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Ian Pooley brings back his timeless classic "Higgledy Piggledy!" with a fresh reissue on his own label, PooledMusic. Following this year's re-release of his landmark 2000 album "Since Then.", it marks the beginning of a dedicated series revisiting key moments from his catalogue. A true collector's item and dancefloor weapon, freshly pressed for a new generation of house lovers.

It's with great pleasure that we present the 100th release of Quintessentials! Happy 100! Started in 2008, Quintessentials` slogan was and still is "deep, raw and real". On the way to the 100th release, we discovered talents like (just to name but a few...) Anton Zap, Baaz, Ugly Drums, Mat Chiavaroli, Simon Hinter or The Black Fan, as well as featuring established producers like Luke Solomon (as Lukatron), Borrowed Identity, Alton Miller, Simoncino, Soul of Hex, Felipe Gordon, Javonntte, KRL, Andy Ash or Ralph Session. Quintessentials has never just released stricly one type of music, but put together cool tunes from the House spectrum: Deep House, NY House, Detroit House, Acid House, Chicago House....or do we wanna call it just "House music"? This classic old school 6-track compilation features again a multi house culture and fuses present and past! Quite essential we think!

Here’s a brand new label from Test Pressing, going by the name Test Pressing Arts. TP Arts is a home for the more esoteric side of things — whether that’s a soul sound or solo piano. We’re excited to launch with this fantastic release from San Francisco’s Sulah Jordan. Originally a Bandcamp-only release, it was quickly jumped on by those in the know. It’s a beautiful EP you can simply put on and drift away to. I mean if it sounds your thing just press play. More soon…

M-Plant's Perpetual Masters series continues throughout 2026 with Robert Hood's "Spectra" EP up next. Remastered once again by legendary German producer, Thomas Heckmann, the individual tracks have been dropping digitally through April and are now followed by a full vinyl release in June.

Robert Hood's "Spectra" EP, originally released in 2001, stands as a defining example of his stripped-back, conceptual approach to techno. It sees Robert Hood operating at his most stripped-down and hypnotic, built from tightly looped drum patterns and shadowy synth fragments that slowly evolve. Hood's precision is evident in every detail, as he balances repetition with crisp percussion and a tightly controlled groove.

More deep, immersive and hard-hitting minimal techno from the master.

Le Futur c’est la drogue, which should here be translated as The Future Is the Drug, is not to be read as a promise, but as a statement of fact. The present is no longer an experience, but pure consumption. Life itself has taken the form of a dependency.

With this sixth album, Christophe Clébard goes straight to the point, driven by a free and repetitive form of writing, stripped of any syntactic rigidity. Words strike like balls against a wall, revealing darker zones of his mind where guilt, fear, and existential anxiety coexist.

The sound composition, equally minimal, sustains a dense and obsessive mental space, a vortex in which trance appears as the only escape. Driving drum machines, relentlessly hammered electronic loops, and a battered synthesizer, his music unfolds within a physical, strangely hypnotic synth-punk aesthetic that hits viscerally.

The Future Is the Drug is his sixth album.

One of the all-time Balearic greats gets an official re-rub by friend of Balearic London, Holmes Price. Taking the charms of the classic Cool And Breezy Jazz Version- produced by Pete Waterman's in-house team at his '80s powerhouse PWL Records, and also included here in all its glory - rearranging the phrasing and adding a meatier contemporary house groove, it's the perfect update for the modern dancefloor that we hope will also introduce the timeless 'original' mix to some new ears.

Manuel Darquart returns to WOLF with this season’s must-have EP, Dream House Factory Vol. 1. Following his sublime 2023 release, The Del Sol EP, and a standout appearance on Permanent Vacation Records, he once again delivers a collection rich in Italo house influences, all filtered through his unmistakable signature style.

Seamlessly blending house, Italo and acid flourishes, Manuel Darquart continues to showcase why he’s a master of that sun-soaked Balearic sound. There’s a strong sense of nostalgia throughout, yet it’s balanced with a sharp, contemporary edge.

Adding further weight to the package, Malik Kassim aka Retromigration steps up to deliver a killer, remix of Pammy’s Craft. Injecting the track with extra drive and peak-time energy, he transforms it into a dancefloor weapon while retaining the character and charm of the original.

Think Ibiza via Hackney, with a pit stop in Amsterdam for a late-night pick-me-up. Balearic to the core!

Strickly for the DJs and strickly vinyl only. M.A.D White returns with two dub infused DJ tools. These wont stick around for long.

Released to celebrate Miles Davis’ centennial, Miles ’56 collects together recordings from the year that Davis recorded his most influential work on Prestige. With cuts from “Cookin,” “Relaxin,” “Workin” and “Steamin”, this collection includes the Quintet of Davis, Coltrane, Garland, Chambers, & Jones. Released on limited 4-LP and remastered from the original analog tapes by GRAMMY-winning engineer Paul Blakemore the set Included new liner notes by GRAMMY-winners Ashley Kahn and Dan Morgenstern.

KITCHEN. LABEL is proud to present AGATE, the latest album by Japanese artist MEITEI, marking a deepening of the world he first shaped through his Kofū trilogy released between 2020 - 2023.

Named after the mineral agate, a stone formed through slow accumulation, pressure, and time, the album reflects MEITEI’s patient approach to sound. AGATE brings together extended and newly rearranged works from across the Kofū cycle alongside new compositions and passages, refining material developed through years of performance and sustained practice.

The album presents seven tracks:

HAŌ (Previously unreleased track)
SHIN-OIRAN (Remodeled from Oiran I, Kofū 2020)
SHIN-SADAYAKKO (Remodeled from Sadayakko, Kofū 2020)
SHIN-WAROSOKU (Remodeled from Wa-rōsoku, Kofū III 2023)
KYŪGEKI (Remodeled from Shinobi and Akira Kurosawa, Kofū II 2021)
SHIN-OIRAN II (Remodeled from Oiran II, Kofū 2020)
SHIN-EDOGAWARANPO (Remodeled from Edogawa Ranpo, Kofū III 2023)
Across these works, MEITEI expands the musical vocabulary first introduced in Kofū, a sound he once described as “lost Japanese mood.” While Kofū drew from fragments of folklore, theatre, ghost stories, and forgotten urban memory, it was never an act of historical reconstruction. Rather, it reflected a sensibility of the past observed from the present. With AGATE, this worldview is clarified as Shinpu, a process of discovery in which historical awareness becomes a foundation for contemporary creation rather than a constraint.

During five years of Kofū tours across Japan, Europe, and Asia, MEITEI performed this material in a wide range of spaces, from underground live houses and listening rooms to culturally significant sites. These environments influenced pacing, dynamics, and structure, shaping how the material evolved over time. AGATE is therefore not only a studio album, but the result of material refined through repeated performance.

If the Kofū albums were windows into forgotten eras, AGATE explores what lies beneath, sediment and strata formed through time and pressure. MEITEI’s approach to sound mirrors the nature of agate itself. Grains become texture. Texture becomes narrative. Voices drift through decaying layers of sound, while ancient instruments are used in non-traditional ways, forming distinctive percussive rhythms and melodies that appear and vanish without fixed resolution.

The album’s visual materials were developed under MEITEI’s direction through physical art-making processes. The cover artwork originates from a letterpress print created by Kamisoe, a Karakami atelier in Nishijin, Kyoto, using Kyo-karakami paper. The original artwork, produced through traditional woodblock techniques on handmade washi, was subsequently reproduced on print for the album edition. Kamisoe continues to reinterpret this historical Kyoto craft with a contemporary sensibility.

The title calligraphy was created by Bio Xie, whom MEITEI personally invited to participate in the project. During his performances abroad, MEITEI encountered in Taiwan a lingering atmosphere reminiscent of “Shitsunihon” — a sense of old Japanese memory that quietly endures beyond time. He was deeply drawn to Bio Xie’s distinctive use of Chinese characters, which resonated with this experience, and asked him to contribute to the visual expression of AGATE.

In parallel, MEITEI continues to reinterpret Japanese sensibility through his concept of “Shitsunihon,” presenting it as a contemporary musical language. The refined Kyoto motifs envisioned by Kamisoe and the distinctive calligraphic expression by Bio Xie intersect with MEITEI’s singular artistic direction, weaving together a newly articulated worldview.

The accompanying visual imagery, including the liner photographs, was created by photographer Hiroshi Okamoto, who was also responsible for the visual direction of MEITEI’s previous work, “Sen'nyū.” It draws from MEITEI’s lived experiences of winter seas, solitary cliffs, and breaking waves. These scenes symbolize the inner conflicts of the ten years he spent living in Hiroshima, and his confrontation with solitude and the sounds he creates.

AGATE will be released on 17 April 2025 via KITCHEN. LABEL on 180g vinyl, CD, and digital formats. The album is mastered by Kelly Hibbert, known for his work with Flying Lotus, Madlib, and J Dilla.

With AGATE, MEITEI returns to the material of Kofū with greater focus and discipline, continuing an ongoing process of working forward with inherited material.

Promised Land is the long-awaited debut album from contemporary showstopper Vintage Culture. Enlisting the help of peers NomBe, Maverick Sabre, The Temper Trap, and Elderbrook, the album marks the producer and DJ's seguing from progressive house to electro, evincing a globetrotting, jetsetting sound that hardly ever fails to hold back on emotion. Including prior single 'Come Come' alongside newer, angelic progressive cuts like 'Weak' with Sabre, this is a stark debut from the Brazilian creative force.

In the times when the known world order and relations between men and their surroundings are getting literally & figuratively suffocated we need to remind ourselves and our capable & wealthy ones that we can only breathe air.
Here’s a DIY air purifier music and vibes from the Osogovo mountain range.

After 90 releases on Future Retro London, I feel like I need to take a bit of a break from the constant workload that's come from running the label on my own. I feel like 50 (the cat number for the main label releases) is a good number to pause on for now.

I've been doing some remixes of the back catalogue & thought that putting them all together on one release at some point would be an interesting concept, so here we are.

Thanks so much to all the supporters, artists, designers & everyone else that's been involved in keeping Future Retro London going for so long, couldn't have done this without each & every one of you.

Drawn from the wider Microliths and Momentary Drifts project, this EP finds zak�, Ossa and ASC working in miniature form with signature restraint but real emotional resonance. Each piece functions as a fleeting vignette where tone and texture carry more weight than the structures. ‘Microlith 1’ opens with soft, cascading keys, while ‘Microlith 2’ drifts further into distant, spectral territory. By the time ‘Microlith 8’ arrives, its gentle fade into static leaves a quiet sense of unresolved possibility. It is a concise, thoughtful collection that will have you keen to hear the whole LP.

2026 Repress!

Doc Scott was on the decks. It was at Tribal Gathering (I think), 1996, standing in front of a wall of speakers to one side of the stage,
enjoying myself, like you do, when this sound started growing inside my brain. My head was then ripped clean off my shoulders!
Words are still hard to find! It was the first time I ever heard Shadow Boxing and its the only thing I still remember from that night. Om
Unit's 2014 Remix is paired with the 1996 original. DJ support from: Fabio, Mark Pritchard, Friction, Surgeon, Toddla T, Laurent
Garnier, Pinch, Zinc, Baliey, Rob Both, Billy Nasty, Krust & John B.

The Owl (real name John Deevechis) has long used his Owl imprint to deliver high-grade, inventive and irrepressibly addictive re-edits. Here, the York-based producer hands over the reins to the previously unheard Nite Hawk, an artist whose identity has so far been a closely guarded secret. Our shadowy hero begins with the superb 'Disco System', an infectious, effects-laden revision of a low-slung, turn of the 80s disco workout rich in dubbed-out vocal samples, super-funky bass and piano loops, and tease-and-release dynamics that only add to the track's inherent energy. On flip-side 'Search Lite', Nite Hawk makes merry with a boogie-era workout, turning it into a glorious fusion of non-stop dub disco bass, rolling house beats and chanted vocal snippets.

Burnski is back with another fine bit of A&R on his Constant Sound label, this time with Anil Anas stepping up. He is a producer who has made his mark on the likes of PIV and here kicks off with 'Had Enuff', which brings soulful jungle breakbeats to a house framework complete with police sirens, ragga vocals and 90s organs. It's a fresh blend with a big heart and 'Chrystal Glaze' then brings punchy drum funk and spaced out pads. 'House Fever' ups the energy with more textured drums and trippy synth sequences that help with dance floor take off and 'Trigger Path' closes with pure spaced-house drive. A tasty and tasteful EP packed with utility.

This first new volume of edits from Big Baba finds Elado digging with intent rather than on a purely nostalgic tip. Fresh off his Razor-N-Tape run, he opens the series by rewiring rare global grooves for contemporary club floors. The EP moves fast and wide as Bollywood disco mutates into techno on 'Disko Disko!', while Yeah Yeah flips obscure 80s Thai boogie-funk into something elastic and punchy. 'EL SOL' slides in as a proto-house warm-up weapon, patient but charged. Then there's 'YOR YOR', a joyous Bukharian disco edit that feels almost mythical in its rarity. Colourful and confident, and full of heat.

Disco-house fusionist Risk Assessment rounds off another successful year with a third and final EP of 2025. Braithwaite deals a near perfect hand on 'Play Your Cards', where excerpts from a Loleatta Holloway/Salsoul Orchestra style maximalist disco hit rise above a chunky, bass-heavy groove, before reaching for elements from a jaunty, piano-heavy disco number on the rolling and ear-catching 'Juicy Smollett'. Elsewhere, 'Testing Testing' is a gargantuan disco-house extravaganza full of sampled horns, rubbery bass, stellar orchestration and urgent male vocals, while 'Baby Call Me' sees him re-imagine a smooth and colourful 80s soul jam as a tactile and funky house workout.

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)