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After Kepler’s RM12016 release on R.A.N.D. Muzik, we welcome him to the sublabel for 4 tracks of club ready progressive and tech house.

Our second installment is going to be a classic 4-track various artist release. Carefully curated and selected pieces of music, produced by close friends, this release fulfills the label's mission of providing a platform for our loved ones. This issue features some incredible artists and friends united on wax.
The Berlin and Munich-based duo Medus & Niko S. offer a hybrid track with nostalgic elements of techno, breaks, and progressive house, capable of busting any dancefloor. Longtime Munich resident DJ and producer Dancing Lessons contributes a hypnotic tech-house infused tune with elements of breakbeat and electro, taking the listener on a personal journey through time and space. Munich's young and upcoming producer Johnmon and label owner of Powerloader Records chips in a proper 90s bomb with driving drums, dark, and quirky synths. An all-round tool suited for any dance floor situation. Finally, Vienna-based Doesntmatter polishes off the VA with an expertly crafted electro track. He is the veteran out of the bunch with various releases under his belt on labels such as Traumschallplatten, Reboot Prague, Vienna Underground Track, and Zone Focus.

The Cult brings on board a legend. From DMC scratch champion in the late eighties to the missing link between Detroit and Amsterdam in the nineties. Dutch producer Orlando Voorn needs little introduction and with seminal hits like his dancefloor destroying KMS smash ‘Fix’ under his belt, it is no surprise that the ever-innovative producer is as in demand today as he ever was. Having worked alongside techno originators such as Juan Atkins and honed his production skills under an incredible number of monikers over the years, we bring the multi-talented producer into the Cult. Here he produces an EP of techno brimming with the musicality and inventiveness that is regularly stamped all over his productions.

Opener ‘Between the Surface’ rolls along effortlessly with its Detroit house leanings, loose jazz drums and buoyant walking bass line driving the groove onwards. Hitting hard, ‘Dazed’ is up next with its jackin’ DX style bass and deep evolving arpeggios, that hark back to the glory days of early house music. Finally, ‘Immortal’ ventures into deeper territory for a twisted journey of discordant synths, electro bleeps and haunting synth melodies. His debut on Rhythm Cult is rich with ideas and showcases the creativity that has made Voorn a force to be reckoned for nearly three decades in the game. Joining the dots between Amsterdam and Detroit this new EP brings fresh inspiration with every listen.

Andrea opened this sophomore album Due In Color mostly during 2020 and 2021. You may reverb that those times were slightly crazy due to the small matter of a pandemic which is what lead the artists to explore a world of more hazy and experimental jazz sounds. That in turn inspired him to use more acoustic sounds in his music and so this is a record that turns its back on dark and booming club spaces and heads instead towards blooming fields of expansive downtempo, textured ambient and dreamy soundscapes.

Emerging talent Amazingblaze has unveiled his new EP ‘Can’t Stop’, out on 3rd March on Charlotte de Witte’s KNTXT imprint.

A four track release, the EP opens with trance cut ‘Can’t Stop’, an electrifying club record which is reminiscent of the 90s. Next up is ‘Got The Vibe’ following the theme of 90s raving, a pulsating, high energy cut. Combining heavy hitting techno beats, ‘Enter The Rave’ sets the tone of the EP, whilst the emotive ‘On The Grind’ closes off the EP with driving pummeling techno, laced with captivating hip-hop vocals.

“Can't Stop EP has a very individual vibe, this time I decided to go through some classic 90s trance & techno vibes and added some freshness by using hip-hop vocals.” Amazingblaze explains. “Each track has its own story. Here we got massive bangers for big venues and hard hitting tracks for clubs.”

Charlotte de Witte adds: “Amazingblaze is back on KNTXT with some truly magnificent tracks. Can’t Stop EP is filled with masterpieces that always turn out to be one of the highlights of my sets. His very distinctive sound just never disappoints. I’m very happy to have him on board for another massive EP on the label.”

Amazingblaze is a fast-rising newcomer on the scene who caught the attention of Charlotte de Witte with his unique talent and craft. Surrounded by music since childhood, Amazingblaze was intrigued by the mysterious vibrations of sound, which was his initial inspiration to produce electronic music. Arriving in St. Petersburg as a teenager, he met producer BMB Spacekid, who later became his mentor. Amazingblaze went onto releasing on Charlotte de Witte's iconic label KNTXT for the first time in 2022 with his ‘Venture EP’ that turned heads on a worldwide scale.

The ‘Can’t Stop EP’ showcases Amazingblaze’s meticulous craft as a fresh newcomer on the scene.

Exploring the unknown can be both exciting and intimidating, and that's exactly what electronic music producer Oleka, captures in his new underground industrial techno EP, "Xenisation” on Snork Enterprises.

This four-track release follows a traveler as he ventures into unfamiliar territory, where every step is a new discovery. From pulsing beats to metallic soundscapes, the EP takes listeners on a journey through the highs and lows of traveling to a new place. "Xenisation" sets the stage with its accentuated beat and crisp synths, evoking the feeling of a long journey ahead. "Fjord" takes the listener on a journey to the furthest reaches with its driving futuristic rhythms. "Sudor" ratchets up the intensity with its pounding drums conveying the sense of excitement and anxiety that comes with exploring new worlds. Finally, “Point Nemo” brings the journey to a close.
"Xenisation" is a must-listen for fans of underground industrial techno. Oleka's signature sound is on full display in this snorky crafted release, making it another thrilling addition to a decent techno collection.

Forming a wide spectrum of sounds, Comics Trip Records always manage to include a plenty of influences into their releases but with a uniquely future retro slant. Next up to instil this musical identity is VTL One and the third story of Comics Trip Records.

Miles Away Records are extremely proud to introduce our latest single by the incredible Howard Lemon Singers. You Are Somebody and For The Children are two blinding tracks cherry-picked from the incredibility rare 1977 album Seasons released on the legendary TK Records subsidiary Gospel Roots.
Both sides of this 45 are oozing with positivity and good sentiment, a fine example of the harmony between sacred and secular sounds, and the experimentation taking place, during the late 1970s as gospel artists were modernizing the soundtrack, and lyrical content of gospel music..
You Are Somebody is a gorgeous modern soul heater. Accomplished vocalist Esther Smith's sublime voice delivers her vocal lines with such confidence and assurance that the words seem to strut over the funky basslines and drumming support. Flip it over and For The Children is a more mid-tempo burner, but don't let this fool you - it's "stop-you-in-your-tracks" good. Smith's vocals once again shine brightly and are delightfully accompanied by the Nile Rodgers-esque 'wacka-wacka' guitar of Lester Snell throughout. Musicianship is of the highest quality as Howard Lemon, group leader, called upon some of the best musicians from STAX Records – Willie Hall and the aforementioned Lester Snell were key components of such groups as the Isaac Hayes Movement and the Bar Kays.
These two nuggets are presented here for the first time on a 45 and complete in our customary teal green labels and sleeve. Remastered and cut by Timmion.

The Athenian producer and co-founder of WonTon records made his debut in 2020, with the album "IRINA" and his collaboration with Lena Platonos on the eponymous track, putting him on the lists of the top domestic albums of the year.

His fixation with analog synths, endless synthetic sequences and world-weary narratives of urban everyday people continues in the second LP with the, representative of his sound, title "CANCELLATION" (ΜΑΤΑΙΩΣΗ).

Metro is one of the most recognized underground rap producers. He has already collaborated with Guilty Simpson, Wildchild, MED, Oh No, Rakaa, DJ Babu and Percee P to name just a few.

The album "Blunted Fusion" 2LP is his most refined album. This time without guests - only sophisticated samples, cuts and fat beats.

Plus amazing graphics designed by SewerX. This is the most beautifully released album in the 21-year history of JuNouMi Records.

“Somaesthesia” is for the body, for how the body feels and how the body communicates with its soul. It was written through a year of growth and sickness, which stimmed inflection to a body at rest, a body aroused, a body communicating needs, a body happy, a homeostatic body, a friend body.

These four songs drift through different dimensions of somatic sensation. Deep corporal sensuality, spectrums of control of self, identity, and their relation to others, plateau, release, extra sensorial touch, extraterrestrial encounter, novelty, experiment, finding self where you thought you stood alone, finding self in bass, basing self in body.
Do not disembody, hold closeness to body, trust body, body as a litmus, body as a truth, truth as unmovable, unmovable as grounded, rooted, dense body, flesh body, REAL body, this is your body, feel your body feel.

Somaesthesia: the faculty of bodily perception; sensory systems associated with the body; includes skin senses and proprioception and the internal organs

Part 9 of the TELUM story has landed! Three dance floor certified bombs tested worldwide by Priku, Petre Inspirescu, Raresh, Prichindel, Mihai Pol, Dewalta, Lizz, Cap, Alci and more

In the mid-70s, Bob Shad’s cult New York Jazz label Mainstream Records turned to the burgeoning underground Disco scene and released a handful of great singles produced by the likes of Tommy Stewart, Jimmy Roach or Bert DeCoteaux. Featuring artists from the early Disco hotbed including South Side Coalition, Chocolate Syrup and Three Ounces of Love, these singles, proving Shad's great flair, accompanied the rise of the New York club and block party culture that was going to revolutionise the musical landscape a few years later. Most of the singles are officially reissued here on vinyl for the first time, with Three Ounces of Love's "Disco Man" full mix previously unissued on vinyl. Remastered by Colorsound Studio in Paris, with liner notes by Charles Waring and artwork by Thomas C. Bradley

Funk and Soul in the early 70s were mutating to a new sound spearheaded by such labels as Philadelphia International Records (PIR), Scepter and Salsoul: Early Disco was taking off and Its sound was earthier and more urban, mixing the nascent Disco beat with strong funk and soul elements. New York was at the epicentre of the phenomenon, thanks to its thriving club scene and also to a new wave of DJs from the Bronx who started playing the music at block parties along with James Brown and Mandrill. bubbling under was a cohort of small independent labels that released some great music on 7" singles to meet the growing demand. Industry veteran Bob Shad and his label Mainstream Records started investigating this new scene and asked his circle of independent producers to bring him their latest production for release. For the occasion, he set up two sub labels, IX Chains and Brown Dog.

Among the producers who'd heard Shad's call were Tommy Stewart who came up with The South Side Coalition's funky '(Don't You Wanna) Get Down Get Down' in 1975 and Prophecy's 'What Ever's Your Sign' a year later. Seasoned arranger/producer Bert DeCoteaux (Patti Austin, Maxine Brown, The Main Ingredient) brought Lenny Welch's soulful 'A Hundred Pounds of Pain' and the superb mid-tempo instrumental 'Nothing Between Us' by The Electric Ladies. Arranger Jimmy Roach came with his latest single with The Dramatics ('No Rebate on Love') whom he'd worked with at Volt and with Three Ounces of Love on their aptly titled single 'Disco Man,' whose unissued long version merging Side 1 and 2 is released here on vinyl for the first time. The sister group would go on to sign with Motown in 1978 and release their sole album self-titled 'Three Ounces of Love.'

​Other highlights on 'Mainstream Disco Funk' include The Grand Jury's 'Music is Fun To Me' with its languid funky rhythm arranged by Ted Bodnar, a producer and studio engineer who'd work with Sir Joe Quarterman, Blair and Al Johnson. Also featured on the set is Crystal Image's superb 'Gonna Have a Good Time (part 1 & 2) which typifies the blend of urban funk, glitzy strings and metronomic beat that were signature elements of early Disco.

​The style would keep getting more commercial over the years and reach overkill in the late 70s but the block party scene which more than embraced this breakbeat-filled genre would soon morph into hip hop in the second half of the 70s with the help of a few key industry figures such as Sylvia Robinson (Sugar Hill Records). By that time, Bob Shad had ceased releasing records and relocated in Los Angeles but he left behind a small treasure trove of superb obscure singles which are now making their LP debut on 'Mainstream Disco Funk' for the delight of all funk and disco lovers.

Italian artist, Yu, lands on Art Of Dark with the first of a two-part EP.

ALEXANDER SKANCKE´s exciting debut ep for SLICES OF LIFE, including a collaboration track with FOEHN & JEROME.

Alexander Skancke is a Berlin-based DJ, producer and rising talent within Europe´s underground house scene. The young Norwegian has made a sizeable impact on the electronic music scene, dating from way back to his early releases on Neostrictly, to the internationally respected releases on his own label Quirk. Entrenched in his love for vinyl and analog productions, Skancke is imbued with a passion for the very roots of house music, but has also kept his ears open far beyond the boundaries of electronic music.

Skancke’s excitement for analogue is reflected in all aspects of his life: from his work at Bikini Waxx (a record shop in Berlin specializing in second-hand vinyl), to his fascination with vintage studio gear, all culminating in his music having a wonderfully raw and organic feeling.

The 3 tracks that make up his “Public Trouble” ep showcase Alexander Skancke´s knowledge of the history of dance music without copying the originals, but instead creating his own unique signature:

The A side - “This Go This Way” sends you on a crazy acid dream, driven by a hypnotic unstoppable beat with Alexander Skancke´s voice appearing out of the ether, before vanishing away.

For the B1 track “Wind Sync” Alex teamed up with his label mates and renowned DJ- and Producer-Duo Foehn & Jerome at their studio in Berlin. Together they've masterfully crafted a light footed minimal house track with a slightly melancholic touch.

The EP´s title track “Public Trouble” truly shows off Alexander Skancke´s love for deep minimal funk: An ultra groovy piece of music based around tight beats and warm basslines, topped off with a funky stripped back synth line.

Official Reissue of the 1992's “A Tone Colour Of Onirico” classic! Back to Life is proud to presents another gem produced by Emanuele Luzzi, under the Oneiric name.
This is one of the release that made the history of House and Techno scene worldwide.

Three choice cuts from the back catalogue of Isomise, oscillating between house and techno with a deeply psychedelic edge.

Originally released on separate EPs throughout 1995 via the short lived but influential London based Flagbearer Records. The A side Intersection blends UK rave with a nascent tech house groove and hypnotic vocal while the B side is reserved for two expansive acid techno trips.

Elements. is back with its third release signed by Crihan. 'Recurring Figures' finds Alin right in his element, showcasing three purely minimal tracks rich in detail and deeply engrossing textures reminiscent of the golden ages of (organic) minimal circa 2010.

A-side's 'Periodic Arrangement' kickstarts the EP in distinctive, contemplative tones. Drum samples meticulously syncopated amongst a canopy of modulated noises, bass bleeps and dramatic piano chords - they keep the groove moving amidst cinematic soundscapes reminiscent of dark fantasy scenarios.

Flip-side's 'Regular Intervals' (B1) moves closer to micro-house realms. There's plenty of swing and playful sampling while maintaining the same cinematic deepness introduced before. 'Again & Again' (B2) sits perfectly as the EP's closing track, merging swingy, dance-focused drum arrangements with dramatic atmospheres and picturesque tones.

New London imprint Deep Water Culture offer their first outing from label co owner Jamie Fairley, entitled ‘A Jazz Loving Adventurer’. He delivers 3 after-hours minimal cuts with a stripped back remix from the master of weird & wonderful and good friend of the label, Paul K.

Tooloop IX comes as usually by an Unknown Artist in Winter to heat you up! Two cuts produced straight for the dance floor will make you sweat and forget the cold outside.

DJ Girl is a DJ and producer who was raised in Detroit, but since the pandemic has been based in Austin, Texas. She's the co-founder of the up and coming Eat Dis Records and her recent releases have been generating excitement in all the right places.
In some ways, 'Hellworld' feels like a direct relation to a lot of early 2000s Planet Mu releases. It could sit neatly alongside Hellfish or Neil Landstrumm, with a similar anything-goes, gleeful attitude, but instead DJ Girl mashes together a driving sound that is founded upon Detroit techno and electro, Chicago juke and Miami bass, with an old school/new school production style that's finessed with distortion and sparse IDM production.
It's a midwest USA style that takes a leaf from DJs and producers such as the wild-style hard techno of Lenny Dee, the tough midwest acid of Woody McBride and the system wrecking electro of Dynamix II, with a joyful, take-no-prisoners bounce.

'Hellworld' kicks off with the industrial juke of 'Get Down', followed by the powerful electro of 'Opp Pack Hittin' (the first of two tracks to feature MC Malik McFly).

'Technician' is a chirpy old school electro track that gets crazier as it progresses, while 'Lucky' mashes together samples and rough beats like an electro version of breakcore.

'Gallery' again features Malick McFly and switches between footwork beats, pumping techno and electro.

'So Hot' is hard 8-bar electro while 'When U Touch Me featuring Irish producer Lighght feels like a very manic take on hyperpop.

The album ends with the tough, spiralling acid of 'Groover' which wouldn't be out of place on a late nineties Jeff Mills mix. The fun is infectious on this one.

Recorded in late 2021 and early 2022, Cryptic Lexis features two long-form pieces connected by field recordings made in The Shetland Islands in 2019.

The wind through a gate on a Bressay hillside is mixed with cascading guitars and minimal electronic percussion on "Confetti for the Flames" and recordings of Bains Beach form the backdrop of "Out on the Coast the Spirits Are". Paris based artist Graziella Torrigiani contributes words and voice to the latter, her text a direct response to the instrumental track.

Time to welcome Session Victim back to Delusions Of Grandeur following some heavyweight releases on Toytonics and Rhythm Section International. The German duo show absolutely no signs of slowing down continuing to impress with their unique sound which combines organic live elements, fat, floor-filling beats and a deep, musical approach. Here on The Intangibles EP we’re treated to three original tracks spanning high energy jazz disco meets techno, soulful uplifting house and downtempo blunted beats.

Opener Motivation features spoken word from Ras Stimulant backed by urgent looping Rhodes stabs and an uptempo disco groove. An instant Session Victim dance-floor shaker if ever there was one, the energy cranked up to the maximum without losing sight of that all important groove.

Next up we have Dromedary Twist which keeps up the pace but goes deeper on the jazzy organ chords and lays down a heavy syncopated bass- line which ensures the funk factor remains present and correct.

Rounding out the EP in fine style, Green Run drops the BPM’s as we head into lazy, hazy, blissed-out jazzed-up beats territory. Lush strings and layers of analogue synths come together on this simple yet enchanting little tune which compliments the other tracks perfectly and will appeal to fans of SV’s more home-listening output from their 2020 LP Needledrop.