiated by ecstatic synths and heavy drumworks that set the pace for what follows. The driving arp and caressing lead of "Nocturnal Desires" embody the ambiguity of being lost and simultaneously feeling at home in the night. "Ketaigel" follows suit, featuring a memorable melody that etches itself into your memory, guiding you through a sinister journey of joy and fulfillment. The remix by David Heine for "Ketaigel" introduces a different sonic sphere compared to the rest of the EP, yet excels in capturing and releasing the fundamental emotional world that defines this musical exploration.


As you immerse yourself in the emotional, melodic, and at times, disorderly soundscape of 'The Fields as She Left Me,' Dominik Krammer's prowess becomes evident. His EP not only resonates on a visceral level but also leaves the audience craving for more.This sonic journey is destined to linger in your memory long after the final note fades away, creating an enduring impact that transcends whatever boundaries of electronic music.

Amy Dabbs & Coco Bryce return with a long-awaited second instalment of their collab project ‘Slightly Involved’, in which they interpret each other’s tracks using their own unique production styles & techniques.
‘Slightly Involved Vol. 2’ sees Amy & Coco rework four tracks previously released on their own imprints, Dabbs Traxx & Myor. Amy delivers two tracks in her signature style of coding drums from the ground up, on two of Coco’s highly renowned jungle bangers, while Coco serves up jungle versions of two of Amy’s house tracks from her first EP on Dabbs Traxx, crafting his tunes using lusciously layered breaks.

Vinyl only. Limited

Enter the realm of sonic enchantment with Mixcult Records' latest offering, MCRV015 - VA - Tripping Dubs 3. This exquisite 4-track EP features a diverse array of artists, each contributing their unique vision to create an immersive auditory experience.

Arph kicks off the journey with "Forma Trium" (A1), a hypnotic blend of pulsating rhythms and intricate melodies that set the stage for what's to come. As the music unfolds, listeners are transported to a dancefloor drenched in mood and atmosphere, where every beat is a revelation and every note a moment of pure bliss.

Holm Torrance follows suit with "DP1" (A2), a mesmerizing exploration of deep basslines and ethereal textures that unravel like threads in the fabric of sound. With each passing moment, the music draws listeners deeper into its spell, revealing new layers of emotion and intrigue.

On the B side, Overt's "Square" (B1) injects a burst of energy into the mix, with its sharp beats and infectious grooves igniting the senses and driving the mood to new heights. As the colors of the music dance and intertwine, listeners find themselves swept away by the sheer power and intensity of the track.

Closing out the EP is Martin Aquino's "Apex" (B2), a hauntingly beautiful composition that showcases the artist's impeccable production skills and keen sense of melody. As the music unfolds, listeners are taken on a journey through sonic landscapes that shimmer with emotion and depth, leaving them in awe of the sheer talent on display.

Tripping Dubs 3 is more than just a collection of tracks—it's an invitation to explore the boundless possibilities of sound and rhythm, a testament to the transformative power of music. So step into the groove, and let the journey begin.

‘Out There’, the first album by the duo KOLORA, is a continuous collection of warm and layered soundscapes. The organic guitar sound of Liloe Barend in combination with the synthetic synthesizer sounds of Koenraad Wiering provide a calming sound palette.

The collaboration between Liloe & Koenraad arose during and because of the corona period. Both musicians live in the artist commuity ‘Heesterveld Creative Community’ in Amsterdam South East and were restricted by the corona measures. However, these limitations turned out to be fertile ground for a new musical collaboration: KOLORA.

In addition to KOLORA, Liloe Barend has her own solo project ‘Liloe Rix’ and is a guitarist in the cover band Steam Sister. Last summer she released her new EP with her solo project as a singer-songwriter.

Koenraad Wiering works in the music world as a producer and DJ. You can find him on stage as a DJ under his own name ‘Koenraad’ and also under various pseudonyms including: DJ Beukeboom and 06NRG. In addition to music, he also designins and build light installations.

microCastle’s first offering of 2024 welcomes Adrian Roman back to the label for his second artist showcase. Hailing from Spain, Adrian Roman first rose to prominence in 2021 with a string of superlative releases which redefined his sound, resulting in an aesthetic that was both cutting edge and effortlessly cool. F, nmully formed within the creative confines of his Castello studio, Adrian’s first microCastle project, 2022’s‘ Disturbing the Perception’ succeeded in showcasing his inventive approach to composition, while remaining club-effective, and in turn earning play from Aera, Fideles and Jimi Jules, amongst others. Moving forward the next eighteen months have proved to be impactful for the young Spaniard, recording standout projects for AZZUR and Sum Over Histories, releases which continued to build on his creative acumen, while remaining in the playlists of underground tastemakers Ame and Dixon. With 2024 beginning with Adrian’s latest Sum Over Histories vehicle ‘Oratorical Ability’, the Spaniard now makes a welcome return to microCastle with a six-track showcase entitled ‘This Is What I Was For A Moment’.

From the opening monochromes of ‘Le Sabbat’ Adrian’s craftsmanship reveals itself across this slow-burning piece, one where grating growls, granular flares and panoramic arps ultimately set the pace for the groove-centric ‘Customized Reality’. It’s here where Adrian puts a greater focus on the dancefloor, marrying hopeful vocal phrasing and silky chord stabs for a rejuvenating experience, while a drum-driven drop ultimately charts the course for a finale of deconstructed sonics and post-rave bliss. The haywire electricity of ‘Faces of Belmez’ finds the Spaniard once again flexing his creative muscles, as corrugated bleeps and cataclysmic rhythms provide a vast sense of space, creating the ultimate backdrop for distorted synths to propel choppy rhythms into dark underground passages, and perhaps onto some of the world’s most adventurous dancefloors.

The collection’s midway point is marked by the hypno-architecture of ‘Mind Design’. Trickling reverberations and long sighs of tonal tension wade through its pulsating framework, with frayed effects and thumping rhythms submerged beneath a buzzing panoramic glow. Played by Ame and sitting as one of the project's most enigmatic tracks is ‘TAGDI’ (They Are Gonna Do It). Tinted with contemplative synths and guttural vocals, Adrian’s unique emotionality peaks here, as he crafts a low-slung, slow-building dystopian romance, all while weaving in cerebral manipulations for an unforgettable ride. The mist breaks instantly on the collection’s final piece, as your thrusted into the muscular grooves of ‘Fear Track’. Horrifying vocal stabs strike, leaving the gauzy purple skies of ‘TAGDI’ behind for a more robust romp, one where anabolic bassline, retro-arps and off kilter percussion bring the release to a feverish peak. A fitting conclusion to a diverse collection of music, one where Adrian creates a journey that speaks to the complexities of life against an immersive and challenging backdrop.

Artwork: Maurcio Seidel

Out on the street, indie rock was an exciting way of life for boys and girls alike in the gay 90s. Here's a couple of voices from the fertile Denver scene, Lisa and Hilarie of Secret Square, picking a favorite from the Drag City young galaxy of stars. In addition to Secret Square, Hilarie played drums and sang for The Apples In Stereo and today plays and sings in The High Water Marks. Lisa played bass with Neutral Milk Hotel for a little while and later played guitar, sang and led the band Late Night in Los Angeles.

Lisa Janssen: Way back in 1993, I was working in a record store in Denver, CO. My employee pick of the month was Julius Caesar by Smog. I told the kids, BUY THIS, it's the GREATEST record EVER. I love it so much I'm going to MARRY IT. Raw, fragile, desperation, then triumph over desperation. Bill Callahan knew a special, secret language. My lecherous boss had the audacity to ask me, "What does he mean by "I am Star Wars Today?"

repressed !

Regular Offcial Authorised Vinyl Version, Original Soundtrack, 350g Sleeve, Black Inner, Sticker, 12 140g Vinyl - The first ever OFFICIAL vinyl release of the soundtrack for Mamoru Oshii's legendary science fiction anime film GHOST IN THE SHELL (1995). - LP cut from the original master reels at Emil Berliner Studios, official Ghost in the Shell artwork

We Release Whatever The Fuck We Want Records is thrilled and honored to announce the first ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science fiction anime film GHOST IN THE SHELL (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon), the album comes as a LP accompanied by a bonus one-sided 7 housed in official Ghost in the Shell artwork sleeve with silver gilt printing and a Japanese obi, and contains extensive 24-page liner notes. The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers, alongside Joe Hisaishi and Ryichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme 'Making of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a time

Planete 51 back at it again at the beginning of 2024...

Weird VA with tracks from friends & crew, between Marseille & Liverpool.

Expect strong releases all along this year from the boys !

A sonic journey, a mix of electronic music , advanced pop, a story, a hypnotic trip between Sardinia, Iceland and Ibiza a journey in Kabaret maker style .
limited edition 150 copies vinyl only

Hello roofers, here’s our latest EP, masterfully crafted by the exceptionally talented Guile. This collection is a vibrant journey back to the iconic ‘90s, featuring an exquisite blend of synthesizers and sounds that defined the era. Immerse yourself in the fusion of Progressive Trance and House, enriched with the unique additions of whistles, orchestra hits, and organs, all skillfully mixed to recreate the electrifying energy of electronic music’s golden age. Guile’s artistic prowess shines brightly throughout this EP, demonstrating his remarkable ability to transport us back in time with precision and flair. Each track is a testament to his talent, offering listeners an unparalleled auditory experience that resonates with the spirit of the ‘90s while standing out in today’s music scene.

"Retrospect X anniversary release - Reshaping the 70s, 80s, & 90s with the sounds of now."

ABRAN, the young French electronic music producer, presents 'Doppler'. This new EP is the fruit of new experiments in the studio. He has found a way to distort the sound and spatialise the instruments so as to immerse the listener in a unique sensory journey. The aim: to translate the famous scientific phenomenon of the Doppler effect into sound and image.

Embark on a journey that combines space observation, underwater movements, interstellar travel and extraordinary sensory phenomena... 'Doppler': new EP soon available in Dolby Atmos!

Coral Morphologic and Nick León’s Projections of a Coral City marks a series of collisions between distant
worlds: the organic and the artificial, the Eocene and the Anthropocene, sea and cement—and even, perhaps, ambient music and activism.

Coral Morphologic are the Miami duo of marine biologist Colin Foord and musician J.D. McKay; since 2007, they have used a variety of multimedia projects to generate environmental awareness of marine biodiversity—most notably Coral City Camera, an underwater webcam streaming live from an urban reef ecosystem in PortMiami.

Their citymate Nick León is a linchpin of South Florida’s contemporary leftfield electronic scene, with releases for Tra Tra Trax, Future Times, and NAAFI, and credits on records by Rosalía, GAIKA, and Iceboy Violet, among others.

This collaborative project dates back to 2022, when Coral Morphologic mounted a monumental projection-
mapping installation on Biscayne Boulevard. For five nights in late November and early December, macroscopic films of corals played out across the exterior of Knight Concert Hall. The installation was, on the one hand, a glimpse into a possible future, imagining how the city’s skyline might appear if unchecked global warming and rising seas led coral reefs to colonize the built environment. But it also represented a look back into the deep past, a reminder that Miami is literally built from marine limestone mined from the Everglades. Its concrete foundations began life, eons ago, as a marine ecosystem—the same ecosystem that may one day reclaim them. As above, so below.

As an album, Projections of a Coral City is a suite of interconnected movements spread across two sides of vinyl. The tones are watery, the mood elegiac, the colors a washed-out pastel. Forms that appear static on the surface gradually open up to reveal hidden depths teeming with microscopic movement. You might detect resonances with other aquatically minded works—Jürgen Müller’s Science of the Sea, Harold Budd’s liquid piano compositions, even the slow-moving melancholy of Dr. Roger Payne’s Songs of the Humpback Whale. But ultimately Projections of a Coral City creates the impression of a world unto itself—a hauntingly beautiful space at the meeting point between sorrow and hope.

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Balmat is a label with a cloudy outline. Jointly shepherded by Albert Salinas and Philip Sherburne, two friends living in Cardedeu, Catalonia, and on the Balearic island of Menorca, Balmat grew out of Lapsus Radio, a weekly show born almost ten years ago. Balmat’s mission is simple: to foster new ideas, expand upon personal obsessions, and put enveloping sounds out into the world.

“Balmat” means “empty” or “void” in Catalan. But quite apart from any negative connotations, we prefer to think of it in terms of possibility: a space waiting to be filled.

Mikal Asher, a scion of Jamaica's Morgan family dynasty, reunites with Chocolate Star Records here and does so with a collaboration with disco legend Gary Davis. Asher, akin to his brother Denroy Morgan, upholds the family's legacy of righteousness through music. Known as the Binghiman, he crafts captivating tunes with profound lyrics and has recorded in Ghana's Hustle Hard Studios and collaborated with industry pioneers in Kingston and Brooklyn, setting new standards in musical excellence along the way. Here, 'Wicked Ah Fi' transforms into a modern dub stepper, while 'Black Woman' offers a soulful, laid-back dedication to Davis' wife, Sonjia. This 12" also comes with innovative remixes from California-based DJ and producer Knoe1.

Überkeine sets the tone of his own record label with four esoteric tracks, designed for the club. An obvious intention to establish a radical style with conceptualized sonorities, is revealed throughout the Ep. The sound materials are elaborate, and go straight to the point. Obsessing over the flow of creativity offered by his modular synthesizer, he delivers a very dense techno and already affirms a well-marked identity. Powerful and textured kicks, intricate synthetic sounds contained in an arrangement reduced to the essential. The tracks come to life as the forthright reflection of the thoughts of the producer. Guillotine Whistle instantly plunges into the unbridled world of the Ep. An ominous atmosphere hovers over our heads as it reveals organic and disconcerting tones. A gentle brutality emanates from this whistling guillotine that awaits to cut you up in two. Leading the way towards Drifting Data, a track inspired directly from Jungle Patterns. Überkeine is humbly trying to render DnB to a techno format. The dense, saturated Bassline sustains the idea of breaking the dancefloor in pieces. A hard hitting, broken beat environment accompanied by heavily filtered synthetic chaos. Third track’s the charm, the B side starts with Mirror Moist. A drop-down, wet and straightforward techno track with a carnal Bassline. As sensual as it gets, this track conveys a kinky loop urging intimacy and blasting heat throughout the club. Last but not least, Shaney’s remix of Mirror Moist. Picking up core elements of the original vibe and translating it into the off-beat techno nightmare it deserved to be. Full-on obscure dancefloor piece of equipment.

Griffé is back and starts 2024 on a high note with Five Ten, Lausanne based producer & dj, co-founder of Flight Mode. His Surveillance EP highlights his love for acid, breaks & electro while delivering a gloomy and anguish atmosphere. Four powerful tracks for the darker hours of the night.

2024 edition of the single that marked the return of Joe Bataan in 2004. A dancefloor favourite by the King of Latin Soul!

Back in 2004, Vampisoul was extremely honoured to play a role in the return to recording of the legendary Joe Bataan, which fully materialized in the lauded 2005 album "Call My Name", written and produced by Daniel Collás. But first came out the preview 45 'Chick-A-Boom' / 'Cycles Of You', which quickly became a DJ favourite and guaranteed dancefloor filler, long out of print until now. Let's hear Collás explain how it all happened:

"This whole project grew out of a song called 'Cycles of You', which I had written around 2000-2001 with the guitarist and bassist of my band at the time, Easy. The chord progression and vocal melody really reminded me of Bataan, and it occurred to me that it wouldn't be impossible to get him into the studio to do a guest vocal if we ever recorded it. I had met Bataan a few years before at a small, family-reunion style show at the Nuyorican Poets Cafe in my neighborhood, where he not only still sounded great, but was also gracious and easy to talk to.

"By the time we got around to recording with Easy, the band was about to break up but we still had the studio booked. We all agreed that we didn't want to continue as a band, but at the same time, it would be a shame to never record what we had been working on. Around this time Bataan was playing out again, so I went to the show to see him and find out if he'd be interested in doing some vocals with us. He was agreeable, so we decided to turn it into a Joe Bataan session and do 'Cycles of You'. The funny thing is, 'Chick A Boom', a live favourite with Easy, was hastily added so we could have a B-side, but it ended up chosen to be the A-side of the single."

DJ Support: Danny Krivit, Craig Charles (BBC Radio 6 Music), Hallex M, Jazzanova, Delite Radio, Mi Soul, Pointblank, Totally Wired Radio, XFM, Radio Solar, Tony Minvielle, Simon Phillips, Chris Phillips (Jazz FM), KCRW DJs, Ian Friday, Aroop Roy, Samantha Badd (Café Del Mar), Mr. V, Simon Harrison (Basic Soul), Greame Park, Mike Fossati, Timo Mass, Deli G, Servino (Horse Meat Disco), Hyenah.

‘Badly Written Songs’ is, of course, a tongue-in-cheek title. It comprises a carefully structured and well-produced array of songwriting, topped and tailed with live instrumentation, commanding vocal performances and high-end production: the result of years of sound engineering and music production experience. Since the last album, Ross Hillard has continually honed his skills whilst earnestly crafting this sophomore long player. As well as developing a range of audio plugins, Ross also manages recording sessions at his own Paddocks Recording Studios: huge live spaces boast cutting-edge technology, integrated with distinguished analogue kit. The studio is complemented by a collection of prized microphones, together with a fully-restored vintage Raindirk mixing desk.

The opening track and first single from this album is the positively-anthemic gem entitled ‘Good Morning Sunshine’. It tells a forward-looking story promoting the merits of getting back into the driving seat of life. It’s propelled further by superb jazz-inspired drums and live horns that build up to an exhilarating crescendo. Featuring the vocal talents of Sophia Marshall, the story she paints is supported by a wonderful, darkly humorous cartoon video. An animated cadaver hilariously acts out her notions of positive living.
Other tracks also destined for a single release include: ‘Loving You’. It’s a song written around love lost. A bouncing house composition lays the foundations for Sophia Marshall's beautiful vocal that narrates the many facets to be found in loving another person. ‘Better’ again echoes jazz-inspired drums behind Sophia's vocals, drawing attention to how so many people are lost on their devices, missing out on the awesome world around them. A catchy chorus chants the notion behind this song, i.e., that you ‘could be better!’ This single is also supported by another fantastic video featuring the same comical, deceased character introduced through the ‘Good Morning Sunshine’ video.

2025 Repress

Chicago legend, Green Velvet, returns to Toolroom as he locks horns with label founder Mark Knight and studio partner, James Hurr, for 'The Greatest Thing Alive'. A low slung, chunky affair that screams Miami Space terrace at 8am! Quirky, full of character and Green Velvets unmistakable vocal re-work of the classic 'Mannish Boy' from Muddy Waters pushes this record into a really special place. Green Velvet debuted on the label back in 2015 alongside Technasia with 'Suga', a record that went onto to be an overall Beatport #1 and remained as their highest selling track for many years that followed, the track also sits on an impressive 9m streams. On the flipside, head honcho Mark Knight, returns with studio cohort and DJs favourite James Hurr, as they take on one of House music's all-time classic records; 'Lady (Hear Me Tonight)'. No messing around, Mark and James offer up an alternative take to this stone cold classic, bringing the infectious vocal and iconic guitar riff to the forefront, mixing into a signature Mark Knight club heavy beat. Having previously collaborated on 'Make You Happy' with Todd Terry and last year's 'You Are A God' with vocalist Cari Golden, Mark Knight and James Hurr are fast becoming a killer duo in the studio, and throughout the scene. Offering up a killer reinterpretation of legendary House classic 'Lady (Hear Me Tonight)' by French House duo Modjo, a record which transcended the boundaries of dance music back in the early 2000's and has since become a record synonymous with the era. True to form, Mark Knight and James Hurr mix their musical prowess together and deliver yet another stomping hit for the clubs!

Countless radio plays on Radio 1 from Danny Howard, Sarah Story, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

This time, they’re featuring another fellow Ukrainian talent – Victor.B. As you may already know, he’s one of the best live acts in Ukraine (in my opinion), so his tracks are always highly anticipated.

The one we’re diving into today, “Robato,” is a minimalist electro piece loaded with A LOT of vocoders. It sounds like a perfect tool to me. I heard it live, and I can guarantee you – on a great soundsystem, it’ll sweep you away for the entire six minutes.

Another B-side gem with a Japanese name, “Yoshimitsu,” continues the vibe perfectly. The buzz in this one might be even more intense than in our premiere. Pick your weapon. On the flip side, “Remember” reveals a different side of Victor.B with its pace and almost trance-like groove, maintaining a gloomy house vibe and no “rave in the forest” elements here. “Bio10,” the final track in this review, is a bit more subdued yet still lively and very dancefloor-driven.

Lee, a musician from Clewiston, Florida, gained prominence in the 1990s as part of the hip-hop duo Straight Coffee For George with friend Antonio 'T-Lyfe' Humphrey. He later formed The Square Egg, known for blending hip-hop, funk, jazz, and soul, earning recognition in Miami and New York. As a solo artist, Lee played renowned venues in New York and Buenos Aires, releasing albums like 'Naked' (2010), "Reasons To Buy This Album" (2014), and '2+2=5' (2017). His 2022 album, 'Maybe Now,' was a lush musical journey influenced by his life in Buenos Aires. His latest release, 'The Reprieve,' continues to push musical boundaries.

Matt & Lee team up with the grammy award winning Terry Hunter to deliver this soulful house weapon ! Matt & Lee also deliver a killer Masters At Work inspired soulful house mix. Jazz Apple smash out a Mario Biondi style jazz mix that fits the Jazz & Northern Soul Market.

Kaiserdisco share their first Drumcode EP in eight years. With a knack for clever vocal hooks and crisp production, Kaiserdisco are never far from Adam Beyer’s thinking when it comes scheduling Drumcode releases. With this in mind, it feels almost unbelievable to think ‘Error in the System’ will be the duo’s first EP on Drumcode since 2016.
In recent times the pair has contributed tracks to the label, highlighted last year’s ‘Get on the Dancefloor’ on A – Sides Vol.12 and their popular single ‘Together One Time’ from 2022. ‘Error in the System’ marks their return to the EP format and is an absolute treat. Lead track ‘In the Music’ is a trippy roller that lures you into a dancefloor trance via an addictive vocal hook, before morphing into an acid - drenched stomper in the second half. The title track is a peak - time head spinner, characterised by muted tones and industrial effects, it’s an eerie and powerful slice of club machinery crafted for maximum impact.

Our very own Sweat Sampler has landed and Vol. 1 kicks things off with four exceptionally Sweaty bops. Firstly, GRAMMY award-winning producer CID joins forces with Italian DJ duo Havoc & Lawn for an epic rework of America's 1972 hit 'A Horse With No Name'. Followed by ‘Come Out’, a product of the new project Saturday Love from Fiorious and Boston’s Kon, fresh off The Vision’s instant-classic Defected LP and 9 million streaming anthem ‘Heaven’. Flip the vinyl and you’ll then find the mastermind who seamlessly combines the underground with a house twist, Marco Lys, as he teams up with Sweat homestay Ben Miller for the funky crowd-pleaser ‘Give It To Me’. Top it off with one of Australia’s most adored dance acts, with over 100 million streams, Platinum and Gold plaques and numerous triple j ‘most played’ hits, Set Mo gives us the feel-good ‘Could I Be’.

In 2019, Susan Cadogan's first live performance in Italy with Magnetics will be released on LP! The album includes the chart-topping "Hurt So Good," produced under Lee Perry, Jump Up! and features hits from her 48-year career, including the 2017 comeback track "Take Me Back," which garnered a great deal of attention upon its release on the label, and "My Oh My," a duet with The Magnetics that sold out immediately after its 7-inch release. It was an unforgettable night of performances of the greatest hits of her illustrious career.

Diogo Silva, Nuno Fulgêncio and Rui Martins collectively go by the name Bardino. With their sound consisting of an inventive mix of
electronica, rock, jazz, the Porto-based trio are pushing their sound into unchartered waters. A feeling that will be reinforced after
experiencing their new album, ‘Memória da Pedra Mãe’.
Their enthralling music draws upon the imagery of the beautiful and rugged scenery of their home country. ‘Centelha’ , their previous
album (released by Saliva Diva in 2020) was recorded in Chaves,
in the very remote region of Trás-os-Montes. Their 207 EP of the same name was created in the rustic heart of Serra das Meadas. In this
latest offering, the mention of "Pedra Mãe" (Mother Stone), refers to a rare geological phenomenon popularly known as "breeder stones"
found in isolated, deserted, and inhospitable places. On the inspiration of the new album, they explain that they want to refer to "the
importance of collective memory in the cohesion and identity of communities and the process of creating new memories, a process that
is both natural and conflicting, since it mirrors a tension between past, present and future".
The album was recorded in the summer of 2023 at Arda Recorders in Porto and produced by João Brandão and Rui Martins. In this
new material, Bardino's resources expand: Nuno Fulgêncio's drums, Diogo Silva's bass and Rui Martins' veritable arsenal of keyboards
(acoustic and electric piano, various synthesisers) are augmented by the alto and tenor saxophones of Brian Blaker (who stands out in
"Memória" and "Black Mica"), the guitar of Leonardo Outeiro (who features on "Punctum No 2") and, already indicating their affiliation
with the Porto label Jazzego, Hugo Oliveira, who records as Minus & MRDolly (and is a guest on "Pedra Mãe") and Sérgio Alves, aka
AZAR AZAR (who plays piano and Moog on "Tília"). Bardino's entry into the increasingly unavoidable Jazzego catalogue also reinforces
their obvious links to a new wave of projects that have been experimenting with different tangents to the notion of "jazz", taking this
music as part of a wider set of coordinates.
Over the course of eight tracks, and clearly benefiting from the distinct imprint of the recognised quality work of João Brandão, one of
Portugal's current best producers, Bardino presents dense, deeply cinematic music of the highest definition, in which the different
instruments translate a broad emotional and visual landscape, with solos of enormous elegance arranged over grooves that induce the
idea of movement. All the musical coordinates mentioned earlier are present, but perhaps in this new material you can feel a greater
fluidity, certainly the result of honing the vision of the central trio through a vast experience collected on stages all over the country. And
there are even echoes of a decidedly Portuguese songbook, as is so clearly felt in "O Semeador", something new in the range of aesthetic
references embraced by Bardino. This is, in fact, music that thrives on a benign tension between past, present and future, in the sense
that it embraces traditions and history, seeks a new framework in this diverse now and dares to project itself forward. Because the future
is the best of all locations.

Transversales Disques proudly presents Alain Goraguer Rare Soundtracks & Lost Tapes.
French composer Alain Goraguer who first made a name for himself as a sideman and arranger for Serge Gainsbourg wrote very few soundtracks, but amongst them, the legendary La Planète Sauvage (1973) is an absolute staple of France’s essential music.

During that same period of time, Goraguer wrote two rare and beautiful scores using the same masterclass arrangements. On L’Affaire Dominici (1975), Alain Goraguer creates a theme of great melodic clarity from a palette of breathy flutes, clavinet D6 baroque textures, wah-wah guitars and slow-paced drums that clearly reminds La Planete Sauvage’s atmosphere. The same can be said about the score of Au delà de la peur (1975) with its descending clavinet melody, twanging bass riff, funky drums and flashes of bended electric guitars. This record also includes never before released tracks found in the vaults of French national radio: beautiful and timeless orchestral compositions recorded at Studio 105, Maison de la radio.

REMASTERED FROM THE ORIGINAL MASTER TAPES

Reunion's major musical genre, Maloya, becomes "gazé" (crazy) through the sounds composed by Grèn Sémé for this new EP.
A gassed maloya that combines direct inspiration from the purest line of this traditional réunionese music with the highly contemporary evolution that is the Grèn Sémé group's signature.
Composed during the studio sessions for their latest album, "Zamroza", the first three tracks on this new EP reveal the sunny side of the Creole band.
You can taste their love of lyrics and their thirst for discovery. And the right mix of compositions. Inspired by the tradition of the greatest song/percussion pieces in the island's history, Grèn Sémé offers three anthems that lend themselves perfectly to the remix exercise.

Deluxe bonus: the 3 Remixes of Voilaaa + La Dame + Guiss Guiss Bou bess
Voilaaa and the fabulous Bruno Patchworks take on "Siko" to create a Cape Verdean ballroom hit.
funana with its heady melodies, it's ultra danceable!
La Dame, producer and DJ from Belgium, remixes the eponymous track into an effective batida for the dancefloor, DJs and dancers alike.

Guiss Guiss Bou Bess take remixing a step further, adding Senegalese sabars and the vocals of group leader Mara Seck to Carlo de Sacco's Alkol.

Well Curated is a series of releases and parties that - in its own words - "reflects the ethnomusicology of the last 50 years of music" - and aims to reach into all genres, merging classic styles and breaking down barriers. Steve Spacek occupies the A-side with the breezy broken beat and soul-in-space of 'Alone In Da Sun', while Lukid's 'Hair Of The Dog' is a more intense counterpart, with wobbling sub-bass and swirling, surging atmospherics hovering above.

Three years have passed since 747 last set-free works from his studio. He makes the wait well worthwhile as he emerges with two exquisitely dreamy and emotionally charged compositions in this cinched two-track record.

repressed !

Office 04 circles in memories: The record is about Johannes 'Iron Curtis' Paluka's time at Karl-Marx-Straße Berlin where he used to live next door to label head Baaz and graphic designer Chris Fladung.
A1 track 'Magnet' is an ecstatic piece of house music holding all elements IC's production is esteemed and loved for : Heavy, unrelenting kicks, rolling bass lines, shimmering pads, topped with searing hot yet gamelan-like synts and an icing of slightly loose, detuned organ stabs predesting grand emotions on any dance floor. 'What happened happened' surely marks up as another proof of Curtis' fearless takes on house music: distorted field recordings and blurred spoken words, a web of gossamer melodies and subtle clicks and cuts, all cohered by the louche bassline and the reshuffled groove in a true dilla-ish vein.
Adapting elements to their own agenda, clandestine groove explorers Berg turn 'What happened' into a true midnight roller: razor-sharp hihitas join forces with a steam-maschine like percussion, whipping relentlessly in-between kick drum and kick drum. Berg cools off their take with prancing melody motifs and strung out pads of the original track, though never loosing focus of the 'reductions' aim: keep the dancer dancing.

Four years ago, Francesco Strippoli debuted on Bordello A Parigi with Universal Oneness followed by the analogue rich Prison Planet EP. Once again, donning his Armonics alias, the Bari based producer returns with four tracks for Future Echoes. The synthesizer warmth that has characterised past releases is immediately present. At the heart of “Floating High” is Strippoli’s keyboard work. Beats are crisp and understated as waves of melodic murmuration bob and weave to perfectly complement each other. A steady kick introduces the textured title work. Warbling notes give way to bolder chords, chords that are blurred by shimmering arpeggios as layers of harmony expand and unfold. Nostalgia meets the needle on the flip. “Retrospectiva” blends subtle shades with brassy extravagance, the sun and romance of southern Italy radiating in tempered brilliance. The energy of “Music and Lights” closes. Throbbing keys are further fortified by swirling synth stabs, the intensity being ratchetted up to boiling point in this dancefloor delight. Quality through and through.

Demon Music are happy to present – Electribe 101 - ‘Electribal Memories’, this stunning half-speed master vinyl edition cut from the original tapes by Barry Grint at Air Studios. Formed when Hamburg-born / London-based, sometimes S’ Express member Billie Ray Martin hooked up with four musician / producers from Birmingham, Electribe 101 instantly hit upon a sound heavily influenced by the de rigueur deep house sounds of Chicago and Detroit but with a distinctive European twist. With Billie Ray up front, with a voice like ice on fire and looking as if she’d stepped forward in time from a circa-1966 Mary Quant catwalk, the band were instantly snapped up by Mercury Records, and taken under the wing of Pet Shop Boys manager Tom Watkins. The band released five singles in the UK, and all featured on their debut album ‘Electribal Memories’ – ‘Tell Me When The Fever Ended’, ‘Talking With Myself’, ‘You’re Walking’, ‘Lipstick On My Lover’ and an incredible cover of Odyssey’s deep soul classic ‘Inside Out’. When the album arrived in 1990, it was an instant hit with critics – immaculately produced, poised, luxurious and soulful, it was difficult to believe it was a debut record at all. After ‘Electribal Memories’, Electribe 101 called it a day. Since then, the album’s reputation has grown in stature and many of its’ singles’ attendant remixes have become sought-after rarities. The cultural earthquake prompted by the late-1980s arrival on these shores of house, acid and rave prompted many a legendary club night and a generation of superstar DJ / producers. While there were a myriad of great club tracks produced in that heady period between 1988-1991, classic albums from the scene were rather more of a rarity. One towering exception was the debut by Electribe 101…

Since the early 90s Rotterdam is known throughout the world of dance music for its many influential creative endeavours and one of these was the short-lived label See Saw. Active between 1991 and 1995, the label was the home to mostly Dutch producers who were just dipping their toes in the waters of house and techno. Or, who already had a whole leg in like Speedy J.

Sandwiched between two of his early releases as The Melody (Discogs detectives know what’s up!) sits The Jewel EP, the only EP Gijs Vroom did under his Diamonds & Pearls alias. A kind stranger online once described the record as effective and joyful and we couldn’t agree more. It’s a mixed bag of zippy breaks, swirling pads, tight Lately basses, and foxy vocal snips and like many records of the era it maximises charm with minimal equipment. It’s these kinds of twelve-inches that stood at the cradle of the Dutch house sound and so it is very deserving of a little nook in your record bag.

We’re hugely excited to announce the brand new album from Dee C. Lee - ‘Just Something’, out 22 March on Acid Jazz. It follows the incredible response to the new single ‘Walk Away’ and last year’s double-sider ‘Don’t Forget About Love’ / ‘Be There In The Morning’, marking the return of one of the UK’s most revered soul singers. Dee is known for her work with The Style Council, Wham!, Slam Slam and Animal Nightlife, and an illustrious solo career (including the Top 3 hit ‘See The Day’). ‘Just Something’ is her first new record since 1998, and her debut for Acid Jazz. Available on LP and CD, all pre-orders from the Acid Jazz Store will be signed by Dee.

‘Just Something’ features 11 songs: nine originals co-written by Dee, a song penned by her daughter Leah Weller, a successful singer/songwriter in her own right, and two inspired covers. Produced by Sir Tristan Longworth, the album is a soulful collection that frames her instantly recognisable vocals in luxurious horns, percussion and keys, and heritage soul with a disco backdrop. While making the record has been a collaborative process, ‘Just Something’ is nevertheless the sound of a singer in charge of her own style and direction. Her vocal delivery and phrasing steal the show throughout, bright and lilting one moment, passionate and ringing the next. She cites Chaka Khan and Jean Carn as major influences, but Lee’s voice is resolutely her own, the product of a life lived.

Inspired by classic Motown, current single ‘Walk Away’ was written by Dee with one of her ‘brothers from another mother’, former fellow Style Council member Mick Talbot, and features Talbot’s distinctive piano and Wulitzer playing on the track. Talbot also plays on another of the album’s many standouts, the Leah Weller-penned ‘Everyday Summer’.

Three of the album’s songs, opener ‘Back In Time’, first single ‘Don’t Forget About Love’ and ‘How To Love’ were co-written with Michael McEvoy and Ernest McKone, whom Dee wrote with back in the 1980s. All three songs channel her musical past, from the thrill and excitement of those early Wham! days, going out and partying, to The Style Council’s trademark jazzy soul, and expressive balladry and killer choruses, which places Lee in the lineage of classic soul singers.

Elsewhere, on ‘Anything’, co-written with Paul Barry, Dee sings her heart out on a song full of optimism and hope for the future, while ‘For Once In My Life’, the oldest song here dates back to 1998, is effortlessly commercial and has hit written all over it, with Lee empowered and regal sounding over a warm blanket of bassy funk.

The album’s two covers, meanwhile, were both suggested to Lee by Acid Jazz’s Eddie Piller. In Lee’s hands, Renee Geyer’s ‘Be There In The Morning’ is pure celebration, taking its cue from the Norman Connors version from 1979. ‘I Love You’, written by Don Blackman and recorded by Weldon Irvine in 1976, could have been written with Lee in mind. A big club tune, Dee recalls hearing it everywhere she went and I wanted to keep as close to the original vibe as she could.

Dee’s relationship with Acid Jazz the goes back to The Style Council days, and it was the 2019 documentary ‘Long Hot Summers’ that renewed Dee’s friendship with label founder Ed Piller and director Dean Rudland. We’re honoured to release this record and be a part of Dee’s return to the forefront of UK soul music.

Tilman is back on Off Track with a four tracker for your
dance§oor pleasure. Raw and ready, these cuts will take you
back to the good ol’ days. The Mainz based producer has
been on ¦re with a string of 90’s Italo-House styled records
on his Pleasant Systems imprint and they just keep getting
better and better.

We are thrilled to announce our 5th vinyl VA. This time with only Belgian Underground artists. All friends and amigos who met each other during their journey in the Belgian music scene over the years.
A diverse ensemble spanning the House-spectrum, on the A-side we take a more deep and funky approach with UC Beatz bringing his known groovy flavours. Followed by Rawdio with some piano house vibes and bendrik keeping it fresh and crispy as always.
The B-side takes a more clubby turn with Deeleegenz dropping the snares and shuffled percussion in his Deep Jackin tune. Followed by Max Telaer who shows a darker side from himself with an absolute stomper that will set fire to the dancefloor.

Very proud to have them all on board!

Dedicated to the captivating essence of feminine expression, this album pulsates with deep bass and raw emotion. This release is more than just notes and beats; it's a celebration of diversity, creativity, and the profound impact of music on our hearts and souls. Each track is a unique reflection of its creator, showcasing an array of styles and perspectives.

This is the first re-release on 7inch vinyl single of the early Reggae classic “She Caught The Train” by Ray Martell released in 1970 on the Trojan sublabel Joe in the U.K. and later covered by UB 40 in 1983. This original song, a huge hit, has featured on many compilations but has never been repressed as a single, until now…
It was initially released with the track “Tea House From Emperor Roscoe” by Dice The boss on the B side (which we will also release separately on the 22nd of March 2024). On this release, we chose to showcase a super rare Ray Martell song, the gorgeous “Cora” initially released on Attack in 1970.
About Joe Mansano:
“She Caught The Train” was credited to Joe Mansano, real name Joel Mansano who also produced the song. Joel was a Trinidadian who moved to London in 1963. He was a record shop seller, song writer and producer and became heavily involved in the early reggae era producing and writing tracks for several Jamaican artists, enough for Trojan to dedicate a label to him: the “Joe” label aimed at the emerging Skinheads market. He also owned a shop the Joe's Record Centre in Brixton and recorded two handfuls of singles under the name Joe The boss…
About Ray Martell:
“Cora” is credited to Ray Martell himself and was produced by Philligree, an alias for Graham Goodall and Phil Chen. The Philligree duo produced about 20 very interesting singles on a variety of labels with artist such as Desmond Dekker, Millie, Pat Sandy and Ray Martell among others between 1969 and 1970. Although “She Caught The Train” is indeed a famous track, little is known about Ray Martell aka Martel Robinson. Ray was born in St Catherine parish in Jamaica in September 1943. He started to sing at school and church and later on moved to U.K. where he kept on singing in clubs in Coventry and Birmingham … He eventually moved to London where he recorded 4 great tracks in 1970 “She Caught The Train” on Joe, “Cora” and “Loving Lover” on Attack, and “Lover” on Trojan, the last three being written by himself. In 1973 he started his own label “Ray” featuring his own productions but these were unfortunately not as interesting as his previous releases…

Yore is on something like a roll at the moment. Think of Kaidi Tatham's “It never Stops EP”, or the much acclaimed version of Frankie Knuckles Tears by Chicago's Elbert Philips & Andre Espeut or the recent series of classic Detroit Techno Ep's by our very own P0lyrhythm. A lot is to be expected with having had these under our belts. But as you'd expect, we draw out quick, faster than Lucky Luke's shadow - this time with a eeep as its gets Techno EP by ReKaB.

His “My Future and my Past EP” dives deeper into Techno territory and will do get people movin' and groovin` without a doubt.

222 Units Ltd as F*K.

Abstract wonky vibes from the mountain peaks with Luv*Jam & Maria Slovakova

++Plus++ Ridiculously advanced reversions from the one and only Ruf Dug

(as Ruffy himself says “Detroit going off in ya caravan for the weekend”)

++Plus++ A spaced out to the high hills take from sound pioneer Special Characters


3000.10 is the 10th instalment of 14 highly collectable records.

Carnedd Dafydd (David’s Cairn) - 3425ft (1044m).

OS grid SH6628 6305.

Louise van den Heuvel is a dynamic Dutch bass player and composer. She's known for blending modern music technologies and effect pedals in her compositions rooted in the contemporary electronic/jazz scene. Louise founded the up-and-coming Belgian electronic jazztrio Dishwasher_, collaborated with renowned artists on stage such as Zwangere Guy & Lander Gyselinck and Bruno Vansina Orchestra, and is part of Stéphane Gallands' The Rhythm Hunters, The Gallands, and the neo-soul group STACE.

For her latest project, Sonic Hug, Louise composed the whole repertoire by herself. The self-titled album, supported by JazzLab and W.E.R.F. Records, features a stellar line-up of some of the leading figures in the Benelux (jazz) scene: Hendrik Lasure on keys, Daniel Jonkers on drums and Daniel Comerford on reets (live replaced by Werend Van Den Bossche). The band is set to tour in April and May 2024 after its release on 5th of April 2024.

Her own creations expose themselves as elaborated melancholic songs filled with elegant grooves, crystalline vocals and experimental jazz excursions. She's brilliantly using her own musical voice - even literally, since you will also hear her sing on some of the tracks.

?Surrounded by three equally inevitable peer musicians in the front of the new Belgian jazz generation (known from acts such as schntzl, Bombataz, Profound Observer, Otto Kintet, Dishwasher_, Kin Gajo, ...) Sonic Hug becamea very personal, unique new project. Influenced by the sounds of Scandinavia and artists such as ADHD, Nala Sinephro, Floating Points, Y Otis and Joni Mitchell, the vibe of Sonic Hug is etheric, elegant, melodically narrative, and always searching for a grasping groove.

Straight outta Hoxton, Law & Auder were part of that incredible East London jungle scene. Martin (also of Utomica) and Phil made some absolute classics in their time and are often in ‘The rarest jungle records’ lists that float around online, put together by magazines or websites. But they are both incredibly down to earth and humble.

These two tracks were written in 1995 but never released, sitting on a DAT in Phil’s studio ever since. This is the third release by Law & Auder on Vinyl Fanatiks and we are super proud as ever to be working with them once more. And I think this is possibly the strongest release we have done so far by the band.

Pressed by the mighty Phil ‘The Vinylman’ East on 180g heavyweight vinyl. This release is a bespoke product as no one record is the same. Designed to look like the planet Earth and part of a 4 vinyl Cosmik series.

One small leap for man kind…

Once upon a time, many years ago,
when fairy tales existed...

Fairy tales help you stay young,
just like Peter Pan, young forever.

Peter Pan had to invent an island to stay young,
we instead invented Music to stay young.

2025 Repress
Chontane delivers six dynamic techno cuts via his 'Sycamore' EP on Mutual Rytm.

A firm fixture of the VOLTAGE roster and a rising name originating from Ukraine making an impact, Berlin-based DJ and producer Chontane is quickly finding his feet following a string of EPs via ARTS, Lobster Theremin and Rekids Special Projects. Already playing key clubs at the age of just 18, blurring the lines between techno, breaks and electro with his growing trademark sound, his performances across Berlin and beyond have captured the attention of many as he showcases his up-front and powerful sound. Next, he heads to SHDW & Obscure Shape's Mutual Rytm imprint for the first time as he reveals his six-track 'Sycamore' EP.

Lead cut 'Preserved' is a rugged yet soulful opener, settling into a rolling groove guided by crisp hats and sharp stabs, while 'Arakis' propels into more eerie and menacing spheres as waling vocals emerge and disappear into the track's relentless dynamic. Opening the B-side, 'Sitka' fuses jacking drums with playful flute interludes for a production set to get dancefloors moving, while 'Laboe' keeps things fiery as a peppy track which launches into fiesta mode. Closing the flip side, B3 'After Images' reveals the most emotive production on the package,
balancing the hard-hitting kicks with soulful vocals and hazy melodies for a classy slice of techno.

Once again, digital purchasers are treated to an exclusive bonus with 'In Roots' raising the temperature and jumping right back into the action to serve up another energising anthem from a label and artist on the rise.

Red Vinyl Repress!

(Feat. Joe Killington & Duane Harden)

The world’s leading disco house artist Purple Disco Machine teamed up with Joe Killington & Duance Harden to deliver ‘Devil In Me’ which was the first official single taken from his highly anticipated debut LP ‘Soulmatic’.

This vinyl features an extended mix, a Club Dub mix from Purple Disco Machine himself and a mix from one of dance music’s most established and decorated stars, Fatboy Slim.

Los Angeles-based ASHRR are back with a new cut which comes from their forthcoming Sunshine Low album which they have re-interpreted as their ASHRR Soundsystem alter ego, while System Olympia also steps up with a remix on this fine new package from 20/20 Vision. In the hands of the latter, 'What's Been Turning You' is a remix with plenty of hi-fidelity cosmic details over mid-tempo deep nu-disco drums. The version from ASHRR is a chugging and Italo-tinged classic with loose-limbed and jumbled drum funk and plenty of bright, shiny arps. A great collection then.

DJ Feedback

Glenn Underground:
"Nice!"

Bill Brewster:
"ASHHR Sound System mix doing it for me."

DJ Sprinkles:
"Yes I like it."

Pete Herbert/ Disco Deviance:
"Yes Yes loving System Olympia versions herb. Dirty low slung biz."

Massimiliano Pagliara:
"Great stuff!!"

Max Essa:
"This is wonderful, love the System Olympia mixes!"

Franck Roger/ Real Tone:
"Yes!! I like the 3rd remix."

Sean Johnston / A Love From Outer Space:
"Really nice!"

Dicky Trisco:
"Loving this sexy stuff."

Sam Fawcett/ 6 Music:
"Added to the list of recommendations!"

Syncrophone Proudly Presents the Latest Musical Revelation From Fred P, in the Form of the Three-Track Ep, “Preserving”. This Exquisite Collection, Available on a Mesmerizing Transparent Swamp Green Vinyl, Is Set to Captivate Hearts and Minds With Its Unique Blend of Sonic Exploration and Timeless Rhythms. “Preserving”is a Sonic Odyssey That Reaffirms Fred P's Position as a Pioneer in the Realm of Deep House. the Opening Track “The Sound Exchange” Sets the Tone for the Ep, Inviting Listeners to Partake in a Captivating Dialogue of Sound. With ‘Sonic Tour’, Embark on a Sonic Tour That Explores the Rich Textures and Ethereal Atmospheres Crafted by Fred P's Deft Hands. This Track Is a Testament to the Artist's Ability to Weave Emotive Chords and Subtle Percussion Into a Harmonious Blend, Leaving an Indelible Mark on the Musical Landscape. Concluding the Ep Is "The Kingdom," Fred P Showcases His Prowess, Fusing Artistic Creativity With Scientific Precision, Making This Track a Standout Addition to the Ep. “Preserving”is Not Just a Collection of Tracks; It's an Auditory Adventure That Invites Enthusiasts and Newcomers Alike to Delve Into the Heart of Deep House....

RPX 16035 returns with a various, on the A side two tracks by Giuseppe Angeloro with 80s influences. Drum dynamics and abstract sounds composed with the classic keyboards and sounds of those times to complete the 2 grooves.

On the B side, three tracks by Gianluca Pellerano, dark influences and style that recall 80s new wave with the influences of more conceptual techno.

RPX 16035 wanted to collect a retro sound but projected into the future.

Burnin Music bossman Pegasvs returns with his first new material in several years, and it's a classy collection that's been worth waiting for. '(No) Peace' begins the journey: a languid slice of ambient / downtempo beauty with hypnotic spoken word vocals from MA.MOYO which eases you into the EP in meditative fashion. 'Take It' ushers us more towards the dancefloor with some mellow synth-funk stylings and punchy raps from The S.O.S. weaving in and out of Twyla's effortlessly yearning vocals. 'Traffic Jam' is a sumptuous patchwork of deep house motifs, where Rhodes chords, funky guitar flecks and plump bass tones interplay beautifully, and 'La Nuit' rounds off in stripped-back Detroit house style—all murky chord stabs, throbbing low end and classic drum beats.

The final episode of the All & All series presented by UK Tech House master Terry Francis!

É Soul Cultura captain, originator of Manchester’s legendary Electric Chair and definitive people’s champion, Luke Una taps into a lifetime’s worth of musical discovery for the second volume in our Mr Bongo Edits series. A cosmic coming together that sees two of Luke’s secret weapons, re-edited and re-contextualised by the man himself to provide optimal dancefloor euphoria.

A stalwart of the underground for nearly 40 years, Luke has become an appointed leader of the late night disenfranchised, with an unquestionable ability to pick records that make minds tick. Not least through his two É Soul Cultura compilations released on Mr Bongo over the past two years.

A taste that traverses genres as much as it does emotions and decades, who better to give an insight into the tracks he has chosen to edit, than the man himself. “I've been an avid collector of afro-beat house, techno and underground black heart disco since before the basement soul days of Electric Chair 30 years ago. Both these bombs were very much holy grail finds, plucked from the last four decades of digging in random crates of dusty vinyl all over the world.”

First up, Thandi Zulu & The Young Five’s interpretation of Pure Energy’s early ‘80s disco power play – ‘Love Game’. With a distinctive South African synth bass and killer keys combo, Luke explains the original has this “bonkers alchemy of heavy machine soul, uptempo rawness and a majestic disco evangelism”, making it ripe for a re-edit.

On the B side, Lionel Pillay’s Jazz dancer ‘Plum’. “The original was a relentless 18-minute raw jam”, Luke states, “which despite its late ‘70s South African origin kinda reminded me of a 1986 Chicago piano House record”.

“These edits strip the tracks back and rebuild them, giving them more sonic weight with that looped up drum jacking militancy from the days of Chicago, combined with a boosted sense of transcendental, psychedelic, cosmic disco. They have always had such an explosive reaction on so many dancefloors including the heavier electronic club, so it felt only right to reshare them”.

The latest 7" single on Bob Stanley's MEASURED MILE label is a floor-filling double-sider.

The percussion-and-woodwind driven ‘Night Of The Wolf’ has been played out at northern soul nights in the UK, at Brooklyn discotheques in the mid-70s, and originally it was an Italian progressive rock album track. Much loved by everyone. It was issued as a super-rare US 45 in 1975 under the name the Al Foster Band, and this is its first official reissue.

ACT 1's 70s modern soul midtempo classic ‘It’s The Same Old Story’ also got played out in the early discos of New York, Chicago and LA, but it was only ever an album track. This marks its first ever release on a DJ-friendly 7". Get it while you can!