Buscar:the disco

Legendary dub techno artist Paul St. Hilaire (AKA Tikiman) announces new collaborative album, marking 10 years of Kynant Records



Building on the success of Paul St. Hilaire’s landmark solo album for Richard Akingbehin’s label Kynant in 2023, w/ The Producers switches up the formula to pair St. Hilaire’s with a different producer on each track. Referencing fellow dub techno pioneers Mark Ernestus & Moritz von Oswald’s acclaimed album w/ The Artists as Rhythm & Sound, St. Hilaire flips the concept to feature as the lone vocalist.



Over the album’s nine tracks, St. Hilaire offers a range of conscious song-writing and headtop musings, such as the spoken-word dread of “What’s This” or the sparse call-to-action of “Send Them On”. The record weaves through all shades of contemporary dub evolutions, showing the vocal range and versatility of St. Hilaire. w/ The Producers is yet another essential record in St. Hilaire’s unmatched discography.



The producers were curated by label owner and DJ Richard Akingbehin to give the new album a future-facing feel and mark 10 years of Kynant Records. Akingbehin sourced beats from luminaries such as Digital Mystikz boss and dubstep trailblazer Mala or elusive Chain Reaction artist Shinichi Atobe. They sit alongside some of the most exciting names in recent electronic music - Batu, Gavsborg, Azu Tiwaline, Priori, Cousin, Russell E.L. Butler, Aurora Halal and DJ G - all of whom bring different elements of dub techno into their productions.



w/ The Producers finds Kynant Records bridging the original voice of dub techno with the genre’s new wave. It’s a statement of intent from the label, which began 10 years ago with deep, hypnotic techno and has veered gradually towards more dubwise sounds

Detroit powerhouse vocal trio Dames Brown make their long-awaited debut with ‘Take Me As I Am’, a bold, soulful celebration of the Motor City’s sound and a heartfelt tribute to their late mentor, Amp Fiddler.

Crafted at Amp’s legendary home studio, the album captures the essence of Detroit through rich instrumentation, gospel-infused harmonies, and unfiltered soul. Blending house, funk, techno, and 70s groove, Take Me As I Am embodies the city’s spirit; timeless, raw, and full of life.

Featuring collaborations with Detroit icons Andrés, Eddie Fowlkes, and Waajeed, standout tracks like ‘You’re The One For Me’, ‘Glory’, and ‘What Would You Do’ showcase the trio’s unmatched energy and vocal chemistry.

Across fourteen tracks, Athena Johnson, Teresa Marbury, and LaRae Starr channel the soul of Motown, the groove of Parliament Funkadelic, and the power of Aretha Franklin, uniting their influences into one authentic, uplifting sound.

With nearly a decade of releases on Defected and its sub-labels, including collaborations with Sophie Lloyd, The Vision, Floorplan, and Horse Meat Disco, Dames Brown continue to shine as one of Detroit’s most dynamic vocal collectives.

‘Take Me As I Am’ is more than an album… it’s a declaration of love, legacy, and Detroit soul.

Long considered a "Holy Grail" of Latin vinyl, The Booga Mambo Beat (1967) by Steve Hernández y Su Orquesta Latinoamericana returns.

This LP has puzzled collectors for decades: who was Steve Hernández, the shadowy figure behind this powerful orchestra including top Puerto Rican and New York musicians?

Arranged by Ray Santos and featuring vocalist Vitín Avilés, the album delivers a unique mix of mambo, boogaloo, descarga, proto-salsa and 1950s big-band swing. A rare bridge between the Palladium sound and the emerging salsa era. Originally self-released and barely promoted, the record became a cult favorite among DJs and collectors.

Sourced directly from the original master tapes, discovered in outstanding condition, this edition is pressed on 180-gram vinyl and includes extensive liner notes by Pablo E. Yglesias (DJ Bongohead).and a digital download code.


A must-have archival release for collectors, DJs, and anyone fascinated by the hidden corners of Latin music history.

2026 Repress

Trickpony rightfully return with their sensual sophomore record, a six track tip of downtempo anthems elaborating on the sonic blueprint established through Pillow Talk (STEP11). Contemporary trip hop revivalists at the core; the trio specialise in new age pop collages, stripped, subbed and dubbed for your pleasure. With whispered secrets tangled over atmospheric decay and hooks that tug at heartstrings, the trickpony DNA is embedded deep in the musical discourse; “24/7 Heaven” elevates even the most devious to a divine higher place.

From top to tail slung breaks crash like waves, rolling and seeping into opulent synthesis which fills the room. Sometimes music can say a thousand words without a single lyric; Ripple and Trick Trick fixating on textural constructions, layers of harmonic delight working in unison with forward thinking percussion patterns. Angel and No/Direction delve deeper into a more sparse, stripped back landscape; delayed fragments with room to breathe between vocal stylings that will lodge themselves into your memory one word at a time.

Closing with a psychedelic exploration, Memphis Light derails structure formula and drum&bass starts to feel technicolour. With an understated maturity exuding from all angles, STEP17 offers an introspective assortment of illustrious songs ready to reach into your subconscious.

A fresh breeze of color, groove, and charm marks the first outing of OKAY OKAY, a new label from Germany that celebrates playful, soulful, and dance-ready sounds beyond genre borders.
With Marmelade Dew EP, Gelée serves up a vibrant debut full of disco shimmer, Italo-house warmth, and a sweet dose of pop sensitivity. It’s a record that feels both nostalgic and daring, sun-kissed melodies meet tight rhythm work and carefree emotional drive.
From early-morning club sets to slow-burn afterhours, Marmelade Dew EP is an invitation to smile, move, and surrender to simple pleasure. A lovingly crafted 12″ for those who like their house music playful, tactile, and just a little bit sticky.

Scotland's incomparable and influential Arab Strap are back with their ninth studio album Half-Told Tales, due for release via Rock Action Records on 4th September 2026: almost exactly 30 years since the beloved duo’s first ever single, The First Big Weekend, was released. The follow-up to 2024's acclaimed I'm totally fine with it (y) don't give a fuck anymore (y) , Half-Told Tales is rich with Aidan Moffat and Malcolm Middleton’s trademark wit and dark humour, whilst creating moments from quiet brooding to a self-described “disco-metal incantation that might make you dance” . Including the single You You You, the album was recorded with long-time collaborator Paul Savage (Mogwai, Belle and Sebastian, Franz Ferdinand) . Vinyl is released as a double LP in a gatefold sleeve.

Scotland's incomparable and influential Arab Strap are back with their ninth studio album Half-Told Tales, due for release via Rock Action Records on 4th September 2026: almost exactly 30 years since the beloved duo’s first ever single, The First Big Weekend, was released. The follow-up to 2024's acclaimed I'm totally fine with it (y) don't give a fuck anymore (y) , Half-Told Tales is rich with Aidan Moffat and Malcolm Middleton’s trademark wit and dark humour, whilst creating moments from quiet brooding to a self-described “disco-metal incantation that might make you dance” . Including the single You You You, the album was recorded with long-time collaborator Paul Savage (Mogwai, Belle and Sebastian, Franz Ferdinand) . Vinyl is released as a double LP in a gatefold sleeve.

Natalie Imbruglia ist Millionen von Menschen mit ihrem weltweiten Hit "Torn" bekannt, einer der bis heute prägendsten Songs der Neunziger. Damit begann eine außergewöhnliche Erfolgsserie, die u.a. 2 BRIT Awards, 3 Grammy-Nominierungen, 8 ARIA Awards und 7 Mio. verkaufte Exemplare ihres Debütalbums "Left Of The Middle" umfasst. In jüngerer Zeit stand sie durch Auftritte an der Seite von Olivia Rodrigo erneut im Rampenlicht. Jetzt ist der perfekte Moment für ein neues Kapitel: ihr neues Album Algorithm mit der Lead-Single "Upside Down".

Algorithm zeigt Natalie Imbruglia in einer neuen Ära – geprägt von Selbstermächtigung, Freiheit und kreativer Erfüllung. Das erste Album der australisch-britischen Pop-Ikone seit fünf Jahren ist eine echte Tour de Force: ein zutiefst persönliches Werk, das eindrucksvoll daran erinnert, warum wir uns ursprünglich in ihre Musik verliebt haben. Es erscheint in einer Zeit, in der sich der kulturelle Zeitgeist wandelt und Popmusik wieder stärker zur Tanzfläche tendiert – mit einer Ausrichtung, die sich an den eleganten Pop-, Disco- und House-Elementen von Robyn orientiert.

Nach dem UK-Top-10-Comeback mit Firebird (2021) meldet sich Natalie Imbruglia auf Algorithm voller Energie und Tatendrang zurück. Sie ist Co-Produzentin und -Autorin jedes Songs, neben namhaften Kollaborateur:innen wie MyRiot (London Grammar), David Sneddon (Lana Del Rey), Fraser T Smith (Adele, Stormzy, Sam Smith), Gary Lightbody von Snow Patrol, Anu Pillai (Lewis Capaldi), Tobie Tripp (George Ezra), Mark Crew (Bastille, James Arthur) und Dan Priddy (Rag’n’Bone Man, Bastille). Im Anschluss an die Veröffentlichung des Albums wird Natalie Imbruglia ausgewählte Festivaltermine spielen und auf Tour gehen.

Natalie Imbruglia ist Millionen von Menschen mit ihrem weltweiten Hit "Torn" bekannt, einer der bis heute prägendsten Songs der Neunziger. Damit begann eine außergewöhnliche Erfolgsserie, die u.a. 2 BRIT Awards, 3 Grammy-Nominierungen, 8 ARIA Awards und 7 Mio. verkaufte Exemplare ihres Debütalbums "Left Of The Middle" umfasst. In jüngerer Zeit stand sie durch Auftritte an der Seite von Olivia Rodrigo erneut im Rampenlicht. Jetzt ist der perfekte Moment für ein neues Kapitel: ihr neues Album Algorithm mit der Lead-Single "Upside Down".

Algorithm zeigt Natalie Imbruglia in einer neuen Ära – geprägt von Selbstermächtigung, Freiheit und kreativer Erfüllung. Das erste Album der australisch-britischen Pop-Ikone seit fünf Jahren ist eine echte Tour de Force: ein zutiefst persönliches Werk, das eindrucksvoll daran erinnert, warum wir uns ursprünglich in ihre Musik verliebt haben. Es erscheint in einer Zeit, in der sich der kulturelle Zeitgeist wandelt und Popmusik wieder stärker zur Tanzfläche tendiert – mit einer Ausrichtung, die sich an den eleganten Pop-, Disco- und House-Elementen von Robyn orientiert.

Nach dem UK-Top-10-Comeback mit Firebird (2021) meldet sich Natalie Imbruglia auf Algorithm voller Energie und Tatendrang zurück. Sie ist Co-Produzentin und -Autorin jedes Songs, neben namhaften Kollaborateur:innen wie MyRiot (London Grammar), David Sneddon (Lana Del Rey), Fraser T Smith (Adele, Stormzy, Sam Smith), Gary Lightbody von Snow Patrol, Anu Pillai (Lewis Capaldi), Tobie Tripp (George Ezra), Mark Crew (Bastille, James Arthur) und Dan Priddy (Rag’n’Bone Man, Bastille). Im Anschluss an die Veröffentlichung des Albums wird Natalie Imbruglia ausgewählte Festivaltermine spielen und auf Tour gehen.

The king of cheeky edits of timeless disco and funk is back with a wicked trip through obscure French grooves, flipped, filtered, and fired up for contemporary dancefloors. These three edits from Monsieur Van Pratt on Illegal Disco 008 don't just nod to the past, they grab it by the collar and drag it under the mirrorball. The opener 'Danse Danse' struts in a sunny groove built for open-air euphoria, 'Pas Chez Toi' slides deeper, a go-go-soaked funk jam with razor-sharp percussion then 'Ombre De Plaisir' detonates with horns blaring, rhythm pumping and pure disco adrenaline. Another gem from Mr Pratt.

Romphea lands on Scottish imprint Hilltown Disco with his debut EP, Blind Protocols. A producer who’s been making serious waves worldwide, Romphea’s forward-thinking take on electro has already found a home on respected labels such as Pinkman, Tiger Weeds, FERMA, and recently on Hilltown Disco’s charity compilation.

Romphea distills his sound on ‘Blind Protocols’ into a fierce club-ready statement. The A-side delivers three break-neck electro cuts, loaded with acidic pressure and gripping, sweat-driven drum workouts. Flip it over and the EP slips into darker territory, leaning into EBM influences with two killer remixes from Hayter and Timothy J. Fairplay.

Limited to 300 copies on vinyl.

Black Truffle is thrilled to announce Dalbergia Retusa, an extensive double LP selection of the solo guitar music of Hans Reichel, compiled by Oren Ambarchi. Last heard on Black Truffle as one quarter of the joyously anarchic Bergisch-Brandenburgisches Quartett, Hans Reichel (1949-2011) is one of the great figures of experimental guitar music. Though perhaps lesser known than peers like Derek Bailey, Fred Frith and Keith Rowe, Reichel’s rethinking of the instrument was in some ways the most radical of all. Early on, he dispensed with existing guitars to build a series of his own that explored the use of additional strings and fretboards, moveable pickups, extra bridges, special capos, and other innovations documented in the extensive booklet accompanying this release.

Reichel was a long-term resident of Wuppertal, the small Western Germany city that became an unlikely centre of European free jazz in the late 1960s, also home to Peter Brötzmann and Peter Kowald. His solo debut Wichlinghauser Blues was an early entry into the FMP discography and began a relationship with the label that stretched into the 1990s; all the solo performances heard here were first released on FMP. As Reichel says in the charming archival interview with Markus Müller included here, he was ‘always a cuckoo’s egg at FMP’, a label that began as an outlet for roaring European free jazz. What strikes the listener right from the opening selection on Dalbergia Retusa—‘Return of the Knödler show’, from 1987’s The Dawn of Dachsman—is the extraordinary beauty of Reichel’s music, at once alien in the shimmering sonorities and unconventional pitch relationships made possible by his invented instruments, and deeply lyrical, even romantic in its harmonic content. Growing up in West Germany in the 1960s, Reichel’s formative influences were mainly British and American rock bands, a background that shines through in many of the pieces included here: ‘An old friend passes by’ is haunted by the ghost of Hendrix’s rhythm guitar, and the wild closer ‘Heimkehr der Holzböcke’, taken from a rare 1975 7” and the only piece to use overdubbing, layers errant hammer-on and slide tones over a Canned Heat boogie chug.

Reichel was an important source for the development of Oren Ambarchi’s own extended approach to the electric guitar. Appropriately enough, his selection opens with the very first piece by Reichel he ever heard, on a flexidisc included with a 1989 issue of Guitar Player magazine. Though Reichel collaborated with others extensively in many settings and also performed on violin and his other major contribution to instrument invention, the daxophone, his music for solo guitar remains at the core of his oeuvre. Focusing exclusively on solo pieces recorded between 1973 and 1988, the 23 pieces on Dalbergia Retusa showcase the range and consistency of Reichel’s work, allowing the listener to see how his performances developed hand-in-hand with his instrumental inventions. On a piece from his very first LP, played on an 11-string instrument (partly strung with piano strings and using a schnapps glass a slide), we hear his intensive exploration of fret-hammering to create zither-like, chiming tone, which Reichel would hone further in later years with a double fretboard guitar specifically designed to be hammered rather than fretted and picked. On a piece from 1979’s Death of the Rare Bird Ymir, Reichel uses two steel-string acoustic guitars at once, with beautiful results: ‘some even say too beautiful’, he jokes in the interview included here. Many of the pieces from the 1980s make use of varieties of the ‘pick behind the bridge guitar’, instruments of uncanny harmonic richness primarily designed to be played on the ‘wrong’ side of the bridge. At times the unexpected behaviour of attacks, resonance, and decay can almost seem electronic, conjuring up the technology-assisted work of Henry Kaiser or even Fennesz, but realised solely through Reichel’s unorthodox techniques on his invented instruments. Extensively illustrated with photos and Reichel’s own plans and drawings of his instruments, Dalbergia Retusa is an essential introduction to the unique world of Hans Reichel. Rarely has music been at once so strange and so beautiful.

JOCELYN VIRAPIN is one of the master of the Guadeloupean Gwoka percussion.
Born October 17th, 1957 in Basse-Terre, he’s an author, composer, producer and a vinyl digger.
His Gwoka is a pure tribute to the traditional combination of responsorial singing in Guadeloupean creole, rhythms played on the Ka drums and dancing.
He started to play in the 90’s with his band Gwaka. He opened and collaborated with prestigious band such as Kassav or Zouk Machine.
He has a massive discography as arranger and musician: he appears on more than 78 albums! The track "Pasyon" was originally released in 1994 on a rare vinyl , but with the artist we decided to do an edit, so we invited the super talented jazz player Florian Pellissier for a Rhodes improvisation on the original take.
The track "Respè Pou Fanm" was originally released with his band BELOKA in 2010 and was only pressed on a Cd format at a very limited quantity. This beautiful song is a blend of Ka, fantastic jazzy keys on Rhodes, hypnotic bass, sublime creole spiritual chants. With an incredibly joyous feel, the lyrics gave a timeless advice to men: Respect Women .
It definitely deserves a vinyl version for all the music lovers, Dj’s and diggers from all over the world !
Kenbé red pa moli !

Nail has been an important voice in the UK underground ever since his DiY Sound System days in the East Midlands in the 90s. After many years away, he returned, much to the delight of many heads, about a decade ago and has continued to roll out essential jams ever since. This one on his In The Dance label embodies his style - loopy, disco tinged house that's rough around the edges and burning with soul. 'Lick The Bag' is a cheeky title for a cheeky tune, 'The Price Is Wrong' shimmers with muted jazzy chords that are always held back, but the delight is in the promise and 'Medicine Stick' rolls on sweet grooves and knotted bass. 'Swing By' shuts down with plunging kicks and hints of MAW. Superb.

Brochure is back for the first 12” in our Soft Rock for Hard Times series, transforming Holly Near’s iconic soft rock stepper “Back Off” into a synthesizer driven disco dancer. Rebecca Felix joins the band to sing lead vocals and nails the stern yet blasé delivery that makes the original so captivating.

After wrapping their cover, Brochure returned to the studio to produce the Paradise Mix which has its sights on Italian shores, winding seaside roads and open air night clubs.

On side B, Jex Opolis’ Good Timin’ Dub delivers a hypnotic house groove that is guaranteed to put evil thoughts in your mind and happy steps in your feet.

Dreems rounds out the record with an echo and delay fueled odyssey for his Risky Connection Dub which takes the song on a deep, dubby trip.

Southern Italy's disco jack-of-all-trades and STAR CREATURE regular GIOVANNI DAMICO returns with "THE PAYBACK EP" 12". DAMICO's ever-evolving sound swerves through bright moments of gospel house, afro-boogie and punky funk, each track having its own fresh flair.

Colombian-Argentinian label We Shine In The Darkness is back with a second serving, and this time they throw it back to 1996 to revisit a classic anthem. It's Julian Sanza and La French Toast who add their own 2025 spin to iconic trance cut 'Seven Days & One Week', maintaining its bleepy and bleary-eyed synth sequences but reworking them into a deep and breezy house groove. On the flip, 'Mad Vibes' is apparently an "homage to a local scene bar" and is an emo-licked post-disco chugger with moody lines and distant vocals tugging at the heart.

2026 Repress

Welcome to the brilliant Herbie Hancock with the always in-demand slinky groover Stars In Your Eyes on the much coveted 11.21 "special disco remix".

This is quite simply one of the smoothest Disco rides you will ever take with a production made in heaven and a vocalist supreme with Gavin Christopher taking it to another level. Find an original U.S. promo of this if you can.

There's lookalikes about which are inferior quality! As if that wasn't enough, we've only gone and paired it with the hugely rare U.S. promo-only 12" "special disco remix" of the scintillating Saturday Night.

This is as rare as hens teeth and you'd be lucky to find a mint one for less than £50. Featuring an extended percussion break from the fantastic Sheila E, this a very different mix to the original album version and was never widely circulated at the time.
So another nice rare gem. As double-siders go, this really takes some beating. Order with confidence because this will still be selling for years to come.

Tartelet is pleased to kick off 2026 with a display of warm-hearted tech funk from Italian house maestro Paffetti. Having made his name with a strong run of sample-rooted deep house as Black Loops, Riccardo Paffetti unveils a new alias to explore a more club-focused, trippy sound.

Even with the shift in sonic focus, Paffetti maintains a razor-sharp instinct for low-downgrooving deep house dynamics that course through every inch of the UTOPIA EP. It's plain to hear in the rolling bassline and shuffling drums that mark out 'B.Y.M. ' and the disco-licked strut of 'Escucha Me'. The difference is the decoration on top, where mind-massaging zips and pings and artful samples add a subtle touch of psychedelia to the sophisticated house music blend.

Across five cuts, UTOPIA unfolds with a strong sense of momentum and melodic intent, marking a confident new phase in Paffetti’s ongoing exploration of deep, hypnotic club sounds.

Ruf Dug flies to Duca with 4 edits showcasing his Ruf Kutz have never been far from the mind.

Rhythm Section, International Feel, Pinchy & Friends, Wolf Music, Music For Dreams and Klasse Wrecks all released the Dug, it’s super honouary to board.

Manchester to Guadalope to Ibiza, his reputation as a DJ, producer and toker is example to all. Here we go. Dug dives in, drum machines ready, mutated across scenes. Street Soul, si! Industriale, buono! Beatdown, no problemo !

Ruffy’s Big Decision is UK Disco meets back alley Boogie, love pains galore over driving funk bass. You Are The One !

Ruffy’s TV Channel is metalica. Heavy beats, unrelenting. Funk to 11. Sherwood. Ciao. Pursuit of trivia. Television, The Drug Of The Nations !

Ruffy Electric Bill. Now we move. Cowbell chiunque? New York ‘81. Smoke stacks. Cars bouncing Downtown. Nobody gets to meet the Duke. Set. It. Off !