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Berlin's VOODOOCUTS (RESENSE, WONDERWHEEL) transforms classic soul and boogaloo cuts into club ready monsters on this short run, vinyl only 45. On the A side we kick things off with “BREAKING DOG”. The drums don’t wait, with heavy breaks
right off the bat. Then comes the instant classic, hands in the air, sing along vocals. By the time the bassline drops, everybody in spot is grooving. On the flip, breaks meet Latin soul with “VOODOO’S BOOGALOO”. The dancefloor stomper is elevated with funky drums and cut into all killer no filler. Known for his many cuts on RESENSE, MATASUNA, ROCAFORT, WONDERWHEEL, ADEEN, and FRIDAY’S FUNKY, VOODOOCUTS is at the top of his game.

Hand the king of re-edits Late Nite Tuff Guy the keys to an unreleased Silk recording from the ‘70s hey days and you’ve got yourself a recipe for greatness. A’s and Bees line up their second heavyweight 12 inch pressing, with two exhilarating edits from LNTG alongside the first ever release of the original recording. As ever 50% of the profits from this release will be donated towards the British Beekeepers Association.

It's rare to crack the vaults on a recording that’s as good as this, that never saw the light of day. Courtesy of ‘70s Philly International wonders Silk, most famed for their soul sensation ‘I Can't Stop (Turning You On)’ that was sampled by LF System for their 8 week strong number 1 release, ‘Somethin' 'Bout The Way’ has all the elements of a smash hit. As catchy as they come, singalong sensibilities and musicianship of the highest order with vocal harmonies to match, it’s genuinely astonishing that this never got released. Who better to tweak this into an all-out disco stomper, than re-edit royalty Late Nite Tuff Guy. His Disco Dub teases in, loops up and adds extra punch to all the elements that make the original such a standout track, before letting loose those joyous vocals. Big room, full body, DJ friendly business this!

On the B side, the original mix gets it’s first ever release, with LNTG providing a shorter edit of his full throttle re-work to round off the package.

Stoned Part II is Lewis Taylor's pure, perfect dance-pop album. His second self-released album and fourth album proper, it initially appeared on his own label Slow Reality in 2004. It's been licensed to Be With for this long-awaited double LP release, its first ever vinyl edition. Gravely misunderstood at the time by hardcore fans and the music press alike, it has aged quite magnificently. An experiment in the sounds of contemporary pop and dance music, Lewis's wonky take on funky pop would annihilate anything kicking around the charts, then or now. If only it were given half a chance.

Stoned Part II is brimming with Lewis's trademark soul, his singing as beautiful as ever, but the rhythms throughout are more upbeat, the overall sound a more smooth and slicker dance-funk presentation. Roughly half the tracks are absolutely essential, fascinating re-workings of tracks from the eternal Stoned Part 1, as Lewis explains: "When we were doing Stoned we were trying different approaches with everything so we ended up with more than one version of nearly all the songs which left us with more than an album's worth of material. There was a lot of really cool house tunes around at the time which we were both really into and that shaped the sound and production, some songs more directly than others." Amen to that.

The swoonsome, string-drenched opener "Madman" is quite the departure, a bleepy, bumping soulful disco-house record with a bassline to die for. Is there anything he can't do? It's followed by another huge dancefloor stomper, "Keep Right On" again riding another killer bassline over funky drums and featuring Lewis's dazzling vocals. There's no let-up with the sparkling "Reconsider" which sounds an awful lot like Daft Punk meets Nile Rodgers (prescient as ever, our Lewis). The wide-eyed French filtered house vibe is to the fore here, and how this wasn't picked up by someone like Kylie and taken wholesale to the top of the charts is something we'll never understand.

Opening the B-Side, "When Will I Ever Learn 2" really slaps, presenting a breezier, more upbeat funk take on the brilliant original and incorporating "From The Day We Met" from Stoned Part I. "Out Of My Head Is The Way I Feel" is absolutely fantastic and one of Lewis's very best songs. The vocals, self-harmonising and virtuoso playing are next level. To close out the side, "Carried Away" is a real standout, Lewis's gorgeous falsetto riding a quasi D&B groove to begin with before adorning a more classically funky 2-step rhythm. The marriage of undulating synths and guitars is stunning, giving way to Lewis indulging his goosebump-inducing Brian Wilson harmonies.

The funky, Rhythm King drum machine soul of "Stoned Part 2" refashions the original in the style of an unearthed Sly Stone classic, circa There's A Riot Going On. Yes, it's that good. On we then glide to "Positively Beautiful 2" which, if it's even possible, manages to be better than the original. The epic, orchestral opening truly captivates before Lewis truly gets down with kaleidoscopic dancefloor-slaying Philly soul-funk. It's surely tracks like this which help explain why he was soon to be tapped up by Dangermouse and Cee-Lo for the musical director role with Gnarls Barkley. "Throw Me A Line" closes out the side

"Shame 2" is a blissful, restrained version of the massive original, without the crazy psych-soul wig-out. Definitely more radio-friendly, that's for sure. The gorgeous mellow vibe continues with "Won't Fade Away", featuring more Beach Boys harmonies over a barely-there pulse (a version of which later pops up in an altered state on The Lost Album). The album bows out with - you guessed it - a psych-soul wig-out! "Keep On Keeping On", a real highlight, opens with looped sampled drums a la Massive Attack and Lewis's multi-layered self-harmonising again very much high in the mix. It amps up gradually to feature vocals dripping with tune and bite before screaming guitars and crashing drums really blast this whole set into the stratosphere.

Simon Francis’s vinyl mastering, approved by Lewis himself, presents the twelve tracks over a double LP so it sounds exactly as it should. The records have been cut by Cicely Balston at Air Studios and pressed at Record Industry. Allow Lewis Taylor to get you Stoned, Part II.

This limited edition Record Store Day, 10” plum coloured vinyl release features four of Supergrass’ key tracks from 2004-2005. Opening with the melancholic "St. Petersburg" the slow paced thinker that features an iconic and haunting piano riff that charted #22 in 2005 and as of 2022 is their most recent UK Top 40 Hit. Next up is a live version of the classic Supergrass stomper ‘Road To Rouen’ recorded at Somerset House in 2005. The B side opens to a notably different arrangement of their classic track ‘Kiss Of Life’ recorded live at the Portsmouth Pyramid in 2005. Things take a turn as the EP signs off with ‘Coffee In The Pot’, a lively little Surf Rock inspired number that reminds the listener of Supergrass’ unique sense of humour. The artwork has been recreated from the original ‘St Petersburg’ single artwork originally released in 2005, and features the famous statue of Peter the Great, from Saint Petersburg in Russia. Matte paper print finish and printed inner bag. Side 1 1. St. Petersburg 2. Road To Rouen (Live at Somerset House, London, UK, 4 August 2005) Side 2 1. Kiss Of Life (Live at the Portsmouth Pyramid, UK, 29 May 2005) 2. Coffee In The Pot

For our 7th vinyl release, we welcome Berlin based artist ‘Lavan’ to +98.

Producing music for over a decade with a vast musical knowledge spanning funk, garage, house, hip hop to name a few. His sound is a unique blend of tastes for all ears.

Born out of East London and now living in Berlin, the talented Lavan delivers a variety of House & UKG Club tracks that will guarantee to move hips and feet on every occasion its played.

And finally, we have L&F stepping up on remix duties and hits the spot with a House & Garage romper stomper.

Marlon Plein also known as Driven By Attraction, one half of Watching Airplanes is releasing a new solo EP on klakson! Watching Airplanes' 'blue is dope' was already one of the pleasant surprises featured on the klakson 20in20 compilation and the journey continues with 'Last Days Of Innocence'. 4 distinguished contemporary electro funk driven dance floor stompers with an ultra deep twist. Mandatory for serious record bags!!!!!!

The second in a series of self-released Liquid Earth Physical Records, “The Breakdown” is a front flip into curbside clubbing.

The Aside offers two impeccably tight mixes of the 12” title tune, both providing different licks of pleasure for the casual clubber. “Charms Of Gaia” is forward leaning, equipped with big room, big energy type vocal breaks. “Trips & Skips” is an ode to the stripped down wigglyness of one of UK Tech House’s greatest, Nathan Coles - a clear influence of Mr. Earths.

From here, we are sat next to the two black sheep of the 12” on what seems like the most pleasurable road trip of a record. B1 being the beefed-out break tune titled “The Closer” and B2 the straight and narrow slammings of “Cobblestone Stomper,” a track surely given its holy legs by the OG Jerusalem Cruiser.

What you won’t find on this record is senseless filler, instead, you’ll surely be pumping your face with the permanent botox that is Liquid Earth. Now let’s see that smile!

Kerri’s Kaoz Theory label unlocks the vault to two key tracks from the early days of the label that have never pressed on vinyl before.

First up the man himself, Kerri Chandler with a deep, heads down stomper ‘Who’s Afraid Of The Dark’. Kerri at his hard hitting best, as vocal refrains wash over the chunkiest of synth stabs and basslines with crunched up percussion laying the basis for a track that is readymade for smoke filled clubs and pumping sound systems.

On the flip, Josh Butler ‘Sunday Club’ goes deep down the rabbit hole effortlessly moving from ethereal elegance to twisted machine energy, showcasing that light and dark can sit together seamlessly to produce something seriously special.

Amniote editions readies the DCX capsule with two beat oriented releases focused on tripped out atmospheric sounds.

Moloch Horridus debuts with four beautiful cuts of electro belters spanning from straight-in-your-face-no-bullshit stompers to more meditative moods.

DCX-4: Moloch Horridus - Self Guard EP
12” & digital
All tracks written & produced by Tred

Parietal Eye returns in collaboration with Cantil for two versions of Final Destination - explorations of sizzling hi-tek sci-fi soundscapes and turbo-driven drum programming.

DCX-6: Parietal Eye & Cantil - Final Destination
Mesh print & digital
All tracks written & produced by Yuri & Internazionale

The artwork is designed and imagined by Amniote household art director and co-founder Rose Marie Johansen.

The first thing that grabs you about Altin Gün"s new album is the energy. With Ask, the Amsterdam-based sextet turn away from the electronic, synth-drenched sound of their 2021 albums, Alem and Yol. While those two, created at home during the pandemic, paid homage to the electronic pop of the 80s and early 90s, Ask, marks an exuberant return to the 70s Anatolian folk-rock sound that characterised Altin Gün"s first two albums, On (2018) and Gece (2019). But there"s development here too. Ask is the closest the band have come so far to capturing the infectious energy of their live performances. "It"s definitely connecting more with a live sound - almost like a live album," says bassist Jasper Verhulst. "We, as a band, just going into a rehearsal space together and creating music together instead of demoing at home." "We didn"t record it like we did the last album," agrees vocalist Merve Dasdemir. "We basically produced that one at home because of the pandemic. Now we"ve gone back to recording live on tape." How many more worlds do Altin Gün visit in this joyful expedition? "Rakiya Su Katamam" is glowering space rock as though Gong had taken a stopover on the Bosphorus. "Canim Oy" is a psychedelic freak-beat stomper from a world where Istanbul"s Kadiköy district was the Carnaby Street of the east. "Güzelligin On Para Etmez" is a dreamy acid-folk anthem. And the finale, "Doktor Civanim," is an irresistible slice of sci-fi disco camp with lava-lamp synth squiggles that wouldn"t sound out of place next to Baris Manço"s "Ben Bilirim." Fresh yet timeless. Rooted in antiquity yet yearning for heavenly futures. Ask wants to take you places. All you have to do is strap yourself in

Luke Slater and Ashley Burchett return as Roog Unit for new EP on Mote-Evolver.

Following a string of collaborative EPs throughout the years, Mote-Evolver boss Luke Slater and Ashley Burchett (Ø Phase) return under Roog Unit to Slater's imprint, delivering another set of mind-bending, boundary-pushing techno tracks tried and tested in their back to back sets under the alias.

Leading the release, 'Bash Box' brings a high-energy stomper peppered with menacing kicks and siren-esque leads, coming in at a blistering 156bpm. 'Don't Let Go' follows with tripped-out vocals and tweaked basslines making for a heads-down cut. On the flip, 'Koox' sees the duo reach for wonky, twinkling synths atop a fierce sizzling drum hook. 'Sanity Regard' takes the B2 spot, rounding out another stellar EP from two of techno's most revered talents.

The releases arrives as part of Mote-Evolver's new series of in-person artist collaborations, with each EP capturing the creative moment as it happens, with results aimed squarely at the dance floor. Each release has artwork combining one item from each artist, which means something to them, into one new image.

Here you have the second EP part of Minimono "Half Way Trough" mini saga.
Bosco050.5 follows the sound of the previous one serving four most exciting electro, italo-disco and acid infected floor burners!
"Run it Back" is a simple and dry tune, has those big cutting edge sounds typical of the early 2000 80's contaminated electro.. perfect for your starting set or in recreating that unique atmosphere.
On the A side follows "Half Way Trough", an effortlessly driving tech-acid house tune, strangely compelling, with a timeless feeling.. looking like an essential weapon for any dancefloor.
B side starts with the spicy electro-disco tune "Over The Machines" epic and functional at the same time with evocative arpeggios and a mechanical vocodered speach.
The Ep ends with the cyberfunk stomper "Revolution" , a twisted electro funk groover in typical Minimono vein.
Fabio Della Torre and Ennio Colaci celebrate this 50th.5 release on Bosconi in great style, remodernising the sound that they used to like when they first met in the early 2000, under the influence of those Berlin labels like Areal, Sender, Festplatten, Funkhaus, Beautycase, Lasergun, Gigolo.. and all of those labels who trademarked the sound of those unforgettable Berlin day

The first of for the tone for his work for the company: Leon Russell Freddie King ’s Shelter label set ’s three albums
superb electric blues with a prominent rock/ soul influence. The massive Texan and the longhaired Oklahoman got it right the first time
around with the aptly titled Getting Ready LP. Recorded at the legendary Chess studios in Chicago, it might well rank as Freddie King’s most creatively satisfying work.

An array of styles is assembled here, ranging from deep Texas Blues to touches of country church Gospel and hard sockin’ funk. Also, Freddie delved deep into blues history to give his spin on some classic pieces of the genre. Elmore James’ “Dust My Broom” is done acoustically, with just Freddie and his Spanish guitar. The production on Jimmy Rogers’ “Walking by Myself” is equally low-fi, adding Russell’s honky-tonk piano ramblings and a tambourine.

Willie Dixon’s “Worried Life Blues”, however, features King at his most powerfully expressive on this electric blues. The fast-paced stomper includes lightnin’-fast solos from King and he can be heard duelling with the studio guitarist Don Preston, as well.

clear vinyl

Stephen Disario delivers four-tracks as the debut release on his newly-launched imprint, and in so doing sets the tone for the output we can expect in years to come: driving basslines and infectious percussion crafted with meticulous perfection.

Throughout the four tracks, Disario showcases what he does so well as a producer: groovy, funky techno that will always find its home in a proper underground techno setting.

The EP starts off with "Under The Rug", an hypnotic masterpiece that sucks listeners in and takes them deeper and deeper as the track's intensity builds and reaches its peak. "Walking Through Trees" is next, picking up the tempo with an added groove carrying the track throughout... a real dance floor mover.

The pace continues with "The Marathon", a percussion-driven stomper characterized by well-crafted peaks and valleys permeated by distorted eerie vocals.

To conclude the EP, "Lights Down Under" showcases Disario's other signature techno soundscape. Here he takes the funk route, using an 808 clap and eerie howl broken by hard to discern and yet catchy vocals to great results.

Karma returns to GD4YA after his previous sell out release on the label with 2 undeniable club stompers Dat Dat Dat & Whip Tha 44.

A must have for all Garage & Dubstep fans.

King of Town (KoT), originally from Johannesburg but now in the UK, is back after a nearly a decade hiatus from his mutant disco-inflected remixes.

Prior to his long break, King of Town remixed the likes of Franz Ferdinand, Slow Club, Alice Russell, the Detachments and the Phenomenal Handclap Band.
His remix of Desmond and the Tutus' 'Kiss You on the Cheek', released on Tigersushi in 2009, has become a regular feature of Spotify playlists and has racked up a few million listens across various streaming platforms.

For this release KoT serves up four exclusive re-edits.

Lord Have Mercy is a retouch of Willie West's slow-burn R&B lament of his own elegiac defiance, where KoT underpins West's groove with a 303 acid bassline and synth flourishes.
Swimming in Your Eyes is a beefing up of Pasteur Lappe's 1979 Rhodes-heavy space disco groove.
Troubles of this World takes OV Wrights ridiculously soulful take on a gospel classic and transforms it into a retro-futurist track aimed firmly at the dancefloor.
And with Khomo Tsaka Deile Kae KoT nods towards his roots and inserts drive and snap into fellow South African Marumo's 1982 kwela-touched stomper.

As always the artwork has been completed by the very talented Pedro Carvalho de Almeida.

Vinyl Only.

"Void+1" is officially starting to unleash its arsenal of 12 releases that have already been scheduled for 2023, and the journey starts with Scalameriya's "Nullification EP". On board are 4 tracks in different styles, specifically designed to showcase the variety of techno-branches that will be explored on the label in the future. From minimalistic structures to metallic stompers, hommages to 90's roots and electric breaks."

Fedele’s Obscura Music continues to set a precedent for underground electronic music through a wave of carefully curated exploratory releases from hand-picked global talent alongside the Bari-based label boss himself. The latest shining example of Obscura’s ever-expanding avant-garde ap-peal is also the second chapter of Fedele’s ‘The Awake’ chronicle - following the well-received arrival of Pt. 1 in July 2022.

Spike Express’ opens ‘The Awake, Pt. 2’ with an expectedly potent and pumping Indie Dance thun-derbolt from the label boss. Boasting pulsating grooves and a plethora of concrete analogue musi-cality from start to finish, it’s another head-turning frequency-rich stomper from Fedele that keeps you well within a firm grip for the entirety.

‘The Envelope’ matches the searing vibe with another remarkable club-focused cut from the Italian. Undulating drum work and fizzing hat sequences provide a blend of punch and swing whilst gritty lead melodies and atmospheric soundscapes bring the track’s ominously ear-catching persona to life.

On the flip, we welcome two remixers to the project to provide undeniably unique and blistering offer-ings. Electroclash’s founding father, French electronic icon The Hacker pairs with fellow Bari-native Golden Virgo.

• Ty Karim is one of the finest Los Angeles singers to have never scored a hit in her own country. Her records are rightly lauded in Europe though and we present two of the best on her producer and partner’s Romark label in our Repro series. ‘Lighten Up Baby’ is a rare classic stomper from the heyday of Northern Soul. It was actually a one-off Car-A-Mel release in 1966 but it was recorded as part of Kent Harris’ Romark set-up.

• ‘All At Once’, on the other hand, is a moody mid-tempo number that has found favour with soul fans in recent years.

Money Man (Born: Tysen Jay Bolding), famous with the name, Big Money, was born in New York, but raised in Decatur, Georgia. He attempted to break into the music industry in the early 2010’s but paused to focus on his finances. The rapper emerged in 2016 with three mixtapes featuring the likes of Young Thug, Akon, Gucci Mane and others that earned him a significant following. Over the next few years, this momentum continued with the release of seven more successful mixtapes. Money Man found Top 40 chart success in 2019 with “Paranoia,” followed by more album chart presence with “State of Emergency” and “Blockchain.” “BIG MONEY” features guest artists G Herbo, Nardo Wick, Benny the Butcher, BJ Jroc, Peezy, and Juney Knotzz.