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Detroit's MotorCity Wine offers a uniquely histaminergic POV on dance music, doubling as a one-stop wine shop, record label and vinyl store, and in so doing highlighting a real economic reality: music often really does sound best when paired with powerful, sense-boggling beverages. Here they welcome local Eddie Logix for a thematic chuggers' chaiiwala, from the laggard and slap-happy homebrew 'Moonshine Mandala' to the background noisy, bustling B-side blear, 'Brooklyn Street Sunrise', which works street sounds and knowing urban chant-murmurs into a serious post-Afro stew.

WEorUS has long been synonymous with forward-thinking electronic music, and their upcoming vinyl release further cements their reputation for sonic innovation. Featuring four distinct tracks from Anushka, Dragosh, Fabrizio Siano and Kaitaro, this record presents a nuanced exploration of groove, minimalism, and jazz-infused experimentation.
The release opens with Anushka’s “LVOE” a track that radiates warmth and rhythmic fluidity. Built upon a foundation of deep grooves and hypnotic layers, it embraces organic textures that evolve subtly throughout the arrangement. Expect an inviting bassline, shimmering synth work, and a rhythmic interplay that beckons dance floors into motion.
Dragosh delivers “Lampone” a groovy minimal cut that balances intricate percussive elements with a refined sense of space. There’s an air of elegance in the way this track unfolds—tight drum programming meets delicate sound design, resulting in an immersive experience that feels both intimate and expansive. A staple for selectors who appreciate understated yet compelling compositions.
Fabrizio Siano’s “What is Jazz” a contemporary minimal jazz experiment that defies conventional genre boundaries. Jazz-inflected chords weave through delicate electronic structures, resulting in a fusion that feels both nostalgic and futurist. A celebration of improvisation and groove, this track adds a sophisticated touch to the vinyl.
Dark, introspective, yet strangely hypnotic, Kaitaro’s “Nightmare” introduces a deep minimal aesthetic that veers toward atmospheric intensity. Layers build with eerie precision, each element strategically placed to create an evolving soundscape that feels cinematic yet firmly rooted in club dynamics. This is minimal at its finest—moody, unpredictable, and meticulously crafted.

Die Jazz-Disruptoren Ebi Soda (Spotify Best Of Jazz UK 2024) verarbeiten auf ihrer neuesten LP "frank dean and andrew" das Chaos endloser Jam-Sessions in einem abgelegenen, gemieteten Bauernhaus. Das Album vertieft ihre punkige Herangehensweise an Jazz und eröffnet zugleich Raum für eine lang gehegte Faszination für elektronische Texturen und filmische Kuriositäten. Die Tracks konzentrieren sich auf Ambient und Hall, greifen aber auch auf Einflüsse von UK Dubstep (wie Zomby, Burial und Joe Armon-Jones' Zusammenarbeit mit Maxwell Owin) zurück, sowie auf den rauen, körnigen DIY-Mixtape-Sound (inspiriert von Künstlern wie Athletic Progression, Yameii Online und Playboi Carti). Ebi Soda spielten renommierte Festivals wie Gilles Petersons We Out Here, Jazz Re:freshed London, SXSW Austin und EFG London Jazz Festival. LP mit Poster samt Link zum gleichnamigen Dokufilm und einem Secret Track.

A bit of backstory behind this release, I first met Hilton (Jack Horner) at an event in 2012 that took place in a venue called Crucifix Lane (also known as Jack's, now defunct due to expansion of London Bridge station). He's good friends with Krome & Time who were performing that night and I remember chatting with him about jungle (I was still a very eager young lad that was in his first year of raving and very keen to talk about jungle/hardcore/d&b to anyone that would be willing to endure it!) and he mentioned that he used to make jungle in the 90s. I asked who he was and when he told me he was Jack Horner, I went mental because I was a big fan of the 2nd release on Spectrum Records (The Hoover & I Got This Feeling) and to actually meet the person behind those tunes was a really special situation for me to be in.

Unfortunately, I was too shy to get any contact details for him and I never saw him again or knew anyone that had a way of getting in touch with him. That was until very recently, when he had started attending Distant Planet events in London & I got the chance to meet him again, only to be shocked by him telling me that he had been following me & my music and was a fan of me & my label! This time, I made sure that I was able to get contact details for him, I was not going to make the same mistake as last time!

Last December, he messaged me asking if I would be up for doing a remix of The Hoover & I was quite unsure about doing it because of how much I really enjoy the original and feel like it does pretty much everything it needs to do with the sounds used. But, I thought it would be worth a try so I gave it a go and Hilton really liked the outcome (which was a huge relief ????), even though I was a bit too scared to change too much of it haha.

He then asked if I would be interested in releasing it on Future Retro London, which I'd never considered doing because I thought he would have had his own plans for it but I was willing to try & see if we could make a release out of this. I messaged Dwarde & Kid Lib to ask if they'd be up for doing remixes of the same tune (at the time, we only had access to the samples from The Hoover) and they both were and they did great work taking the original track in different directions, each in their own way.

Around the time of making The Hoover, Hilton made another tune with similar samples called After The Pain, which was never released, but he still had the tune. The problem is that he only had it in the form of a cassette recording, which wasn't very good quality and probably would not be easily cleaned up for release. So, I decided to remake the tune from scratch, using the samples I had from The Hoover, as well as sourcing & recreating other sounds used. I was able to remake the whole tune arrangement & then Kid Lib mixed it down to make it sound more sonically similar to how it would have sounded when it was originally made back in 94/95.

Anyway, story time over, big thanks to Hilton for his co-operation & assistance on making this release happen, to Dwarde & Kid Lib for their remix work & a special shout going out to Hughesee for going through Hilton's collection of floppy disks to find & record the samples for The Hoover.

Feel Fly, the alias of Perugia-based producer Daniele Tomassini — a visionary force in Italy’s electronic music scene and co-founder of Afro Templum — debuts on Taste Rec with his new EP.
Titled Festina Lente — an old Latin saying that means "make haste slowly" — this release invites listeners to surrender to dance, movement, and the flow of energy in a timeless space, untouched by the idea of an ending. A space that feels magical.
The EP is sincere and atmospheric, moving through the artist’s deep musical roots: progressive rhythms, cosmic moods, and a touch of lightness drawn from Italian dance culture.

The A-side opens with the title track: spacious arpeggios and dreamy textures create a soundscape that invites you to get lost in the music — a tribute to the carefree spirit of the ’90s.Techla follows with a more minimal, introspective vibe. Its hypnotic bassline feels like a journey into the unknown.
The B-side starts with Somo, a bright and catchy track full of sunny melodies and feel-good energy, evoking Italo disco moods. Finally, Flusso Libero closes the EP with elegance and depth. It features a unique vocal sample that stands out in Feel Fly’s style, tying everything together with a nod to ’90s nostalgia.
This is a musical story that blends sacred, dreamy visions with raw rhythmic sequences and warm, synthesized basslines.
A futuristic soundtrack for an ancient ritual.

The occasion of possibility runs through Ben Bertrand's new album Relic Radiation. It is all backdrops and layers. Hints of the emotive and the distant. Confronting the classical with what is new, looking for an expressive space. Melancholy, not melancholy. Contemplation on a midnight blizzard. Dust motes in a sunbeam. Sand dunes and microwaves.

Ever since 2018 and the release of his first solo album, Ben Bertrand has been working up his own interpretation of the bass clarinet as an instrument of the avant-garde. Touching upon ambient and cosmic as well as earthy sceneries, his is a gentle musical paradox come to life. Let go of explicit pleasantries, Relic Radiation is the polymathic interpretation of a frozen intercom, of a subdued intent of contact. The music is competent and familiar, distant without being distant. There is no predefined form or context here. It is a different kind of colour.

As musical moments and modi become enormous, things break down into exploration. On the crystal shores of perception, Relic Radiation leaves a lot of space for interpretation. It is never loud, although it works loud. An at times almost sequenced feel to treated and overdubbed bass clarinet and clarinet notes adds to a feeling of paradox. Every voice, every gesture indicates a way in. The electron is now an immeasurable wave."

Fetter’s Body of Noise erupts at the threshold between ravey hypnosis and avant-pop experiment, slithering through the hinterlands of unconscious desire. Nine shape-shifting tracks conjure haunted landscapes where beauty refuses clarity and dancefloor logic warps underfoot. Vocals swoon, drift, and demand—stacking into fragments that multiply and weave through saturated pulses and shimmering, snarling synths.

Opening track "Like a Rose" traces a dreamer’s transition into the unstable physics of a perplexing but familiar dream world, where they gradually become lucid. “Beast” follows up humming with shadowed urgency, threading a path through self-sabotage and metamorphosis. “Spathiphyllums” drifts a while in a lush lostness, aching for something new before fracturing into wild, cathartic collapse. Side B’s “Do I Exist? (D.I.E)” and “The Longing” spiral into existential wonder, searching for a human origin story—both personal and collective—against a backdrop of uncertainty, while “Headache” thrusts forward as an absurd and insistent manifesto to stay the course and harness one’s own power within the madness.

Body of Noise is crafted not only for sweating bodies in motion, but for distorting time and opening psychic portals, where surrender becomes strategy and uncertainty transforms into ecstatic navigation. Rooted in all-hardware improvised production and shaped by Fetter’s years of boundary-blurring visual and performance art, their debut LP feels alive and in flux. Reminiscent of a spectral pop chorus trapped in a loop of broken machinery, or a lost broadcast from a dancefloor in a parallel realm, Body of Noise is a journey into chaos, transformation, and a bold refusal to be contained.

About Fetter:
Fetter makes clubby self-destructing noise pop to dance and weep to. Oscillating between ethereal and pounding, their all-hardware, largely improvised live sets take listeners through a foggy wilderness of saturated rhythms and menacing synth lines, a golden voice guiding the way through. Fetter is the stage moniker of multimedia artist Jess Tucker. Their performances take place in clubs as well as galleries, often incorporating video, installation, and interactive performance art elements to create other-worldly surrounds of mesmerizingly unhinged bodies and faces.

A one-off 12” from New York’s early 80s boogie underground, Hustlin’ Time was the only single released under the name American Steel. Originally pressed in 1983 on the small but cult Silver Screen Records label, it’s become a rare find for collectors and a secret weapon for DJs in the know.

Built around a strutting bassline, tight drums, and soulful vocals, Hustlin’ Time captures the essence of the boogie sound at its peak, equal parts funk, disco and electro. The 12" delivers four distinct takes: the full vocal, a shorter edit, a stripped-back instrumental, and a Dub mix courtesy of Aldo Marin under his S.U.R.E. Shot alias. Marin would go on to become a fixture in NYC remix culture, and his early touch here brings a raw dancefloor edge.

A 140 gram pressing in 3mm spine black disco sleeve with labels and sticker designed by Bradley Pinkerton.

The Rhythm Vision — the Berlin-based trio of Francesco Passantino, Daniele Ricca, and Francesco Monaco — debuts on Tractorecords with Techno Ballad EP, a vibrant four-tracker blending analog depth with dancefloor functionality.

The A-side kicks off with "Techno Ballad", a hypnotic, emotional techno cut with deep pads and raw drums, followed by "Love Love", an uplifting jam that nods to the golden era of '90s club music while keeping it fresh and modern.

On A2, "Folleti" explores a groovy, warm house atmosphere, born from a spontaneous studio session with guest artist Dahbar — pure jam energy pressed to wax.

The B-side closes with "RADUNO", a bonus track from the now-classic Resilience Groove collective, offering deep rhythms and a rolling analog feel perfect for late-night transitions.

A versatile EP with character — bridging techno and house with soul, groove, and timeless analog aesthetics.

2025 Repress

“In stark contrast to the stress-makingly staccato assault of your average 'ardcore rave, Telepathic Fish was a wombeldelic sound-and-light bath"

Simon Reynolds (Energy Flash: A Journey Through Rave Music And Dance Culture)

The first-ever illustrated compendium recounting the seminal underground South London ambient party that surfaced at the axis through which the likes of Ninja Tune, Warp and Rising High flowed. Telepathic Fish shared fertile waters with Megatripolis and The Big Chill, moving the early 90s London back room chill-out space into the kaleidoscopic spotlight.

Documenting the sights and sounds of South London’s seminal Telepathic Fish ambient parties. Hosted by Chantal Passamonte (aka Mira Calix - RIP), David Vallade, Mario Aguera and Kevin Foakes (aka DJ Food) - collectively named Openmind. With the help of Mixmaster Morris (The Irresistible Force) and Matt Black (Coldcut), they put on some of the earliest chill out events in London.

Rooted deep in the heart of the electronic underground they started DJing and decorating house parties or squats with mind-blowing installations and wholly idiosyncratic design, hosting the likes of Aphex Twin, Andrea Parker and Tony Morley (The Leaf Label). Within a year they were playing VIP after shows for the likes of Orbital and illegal New Year’s gatherings at the disused Roundhouse whilst guesting on Coldcut’s Solid Steel radio show on London’s KISS FM.

Whilst collaborations with legendary club nights such as Megatripolis saw them share bills with Autechre, Higher Intelligence Agency, Scanner and Global Communication, they also created their own ambient fanzine - Mindfood – to document the scene evolving around them. A 20-page history of their parties is included in the release, richly illustrated with personal photos, artwork and memorabilia from their adventures between 1992-95. The gatefold sleeve also features their Telepathic Fish logo, mirroring an original T-shirt design they sold in Ambient Soho, a record shop three of the four worked in at different times.

The selections featured here are all personal favourites that were played at the Telepathic Fish parties during the 90s. Picked and arranged by Mario, David and Kevin who combed their collections for key pieces they associate with the time and Chantal’s music tastes. Over a hundred tracks were selected, totalling nearly 11 hours of playing time, before being whittled down to the essentials by the trio, forming a snapshot of their world back in the day.

KEY POINTS:

* Features long deleted and hard to find tracks by Caustic Window (Richard D. James aka Aphex Twin), Tranquility Bass, Spacetime Continuum and Global Communication (Mark Pritchard and Tom Middleton).

• Pressed on DJ friendly double black vinyl

• Includes A 20-page history of their parties is included in the release, richly illustrated with unseen personal photos, artwork and memorabilia from the Telepathic Fish crew’s adventures between 1992-95, as well as detailed liner notes courtesy of founding members Mario Ageura and Kevin Foakes.

• Cover includes horizontal obi sticker with quote from Simon Reynolds' book Energy Flash: A Journey Through Rave Music And Dance Culture, describing the Telepathic Fish parties' place in the dance music landscape.

• Lacquer cut by Beau Thomas at Ten Eight Seven Mastering

dxrvo, hailing from Hannover, Germany, has made a name for himself in the electronic music scene by creating hypnotic, minimalist, and atmospheric techno sets. His music takes the dance floor on a captivating journey, characterized by driving beats, rhythmic basslines and repetitive sounds. With performances at renowned venues such as Tresor Berlin, PAL Hamburg, Doka Amsterdam, Watergate Berlin, and Terminal Lyon, he showcases his presence in theinternational techno landscape. As a founder of the Kollektiv Synergie, dxrvo is committed to inclusive events and the promotion of diverse artists. His production skills are evidenced by successful releases on labels like SYXT, Room Trax, Modern Minimal, and NYXII. More than just a DJ, dxrvo is an architect of sonic experiences, continuously redefining the boundaries of electronic music.


Linear Phase
With a two-decade career in music production, Carlos, better known as Linear Phase, has become an established artist in the global techno scene. His eclectic sound proposal, ranging from ambient / drone, through minimal / deep / hypnotic, to raw techno, has earned him the recognition of both critics and the public. His prolific career is reflected in the more than 50 releases under his belt in the last 5 years on several internationally renowned labels such as Molecular, Planet Rhythm, Newrhytmic, Drumcode LTD or Edit Select, to name a few, thus consolidating his presence in the global scene. His 5 years of experience in the world of modular eurorack has allowed him to develop a unique and personal sound, characterized by its depth, textures and enveloping atmospheres. In addition to his role as a producer, Linear Phase is co-creator of the Barcelona Modular Society, a space dedicated to the exploration and dissemination of experimental electronic music. Linear Phase is currently developing the creation of both its own label and its new studio, which will become a creative hub oriented to host all kinds of activities related to techno production. This space will feature the participation of renowned national and international producers, consolidating his commitment to the scene and his vision for the future.

Innmenal
Innmenal is a DJ and producer from Pinamar, Argentina. Resident from FAS Producciones he focuses into hypnotic sounds and chaotic rhythms. He has been playing across the Argentinian coastline spreading his sounds characteristics. With continous work and dedication Innmenal's tracks can be found in labels such as Concepto Hipnotico, Apical Records and Diffuse Reality. His first album called Metatron's Cube was released this year on the Diffuse Reality's Label. Another album is planned over this year along other releases on other labels. His last track Winds Of change was released on the label Modern Minimal with some support coming from Rødhad, Svreca, Developer, Richie Hawtin, Slam, Justine Perry, Arnaud Le Texier, Distant Echoes, Dax J, Hugo Rolan and more. He has shared the decks with Mariano DC doing warm up during last year. With more than 10 years behind the decks he's still digging into the deep hypnotic sounds with some agressive percussions to give the listener a journey through his cosmic sounds. So far Innmenal has been active in various labels like Diffuse Reality, Modern Minimal, KPLR, Space Travel, Rowan Underground and Habitat Musical.

Qaypz
Qaypz is a DJ and producer hailing from Arlon, Belgium. As a child of the 90s dance music era, his journey into electronic music began in 2000, ignited by his first I Love Techno Festival experience in Belgium and the underground rave scene that was thriving in his hometown Liège, where Jungle and D'n'B from UK were dominating. This era made Qaypz start mixing on turntables and embracing vinyl culture in 2003. Today, he's versatile, seamlessly transitioning between turntables, CDJs and DAW-based setups, incorporating hardware and controllers for a hybrid mix performance style. In his early years, he organized local rave parties and later moved to Eupen, the capital of East Belgium, where he founded the collective Krank'm'Haus. Qaypz's passion for underground sounds is evident in his productions. He crafts dark, industrial tracks characterized by powerful kicks, somber melodies and a driving rhythm. His performances have graced notable locations such as The Ground Club in Luxembourg, The Liquid Club in Malta and The Kulturzentrum Alterschlachthof in Eupen as well as underground events like La Nature, Eupen Musik Marathon Festivals in East Belgium and the Rummelstilzchen’s illegal rave party in Berlin-Rummelsburg just before the building demolition the day after. Qaypz is currently focusing on his label development and continue producing and mainly releasing his music on Krank'm'Haus Records.

Words courtesy of FOND/SOUND –

What makes チトチック/クラクラ (CHITOTIHC/KULA-kura) so fascinating is that, in some weird way, it’s a meeting of minds and musical language of disparate artists at the forefront of a new kind of groove. There might be no “L” in the Japanese language but that doesn’t stop it from trying to find a working substitute. Similarly, Chito enlisted members from his Asiabeat and East Pulse, others from Mu-Project, K2, and Adi, and brought in Haruomi Hosono to play mercurial bass. In the great expanse of experimental Japanese-made pop music all of them might have gone in “out-there” in separate directions but on this record it was Chito who pointed their focus all on the same track.

“Bayou (バイヨー)” presents this floating idea of dance music with beats and rhythms that hover among the ethereal. Other like “Scribble Dance (らくがき)” use Harry’s acid bass lines to dig cavernous grooves that only come up for air via adrenaline-fueled jumps by Haruo Kubota’s quite Adrian Belew-esque guitar lines. Perhaps, Discipline-era King Crimson is an apt comparison to what Chito and his crew pull off here.

Where Discipline signaled a way to reconcile the most out-there polymeter music of prog with the more satisfying parts of post-punk and the new electronic wave, so to do I think チトチック/クラクラ (CHITOTIHC/KULA-kura) has that bit of heart/spirit in mind. This is the out-there of Japanese experimental music satisfying the best parts of the, then, new electronic wave. It takes a certain degree of proficiency and sheer chutzpah to go from “11” to the wonderfully impressionistic, ambient minimalism of a track like “Sanghyang (サンヤン)”.

It’s the joy of not knowing what each new track will hold and just letting yourself follow the hard-working hands of such learned musicians that brings the most out of Chito’s vision. It’s this very liquid music that keeps you on your toes on tracks like “Astral Lamp (無影灯)”. Tracks like “Jagg-chagg (ジャグチャグ)” and “Filament (フィラメント)” present a fourth world music bifurcated in exponential parts by the glitch of newer, modern, electronic modalities, intersected by expressions by differing voices. Every track you switch to presents a new way to get lost in the many phases and places Chito wants you to travel to.

In the end, as always, it’s not the destination but the journey through it that plants this album in your memory. – Diego Olivas

Romain has been a key innovator in the Hong Kong & Asian music scene for the past 18 years in various different facets, building bridges between cultures and erasing borders through music. He has since taken a step into the world of production and his music has been played by some of the biggest acts in the game such as DJ Harvey, The Black Madonna, Gerd Janson, Horse Meat Disco, Skatebärd, Lauer, Tornado Wallace, Lipelis, Orpheu The Wizard, Kamma & Masalo and many more. Here his musical production story continues with his latest collection of works coming via the esteemed Tokyo imprint, Sound Of Vast.

Leading the release is title-cut ‘Musique De Maison’, a five-minute excursion through organic percussion grooves, snaking elongated bass tones, intricately intertwined vintage-leaning synth melodies and an overall cosmic disco aesthetic that reflects Romain’s borderless, cross-cultural sound. ‘Tonal Spices’ follows and ups the energy levels with a sturdy rhythm section, squelchy acid licks, murky bass stabs, Indian vocals and cinematic strings ebbing and flowing throughout.

Monkey Timers take on ‘Musique De Maison’ next with their interpretation extracting the core essence of the original and reshaping it into a dynamically unfurling rework, fusing fragments of the original with expansive delays, heavy reverberations and modulating synth work. The ‘Psych-O-Delic (Live Mix)’ then concludes the release with off-kilter drums running in combination with, as the name would suggest, tripped-out melodies, processed spoken word and warbling synth licks — a nod to Romain’s playful, surrealist edge.

JP
東京とアムステルダムを股にかけながら、The People In FogやRed Pig Flower、GǼG (Monkey Timers & Keita Sano) 等のリリースを手掛け、オルタナティヴなディスコ/ハウス・レーベルとして存在感を放つSound Of Vast。その最新作は、Romain FXの12インチ！

フランスで生まれ香港/台湾/アメリカで育ったRomain FXはプロデューサーとしてのデビュー以降、自身が主宰するFauve Recordsや禁 JIN、Black Jukebox等で、イタロ・ディスコやプロト・ハウス、アジア産音源等を現代的に昇華したサウンドを展開。特に2024年にSound Metaphors Recordsの傘下から発表したイタロ・ディスコ金字塔"Spacer Woman"のカヴァーは、DJ HarveyやOrpheu the Wizardらのアーリープレイによってディガーたちに衝撃をもたらすと同時に、Romain FXの評価を確固たるものとした。

本作には、溌剌としたシンセの掛け合いにラテン・パーカッションが並走しドリーミーなクライマックスに向かうプロト・ハウス"Musique De Maison"、アフロ/コズミック影響下の初期プログレッシヴ・ハウスが現代のピークタイムとシンクロした"Tonal Spices"、バイレファンキやエレクトロ・ファンクの化合物がバッドトリップ直前まで交錯する"Psych-O-Delic (Live Mix)"といった3つのオリジナル曲を収録。更に今回は、ユニットGǼGとしての怪作を経てPanorama BarをはじめとしたEUツアーを敢行した日本人デュオ、Monkey Timersによる"Musique De Maison"のリミックスも搭載。Droid作品を彷彿とさせるFX処理やグルーヴ脱構築の技法により、本EPにダークな一面を持たせた。

本作に収録されたいずれの楽曲も、Romain FXが辿ってきた陽性のエネルギー溢れる遍歴と練磨されたスタジオ・スキル、現代のダンスフロアのムードが交差しオリジナリティの獲得を目指す、インパクト溢れる仕上がりとなった。近頃はライヴアクトとしても成長を遂げるRomain FXが如何にクラウドを熱狂に陥れているか、想像に難くないであろう。

With a multi-decade spanning back catalogue behind him, Bearface aka Raj Panasa shows no signs of slowing down. Over the years he has built a sturdy reputation around his distinct and innovative feel-good touch whether that be on his own Beartone Records, or the many other labels he has shared his classy sound with.

“Remakes and Raw Cuts Vol. 1” is the launch of a new vinyl series from the London-based producer, a safe place for him to showcase his eclectic sound, alongside edits and remakes of some of his favourites over the years, all finding a home on his Beartone label.

Starting off on the A side Bearface provides a funk fuelled latin explosion with his version of the classic “Tudo Que Você Podia Ser”, sassy disco attitude ready for the summer months, presenting some unforgivable dance floor mania. The A2 “Got To Be” is an original cut, meandering between playful guitar licks, and stripped back, hypnotic percussion, there is a curious atmosphere as the track continues to simmer.

On the flip side an edit from the revered beatmaker. First up he edits “Tell Me I’m Not Dreamin’” by Jermaine Jackson, the infectious vocal injects a zesty life into a killer electro groove, a playful and animated trip ready to rock the floor! Closing out the EP is the retro sounding “Everything”, the robotic vocal flashes in and out, nodding towards Daft Punk, boasting beautiful strings and crispy hi-hats bringing that day time energy.

Bearface teasing those summer moments with a jam packed EP brimming with sunshine and positivity, dive in and feel the fun!

Hailing from Detroit, Ryan has earned great respect over the years as a deej with a deeeeeeep
bag of records. This EP is a perfect reflection of that ethos - with tracks that will have you
covered no matter what time of night you're dropping the needle on this thing.

The A is heavyweight, peak time, disc jock business. Sarah O leads vocals to the A1, woozy,
dubbed out, blissy joy ride that is the club mix of "Between Dreams." It would sound at home on
all your favorite dancefloors, but especially those outside. The Great Outdoors baby: the biggest
room there is!

Next comes the mighty Acid Mix of the title track. Cop now so you won't HAVE to Shazam it the
next time you're hearing Mike Servito or Josh Cheon DJ!!! And the A side is wrapped up by 24
Hour House Music. A jittery proto house work out perfect for a night drive in YOUR city!!!
The B side gives us a more of a downtempo vibe, perfect for life's breeziest occasions. LA
legend Benedek lends his considerable talents to all 3 tracks, while Steven Grady and Noah
Triplett for the EP's final track - "Love Dub." All reminscient of Ryan's work as part of Symptoms
of Love, this side feels more like you're in a dream than between them.

An exclusive collaboration lands on Drumcode, with Bart Skils linking up with rising German artist A.D.H.S for the divine ‘Can’t Hear You’. Fresh off the excellent ‘Torn Clouds’ single with Weska on Drumcode, Bart Skils is on-point as ever with his production output. The Dutchman has enjoyed a strong summer highlighted by Awakenings and a sunrise set at the iconic Fusion Festival. Meanwhile A.D.H.S is no stranger to Drumcode, having shared slick contributions to past A-Sides compilations including ‘Razor’ and ‘2Step’. He’s otherwise dropped strong releases on Exhale, Spannung and Electric Ballroom. “Can’t Hear You” was born during a Sri Lanka holiday after A.D.H.S injured his back and spent time sketching ideas on his phone. “I started playing around with samples on my phone and found this beautiful vocal and just started sketching some ideas. No pressure, just emotions,” A.D.H.S explains. “Back at the little jungle studio I had set up, I kept working on it – really taking the time to find the right chords to match what I was feeling at that moment. It’s a bit of an unusual track, and I had no intention of ever releasing it. It was just for this moment,” he shares. A.D.H.S begun testing an early version at open airs and festival, later uploading a teaser clip onto Instagram. When Skils heard the track’s unique vocal line, he was hooked. “It was a no-brainer for me to decide to work on the track with Bart, I’d been a big fan of his for years. He brought in his ideas, worked on the mix and arrangement, and together we shaped it into a version that we both absolutely love.

It’s one of those rare tracks that just capture a moment.” Indeed ‘Can’t Hear You’ is an emotional behemoth; one of those rare tracks that sounds genuinely unique and is simultaneously a banger and tear-jerker in one. “When I first heard the clip Michael (A.D.H.S.) shared of ‘Can’t Hear You,’ I was hooked by the infectious vocal. We decided to craft a full collab blending both our signature sounds, and the result is a rolling party weapon that’s become my go-to closing track,” shares Bart Skills.

Following up a string of releases on labels such as Mana, Sun Ark, Orange Milk Records and Abyss, Other People are honoured to present the new album Fobia by Argentinian musician and sound artist aylu, real name Ailin Grad. Inspired in part of Grad's many collaborative projects over the last few years, Fobia sees her collecting and rearranging the music and sounds fostered within these to create an intimate, spiritually charged album that turns personal struggle into collective resistance and resilience. What initially started as a way for Grad to process her own experiences with agora- and claustrophobia, and an attempt to navigate feelings of shame and a perceived demand to keep these feelings bottled up and hidden from the world, she began to realise how mental health struggles are not isolated incidents but part of broader systems of collective suffering and injustice. “It took a long time for me to discover that my issues were part of a system that produces these kinds of symptoms and that it takes a lot of courage to find a way around them. I have the feeling that more and more people suffer from these kind of things in some way or another, and what was at first taught as something you should be silent about and keep private, I discovered that the more you talk about it and share it with people you trust, the more you realise that it’s part of something much bigger.” This tension and constant pull between fear and joy, light and dark, is present throughout the album. From the strained breathing featured in opening track Yodo echoing the suffocating feeling from claustrophobia interspersed with the lighter textures of Obelisco Elysium and Prospero offering up a sense of relief, to the almost cacophonous, immersive soundscapes of El Sol Mal, mirroring the complex, often contradictory emotions when navigating mental health challenges. Fobia invites listeners to move through pain with honesty, finding strength in shared experiences.

The new Mono Jazz series - The Jazz Sinners - is designed, crafted and produced to the highest standards allowed by today’s music industry.
The tracks featured come from either rare, top-condition vintage first pressings or from meticulously sourced recordings to ensure the
best possible sound quality. Thanks to the expertise of Giorgio Cencetti (DJ Farrapo), we've created a fully organic mastering process that offers a
360° sound spectrumfor a truly high-fidelity listening experience. The vinyl itself is pressed under the supervision of Elettroformati - Milano.

The cover is 100% Italian-made, using premium 350g cardstock with a luxurious hand feel, with inner sleeves lined in polyliner for complete protection of the record.

Soulwax 's first new album in 8 years, entitled "All Systems Are Lying" and set for October 17th release. Available on CD & various 2LP fromats . The campaign will kick off July 9th with a double single “All Systems Are Lying / Run Free”, album announcement + pre-order launch. Since 1995, David and Stephen Dewaele have consistently pushed the boundaries of music into new and innovative territory by diversifying into many different guises. They are a band (Soulwax), djs (2manydjs), a record label (DEEWEE) and a sound system (Despacio, created along with James Murphy from LCD Soundsystem).

They are also widely renowned as one of the most innovative remix and producer teams around. They have released 7 studio albums to date, including the critically acclaimed ‘Any Minute Now’ and ‘Nite Versions’. Some of their already cult remix credits include the Grammy nominated “Work It” by Marie Davidson, as well as Peggy Gou, Fontaines DC, Roisin Murphy, Robyn, Arcade Fire, The Rolling Stones, Tame Impala, Metronomy, Daft Punk, The Gossip, Hot Chip, MGMT and Warpaint, among many others.

Stephen and David Dewaele are familiar to millions as 2manydjs, a project which undoubtedly moved the needle for modern DJing. Alongside like-minded allies such as Erol Alkan, Tiga and Jacques lu Cont, 2manydjs swept international dancefloors into delirium, gifting a rock ‘n roll attitude to club culture.

AnalyticTrail unveils the first chapter of its new series with Gems 0.1, a carefully curated snapshot of where the label's techno heart is today. Conceived by Markantonio and rooted in the Neapolitan school of groove, this collection focuses on functional power, hypnotic motion, and forward momentum across seven cuts split between vinyl and digital. On wax, the journey opens with Human Safari's Trap Door, mixing tight percussion with jazzy melodic touches. Lysander continues with Riot in Rio, bringing tribal rhythms and rolling basslines that push the dancefloor. KLBR's Thunder Drums hits hard with analog weight and crisp drums, while SYNDROM's Nikaia Nightfall closes the side with deep, hypnotic grooves and cinematic textures. The digital edition adds three more highlights: The Groove Room's Bloom delivers a dubby, pulsing journey; Cri Du Coeur's Safre builds raw warehouse tension with powerful hits and Omis (Italy) Collapse drives a stripped-back, high-intensity groove perfect for peak-time sets. With Gems 0.1, AnalyticTrail shows its formula in action: rooted in groove, focused on the dancefloor, and always looking toward the future.

CLUBREMIX005 has landed ! The physical release of “Wuhuhuu” and “One Balloon”, featuring two standout remixes by none other than The Trip and BELLA.
The Trip injects their signature stripped-back effectiveness into “Wuhuhuu,” breathing new life into the track with a dubby yet bouncy bassline that just locks you in.
BELLA reimagines “One Balloon,” delivering a late-night groovy tool, with her recognisable touch, she captures the essences of the 90s, radiating nostalgia and dancefloor energy.

Simon Popp is back on Squama with his fourth album Trio.
At its heart, Trio is a work about collaboration, playfulness and unification. It is music as a means of coming together, a sonic equivalent to the Japanese philosophy of Kintsugi, in which broken ceramics are repaired with a visible golden lacquer. Rather than hiding the breaks, Kintsugi embraces them, making them part of the story, a form of delicate transformation. Popp and his collaborators Flurin Mück and Sebastian Wolfgruber take a similar approach: three distinct drummers, three different temperaments, three personal styles. Fused together into a single expressive instrument.
The album is a celebration of timbre, texture, and touch, its sound palette drawn from across continents and traditions. Human beings at all points of time, across all cultures and continents have used music to celebrate, mourn, worship and bond. Along with our voices, creating rhythm with our bodies. Clapping, stomping, hitting with sticks. A celebration of rhythm as both a shared human memory and an audible expression of close bonds.
Trio is a reflection of the beauty of imperfection and the timeless pull of rhythm as a shared human force. The cracks are not hidden. They are filled with gold.

ZYX Italo Disco New Generation – Limited 5LP Box

Ein echtes Sammlerstück für alle Italo Disco Fans!

Diese streng limitierte 5 LP Box vereint gleich fünf Alben aus der erfolgreichen „ZYX Italo Disco New Generation Vinyl Serie“ – erstmals als exklusives Box-Set erhältlich. Auf insgesamt 5 hochwertigen Vinyl erwartet dich eine einmalige Zusammenstellung von Klassikern und modernen Hymnen im typischen Italo-Disco-Sound, der weltweit Fans begeistert. Tauche ein in die Welt des Italo Disco – mit dieser Box sicherst du dir ein Stück Musikgeschichte zum unschlagbaren Preis!

Stepping forward with 'Owebimataeto', the new four-track EP by Colombian producer Zemog. Drawing influences from the Sikuani language and the traditions of the Guahibo people, the EP channels a raw, propulsive energy anchored in its ancestral references.
'Alai' sets the tone with a driving bassline and metallic overtones, punctuated by fluid, organic sounds that twist through shifting layers of rhythm and resonance. 'Biaba' follows with a tribal current of dense, interlocking patterns within a steadily unfolding pulse. The momentum bends sideways with 'Beaxayo', a half- time whirlwind of swirling patterns and psychedelic pull, before 'Wako' sinks into a slow, sludgy finale.
'Owebimataeto' stands as a statement of Zemog's approach to techno- immersive, bold, and steeped in Colombia's indigenous world, transforming ancient cadence into something unmistakably alive.

TJM’s Small Circle of Friends is considered one of the masterpieces of the Golden Era of Disco. Moplen takes TJM’s Small Circle of Friends and stretches it into a deep, hypnotic disco odyssey. Built on a chunky, vinyl-warm groove, the remix layers hi-hats, funk-soaked bass, and crisp claps over lush, orchestral strings and soulful vocal refrains.

Moplen’s trademark touch is all over this one, extended breakdowns, patient builds, and EQ sweeps that make the dancefloor hang on every bar. It’s the kind of track that keeps the energy grooving and sophisticated. A timeless, vinyl-ready rework for true disco connoisseurs.

Let us introduce to you the third volume of the brand new series
"OBSCURE TRACKS", made of essential, stand-out and rare italo and
electro tracks, remastered and repress on vinyl for the first time ever
offering DJs the chance to get hold of suche as gems previously tucked
away in the Mr. Disc Organization back to catalogue.

Two massive 80’s icons get the secret edit treatment from a mysterious but familiar hand.

Tested and proven on dancefloors across the globe, these weapons have been destroying clubs in the hands of those lucky enough to have them.

After releases on both Echocentric and R.A.N.D. Dj Life joins thecollaborative label for their fifth outing, tech and progressive house made for the dancefloor.

To celebrate their 5th anniversary Berlin's Pure Hate Trax brings you 5 Years Remixed Pt.1, inviting Tripped, Mickey Nox, Laven & NX1 to remix their favourite tracks from the last 5yrs.

Ani004 marks a pivotal moment for Animism Records, delivering a versatile VA that captures the label’s evolving sound.

Thoma Bulwer opens with a breaks-and-garage-infused cut, setting a crisp and percussive tone. Tommy Vicari Jnr follows with a bassline-driven house stomper, primed for peak-time floors, while US producer John Manhard brings a deep, rolling groove to B1.

Closing the VA, Tred Benedict shifts the energy with a warm ambient piece, rounding off this finely balanced release.

A vault of deep pressure unlocked - The Hidden Files collects a set of heavyweight VIPs from The Untouchables, each a reimagined version ofpast dread-infused cuts. Typically crafted for - and reserved within - theirown DJ sets, these alternate versions are now unearthed for wider transmission. Stripped back, rebuilt, and submerged in new layers of sub-weight, they explore a more introspective energy. Tension, restraint, and meditative pressure - the Brussels duo reveals hidden forms with signature finesse.

Twin Dots is a brand new Music label founded by Alexia & Just1 based in Berlin exploring the interplay between sound & sight. The first release on the Twin Dots is by Moroccan/French DJ & producer Kizoku.

In Arabic, "Suad" suggests happiness, yet these nine tracks navigate more complex emotional terrain – bittersweet foundations supporting quirky, smile-inducing melodies born from contemplative moments.

"Suad" documents a musical journey from sample-heavy constructions toward more synthesized landscapes, paying tribute to the hip-hop Kizoku loves, from its organic roots to electronic contemporary developments. Each composition is a carefully assembled patchwork of sounds, transformed through his distinctly dreamy yet melancholic lens.

The vinyl release features a trippy illustration by Achot, whose dripping style echoes Kizoku's sonic world. Roger brought Achot's artwork to life through analog animation, adding his own experimental touch.

The next EP on the label comes from our friend and legend Eduardo De La Calle with three classy tracks blending techno and electro with strong jazz influences and a clear nod to Detroit!

Love International launch new vinyl-focused imprint with a 12" from Adam Curtain including a remix from Mr. Ho.

Revered party crew Love International expand their enterprise, channeling the buzz from another stellar year into a freshly minted sub-label: the 'Love International Floor Series'.

As the name suggestions, the series zeroes in on the dance floor, giving some form and shape to misty memories forged across protracted sessions at Barbarellas, The Olive Grove and The Beach in Tisno.

In to inaugurate the project is London based Adam Curtain - an artist focused on flexing the boundaries of UK club music who has been gathering steam as a nifty selector and a talented producer. A familiar face on both sides of the booth at Lion & Lamb, Fabric, Gottwood and of course - Love International - Adam nails the brief in delivering a record that is sharp, direct and eminently playable.

Musically - the tunes bridge old and new, nestling in that sweet spot between Breaks, Electro, UKG, Acid and Minimal. Stepped grooves, crisp snares, angular synths and oozey bass lines all unify to render a sound that's simultaneously psychotropic and crystal clear.

The cherry on the cake comes as a remix from the venerated Mr. Ho of Klasse Wrecks fame. Often paired with Luca Lozano, Mr. Ho is a master of organising chaos and here he does exactly that - rousing his machines and churning the original into a sludgy, fractal brain scrambler.

Sigma proudly present DAY ONE - their highly anticipated fourth studio album and their first as independent artists. 2025 has seen Sigma embark on a bold new chapter in their career, starting their own label and embracing the freedom to create on their own terms. With the duo now fully independent, they are taking back control and taking it back to DAY ONE, making the music they love.

DAY ONE embodies this ethos and is inspired by their love of the underground. The gritty jungle beats and anthemic soundscapes of early rave culture that form the foundation of their artistry can all be heard in these 12 songs. From hard-hitting tracks like Chargie and Soundboy, to dancefloor weapons like Magnetic and Outtaspace, all the way through to the orchestral Back To Life, Sigma demonstrates an impressive diversity and quality that showcases their exceptional production skills and studio craft.

DAY ONE is more than an album; it’s a celebration of the duo’s journey and the people who have supported them from the start. Featuring collaborations with legends like Dizzee Rascal and rising stars such as Julia Church, the record balances nostalgia with forward-thinking innovation. “Being independent has brought us back to what it’s all about—making music for the love of it,” the duo says.

After the warm reception of its first VA release, Phosphor is back with a new chapter: darker, more mysterious, and with a solid line-up of artists. The A-side sets the tone with two club-focused tracks made to move the floor, while the B-side drifts into a more hypnotic and introspective territory.

The record opens with “Satisfaction”, a club-driven cut marking Jesse Maas’ first appearance on Phosphor. Heavy basslines, crisp percussion and a vocal hook give it a strong presence on the dancefloor.

Next up, “Unlimited” sees the label’s founders, Blue Vision, reaffirming their style: melancholic yet groovy, nostalgic yet forward-looking. Deep electro wrapped in lush synths and a powerful low end, it’s a track that continues to shape their identity.

On the B-side, Light Blue File steps in with “Consciousness”, a hypnotic journey marked by his signature production. Rolling basslines and intricate breakbeat drums build a tense, immersive energy.

The VA concludes with B.AI delivering a spacious, emotional piece. Floating textures, drifting pads and a subtle pulse create a deep and introspective finale.

Evissimax and Protopapa present a "double face" vinyl record that reimagines the 70s and 80s sounds of one of Italy's musical legends: Loredana Bertè.
"Fare l’amore" comes from Bertè's scandalous and psychedelic debut album (1974). Evissimax's unique style preserves the song's message of freedom, bridging generations united by shared ideals and explosive energy.
Protopapa, a DJ and a key figure in Italy's LGBTQIA+ community and electronic music scene, has previously remixed tracks by Raffaella Carrà, Ricchi e Poveri, and Ornella Vanoni. His remix of "La goccia" is a return to his roots, giving the track an electro makeover that blends with the original's rock essence. The remix incorporates hints of UK garage and classic house samples, staples of his DJ sets.

Long-standing friend of Stampo and affiliated labels, SJV heads up the third release on the label. The UK producer shines strong with his debut vinyl release—four cuts immersed with emotion but a distinct drive we have grown fond of over the years as he shared tracks with us. Now they will gain their deserved recognition as we release them into the wild, ready for those deeper moments on the dance floor.

With their musical roots deeply immersed in the fertile soil of Afro-American music, the Buttshakers have found a new direction for their nostalgia-heavy soul music. With Lessons In Love, their third album on Underdog Records, their early heartaches and furies have faded in favor of a more composed harmony – a sound enveloped in love and soaked in the blues. Guided by their singer Ciara Thompson, the Buttshakers have taken a more intimate path, whose compass, in the chaos of emotions and the modern world, points only in one direction: the light.



Seen from the sky, the view appears limitless. Accentuated by the sun, the ochre and sandy hues of the open road only reinforce this feeling of immensity. The sky stretches and the green stands out in striking contrast. In lighter tones, a road is drawn -- without bends or contours. This is the worn and weary road of soul music, which The Buttshakers explore on each album in new and unique ways. Soul music – a rare place to find a French band.

Vast, the musical direction could have taken them to lighter pastures. Yet the Buttshakers chose to evolve in a different way; to take a heavier load. Two paths – one sparked by social unrest, the other purely sentimental, Lessons In Love explores the deep roots of soul music, in the steps of Curtis Mayfield or Al Green. It is here that the heart and mind cross paths, merge, and become one. A weary road -- that brings together the agitation of a world where good intentions never rise above the level of digital outrage, and a faith in love which, however it manifests and expresses itself, remains the only truth that never loses its power.



Less rage and more compassion, it is through the haunting words and now tempered inflection of Ciara Thompson's voice, which opens to distinct emotions and perspectives, that the listener is guided. With its gaze fixed on the horizon, the acoustic guitar of Gotta Believe invites us on an intimate stroll through the open plains, while Dream On carries us away with a clavinet riff and a possessed saxophone; reconnecting the electric heat and neurosis of a city full of dreams. The senses are moved by the conjuring potion of the guitar which distills throughout Troubled Waters; the body is brought back into a visceral dance by the keys and brass section that are put to the test by Sure As Sin and its irrepressible rhythm. Passing through clouds of dust and sand has left a bluesy imprint on their groove: the miles travelled became hundreds, then thousands.



All of this leaves the listener bewitched by the halo of resilience that now surrounds Ciara's performance, as the ten tracks let the light fade. But certainly not hope in a better day. Like the sunflower that always lifts its head towards the sun’s rays, the Buttshakers continue to resource their sounds in the deep roots of soul music. Into the rich layers of African-American music of the 60s and 70s, The Buttshakers capture the spirit as much as the musical aesthetics of the epoch. A sound that reaches into the meanderings of the soul, bringing light to dark places and hope for all. A sound for the most parched of hearts, living in a damaged world, Lessons In Love confirms that even the tiniest beam of light can illuminate one’s path.

This is the story of an artist in search of sound and breath: an artist who dares to question the rhythm of silence—an invitation to rethink music, sound, and musical collaboration. This is the story of a journey that, after opening countless paths, has finally found its vessel—and its messengers. Three artists of profound musical truth and radical freedom, merging into an exceptional trio that crosses genres and transcends words in a journey toward pure emotion.

Le Rythme du Silence is the culmination of this long search. Yom delivers it here with violinist Théo Ceccaldi and cellist Valentin Ceccaldi—kindred spirits in sound. “I’ve been working on this idea of the ‘rhythm of silence’ for years,” Yom explains. “I first heard the phrase from a Sufi master, describing the foundation of meditation. It struck something deep in me. I’ve practiced meditation for a long time, and we often think of it as a kind of stillness—opposed to noise and life. But in truth, the rhythm of silence enables meditation. It means accepting that the world continues to move and live around you, even as you try to be still. I wanted to compose from that place. To imagine sound as vibratory matter—the primal substance of creation. That required letting go of fixed structures: forgetting melodies, abandoning the idea of a constructed solo. I needed to leave behind music as a system, and touch sound as a living, breathing entity. It took years. Many projects led me elsewhere. But with the Ceccaldi brothers, I finally found the right resonance. Working with them was simply obvious—it was indredibly powerful.”

Yom first rose to prominence reimagining Jewish traditional music with his 2008 debut New King of Klezmer Clarinet. Since then, his path has led through rock (With Love, 2011; You Will Never Die, 2018), electronic utopias (The Empire of Love, 2013), meditative and sacred soundscapes (Prière, 2018), and countless unclassifiable hybrids (Unue, 2009; Green Apocalypse, 2010). It was inevitable that he would eventually cross paths with the free-spirited Théo and Valentin Ceccaldi—two artists who also place collaboration and genre-blurring at the heart of their artistic development. Their projects are always bold, demanding, and full of life (Kutu, Tricollectif, ONJ, Velvet Revolution, Grand Orchestre du Tricot, Lagon Noir, Constantine, etc.). And so, when the three met within the iXi string quartet, something clicked.
“I was seated between the two of them in the quartet,” Yom recalls, “and I could feel their energy flowing from both sides—it was wild! They’re so tuned into each other, they don’t need words. It’s like they’re connected by musical Wi-Fi. The groove happens instantly. They’re precise when they want to be—thanks to their experience in pop-influenced projects —but they can also let go completely, diving into pure sound. That’s exactly what this project needed.”

Without a single rehearsal, the trio formed instinctively. They began performing Yom’s compositions live, unfolding them into a single continuous piece, where clarinet and strings stretch the limits of sound and breath.
Bowed, plucked, or prepared with clothespins, the Ceccaldi strings engage in a playful and intense dialogue with Yom’s custom B-flat clarinet. Through their imaginative listening and fearless invention, air and space open into a vast new soundscape—one that lies somewhere between meditation and healing music.

“When Yom shared the concept of the rhythm of silence, we were immediately drawn in,” says cellist Valentin Ceccaldi. “There’s a deep intensity and spiritual commitment in his music that really spoke to me. With this trio, we’re trying to dive into the core of sound—but also to create a kind of communion with the audience. It’s like gradually turning up the volume on silence, and realizing it’s made of countless tiny sounds—the music of particles in motion" This stripped-down intensity demands full presence—body and mind—of these three musicians, vibrationally connected in a state close to trance. With them, we enter a journey - not religious, but sacred nonetheless.
The Rhythm of Silence becomes an echo of our most intimate, most distant inner landscapes.
An album—and a trio—to return to without end.

La Rama’s club ready sub-label RamaJam is back after a long stretch with 6x new traxx for the dance. Introducing for the first time on record, two Montréal duos that have been rocking the city for the last few years.

The Wet Steppahz are Boogaloo Jones & Pitza Dave, young producers extraordinaire, engineers at local studio Breakglass, live PA performers and organizers of the 140/160 party series. You can also find Boogaloo every weekend laying it down with the Fella’s Q-Tips & Curls crews. Young guns on the come up, be sure to follow their label STEPPATRAXX for some hot fire.

DAPASHU? is the meeting of veteran producer Shash’U & long time local DJ, promoter and studio fiend Dapapa. A quick lookup on Shash’U will have you inundated with originals and versions for you to drop at any jam. A mainstay at dance competitions, a regular feature of institution Loop Sessions, and always ready to share a tip from his production tool kit. Dapapa gets busy on the regular at venues around the city & heads both the Ol’Jack Nu Jack organization and DASA (a Montréal production suite bridging local and international likeminded artists). A fellow who takes no tune for granted.

Musically we make it easy, 3 cuts per side, representing each crew’s essence. No need to describe each tune, listen in and take notes on the mood + we laced you with those BPMs on the label so you can throw them in to the mix at any moment, no stress!

Mastered and cut in the city by our man Cristobal Urbina. Pressed in Canada & distributed from our brick and mortar shop located at 77 rue Bernard O, Montréal QC, H2T 2J9.

PS Props: These tunes were selected from recordings of the Steppahz and DAPASHU? playing live for a Seer Records party at Osmo x Marusan in April 2024… Big shout out to Emiliano & Maximum Enemi <3

One of the most popular French TV extracts of all time is the black and white image of a young and extremely nervous-looking Françoise Hardy being given a firm dressing-down by Mireille Hartush (the famous music teacher who ran La Petite Conservatoire de la Chanson in the 1960s). Presented here is her debut studio album Françoise Hardy (issued as The Yeh-Yeh Girl from Paris! in the USA). It was released in France in December 1962 by Disques Vogue with the catalogue number LD 600-30. Originally issued with no title, except for her name on the cover, the album has therefore colloquially become known by the title of its most successful song, Tous les garçons et les filles, and later reissues added this title. This sensational album compiles the twelve original French versions from her first three EPs released by Vogue during 1962. Hardy would also record versions of songs from the album in Italian (1962, four tracks released on singles have been added here as a bonus), English (1964) and German (1965). The iconic LP combines rockabilly, folk, jazz and blues, and has been noted for its simplicity, featuring a minimalist jazz percussion, bass, and both acoustic and electric guitar. 180 GRAM - GATEFOLD COVER - LIMITED EDITION

Peek of Normal is the new label from disco veteran Stevie Kotey, whose productions have graced the Bear Funk, Ambassador's Reception, Strut, Electric Minds and many more labels in the past. Pretty much its first move was to ink a deal with Dutch master Mark du Mosch, who'd been friends with Kotey since the latter moved to Rotterdam in 2005 and discovered his neighbour had similar tastes in disco. This new label's inaugural release, Sterling Melody, is quite the labour of love, and with eight tracks spread across a double vinyl pack collection lean more towards the coldwave, electro and synthpop of the early 80s rather than 70s disco. There are echoes of some pretty classic sounds here, from the Vince Clarke-esque throb of '77777st' and 'A5G Neowise' - not unlike the soundtrack work of mid period Tangerine Dream - to the slower motioning Italo-tinged shininess of 'Soluzio'. Our favourite is the title track itself, perky and full of sparkle, like the incidental music for a lost series about a mullet-clad, white linen suited detective who doesn't play by the rules, only much, much better. Definitely worth a Peek.

They say that if you keep your ear to the ground, you might catch a sound welling up from the depths. That this sound takes shape underground, rising toward the cosmos. They say these lyrics speak of resistance, and that the words they’re made from flow from the subconscious. That through rhymes & rhythms, an oasis has formed, and that beneath the surface, another life is possible.

« l’important est de maintenir des oasis de resistance… » Edgar Morin

(What matters most is to preserve oases of resistance…)


Stand High Patrol presents « Underground Oasis » : an underground utopia, a new album.

Original released in 1961

It's been over 60 years since the original recording, and now, this classic masterpiece is back in a monaural version with fantastic sound.

Hideo Shiraki, a key figure in Japanese jazz, left his mark with unique music and a strong presence. One of his standout works is "Matsuri no Gensou," recorded in 1961. This incredible piece takes a Japanese melody and transforms it into a cool jazz style, using a special arrangement with the koto. The collection also features exciting tracks like "Just One Or Eight" and the dynamic "Cherokee" with an amazing solo. Contributions from experts like Hidehiko Matsumoto and Yuzuru Sera add to the greatness. Even after 60 years, the music still feels fresh and passionate. Now reissued in monaural for the first time, this work stands as a timeless masterpiece that continues to captivate audiences worldwide. Enjoy the overwhelming sound of this significant piece in Japanese jazz history.

Longtime label friends Peter and Lukas Visti return with a stunning long player rich in authentic Balearic sounds. It opens with the percussive nu-disco groove of 'Ocean View' then drifts into flamenco-tinged reflections on 'Invisible Sun' and 'Kathmandu.' Acoustic guitars feature prominently throughout, from the uplifting 'A New World' to the dreamy, sunset-ready title track. 'Eternal Love' brings us back to the dance floor while 'Lazy' leans into late-night Balearic house. The album closes with the serene, acoustic beauty of 'The Last Supper.' Fair Wind indeed.

DJ Feedback

Pete Herbert:
"Outstanding, and featured on radio show"

Faze Action:
"Lovely album full of beautiful melodies and calming atmospheres"

Chris Coco:
"Super-sunny, top quality Balearic gear from start to finish"

Max Essa:
"Absolutely superb!"

Bill Brewster:
"Cool beans!"

Richard Dorfmeister:
"Cool release!"

Sally Rogers/A Man Called Adam:
"Very Sunset set friendly collection, I'll be playing :)"

Nude Disco/Altra Moda Music :
"A really nice selection here"

Justin Robertson:
"Love these"

Anfang 2021 standen die Bandmitglieder von Lankum hoch über Dublin, den Winden der irischen Ostküste zugewandt, mit einem wundervollen Blick auf die Stadt, in der sie über 10 Jahre lang gemeinsam Musik gemacht hatten und dennoch spürten sie ein Gefühl der Unverbundenheit. Sie hatten die Stadt noch nie aus diesem Blickwinkel betrachtet, da sie immer fest in ihr verwurzelt waren und die Schönheit von Dublin immer aus dem Blickwinkel ihres Alltags sahen. Der kleine Perspektivwechsel half der Band bei den Aufnahmen in den Hellfire-Studios, wo sie nach der langen Stille der Pandemie begierig mit den Aufnahmen zu ihrem vierten Studioalbum "False Lankum" begannen. Wer jemals bei einem Lankum-Gig war, kennt die Energie, die diese Band erzeugen kann. Der unverwechselbare Drone-Sound, der sich durch ihre Arbeit zieht, wie bei ihren bekanntesten Stücken "The Wild Rover" (von "The Livelong Day", 2019) und "What Will We Do When We Have No Money" ("Between the Earth and Sky", 2017) hat die Kraft, einem den Boden unter den Füssen wegzuziehen und erzeugt dabei einen einmaligen Klang. "The Livelong Day" war das Album, mit dem Lankum aus der Schublade der "irisch traditionellen" oder "Folk"-Musik herausbrachen. Es ebnete ihnen den Weg zu medialem wie kommerziellem Erfolg, der ihnen 2019 den RTE Choice Music Prize einbrachte und dazu führte, dass sich ihre Shows in der traditionsreichen Konzerthalle Vicar Street in Dublin in nur 20 Minuten ausverkauften. Die neue Musik bringt auch neue Stimmen und so ist es das erste Mal, dass Cormac Dermody einen kompletten Song auf einem Lankum-Album singt. In Kombination mit seiner besonderen Tonlage erzeugt er eine poetische Kraft, die den Sound von Lankum bereichert. Mit "False Lankum" bewegt sich die Bands ins Unbekannte, ein Album getrieben von der wilden und oftmals seltsamen Schönheit des Schmerzes und der Freude, von Himmel und Hölle. Es ist gleichermaßen ein Album der Widersprüche und des Einklangs und sicherlich eine der spannendsten Produktionen, die in letzter Zeit aus Irland kamen. Nur wer mutig wagt, wird Herzen gewinnen - "False Lankum" ist der Schlüssel dazu.

Not to sound like a broken record, but it truly has been quite the year for Keinemusik, hasn’t it? After playing their biggest New York headline show to date in a densely packed Flushing Meadows Corona Park, the next single from the crew drops just in time to keep that unforgettable magic around for a little longer. „See You Again“ features Dutch-Iranian songstress and avantgarde icon, Sevdaliza, who imbues the track with its unmistakably emotive depth. Lyrics anchored on yearning and hope lend themselves to a likeminded production that merges warmth and introspection, making for elegant peaktime energy. For Sevdaliza, this comes on the heels of the announcement of her highly anticipated forthcoming album Heroina, due later this year, which is a sonic exploration of feminine power, cultural identity, and spiritual survival. „See You Again“ has been a staple ID at Keinemusik shows since its debut play at Coachella, and is out to see you again and again and again on your nearest dancefloor.

Époque - Charlotte De Witte's archival label of KNTXT - and Vinyl Classics proudly present a special 12" that aims to both preserve and reimagine the spirit, sounds, and discotheque culture of the late ’90s and early 2000s for a brand-new generation.

Originally released in 1999 and produced by Jan Vervloet & Daniël Moerenhout, this track is still a guaranteed floor-filler decades later. Now, Charlotte De Witte delivers a stunning rework as a heartfelt tribute to one of her all-time favorites — with the original mix included on this release.

Charlotte de Witte’s standout performances across continents - including being the first techno (and female) DJ to headline the mainstage at Tomorrowland - Mixmag and DJ Mag covers, high-ranking positions in the charts and lists confirm her status as nouveaux techno royalty.

Époque - Charlotte De Witte's archival label of KNTXT - and Vinyl Classics proudly present a special 12" that aims to both preserve and reimagine the spirit, sounds, and discotheque culture of the late ’90s and early 2000s for a brand-new generation.

Originally released in 1999 and produced by Jan Vervloet & Daniël Moerenhout, this track is still a guaranteed floor-filler decades later. Now, Charlotte De Witte delivers a stunning rework as a heartfelt tribute to one of her all-time favorites — with the original mix included on this release.

Charlotte de Witte’s standout performances across continents - including being the first techno (and female) DJ to headline the mainstage at Tomorrowland - Mixmag and DJ Mag covers, high-ranking positions in the charts and lists confirm her status as nouveaux techno royalty.

Platipus 30 Years – Volume 7 is finally set to drop, continuing the acclaimed anniversary vinyl series that celebrates the legacy of one of the UK’s most iconic electronic music labels. This latest edition brings together a collection of timeless and highly sought-after tracks from the legendary Platipus catalogue, including Union Jack’s unforgettable “Red Herring” (Original Mix), Art of Trance’s hypnotic “Kaleidoscope” (Oliver Lieb Remix), Simon Berry’s powerful “Maelström” (Torsten Fassbender Remix), and Moogwai’s classic “5 Wishes” (Original Mix). A must-have for collectors and fans alike, Volume 7 delivers a perfect blend of history and timeless trance energy.

Sélavy is Prosper’s debut album. It features 13 tracks that range from fairly traditional French chanson to more techno, rap, rock, punk, and even pop styles. Wordplay and stylistic devices play a central role in the lyrics. Much like his work as a visual artist—where he cuts and assembles elements that seem to have little in common at first glance.



Prosper uses the French language as a tool to express his emotions and reflections on life, with all its sorrows and joys. In doing so, he dissolves the boundaries between poetry, song, and artwork.

CODEWISE ...the secret inner knowledge of unlocking pure underground DNA DRIVETRAIN - Rachel A dark and aggressive odyssey morphs into undeniable Detroit abstraction BLAKTONY - Alternative Homework Mind expanding deep-tech, erogenous to audio consciousness BJIKA - House On The Hill An alluring atmosphere with a sizzling mood of insatiable sound JESUS GONSEV - Cosmic Sand Galactic acid showers delicately pad a luxuriant sonic landscape

London based House label Inermu brings the 18th release in their Vinyl Only series in the form of this 4 track EP from Gudj

This single gets together two rare and important tracks from legendary producer Lee “Scratch” Perry with singer Neville Grant.

SICK AND TIRED, the great vocal version of RETURN OF THE DJANGO, was released in 1973 on Downtown (DT.509) whilst
BLACK MAN’S TIME was released in 1972 on the Upsetter label.

These two outstanding tracks are in our opinion the best of Neville Grant’s recordings and among Lee Perry’s very best productions of this era.

As such, they were featured on several top compilations but are both quite rare as singles and highly collectable today…

LORD PARAMOUR IS BACK!
After their first big break, the duo returns with "Doom", a second album as daring as it is captivating.
At the helm are DJ Marrrtin, graffiti artist, beatmaker, Stereophonk label captain, member of Funky Bijou, Aktshun, Tino & Marrrtin… & Ajax Tow, DJ-cosmonaut and all-round musician, known for his unpredictable and eclectic sets.
DOOM is a true sonic odyssey: edgy breakbeats, hallucinatory psychedelic vibes, oriental grooves in the style of post-Bollywood library music, a hint of 70s krautrock… and always that downtempo, post-punk, and space groove that is their signature style.
An album like a journey through a cosmic mixtape—retro, futuristic, romantic, and radically free. DOOM isn't just a record. It's a sonic adventure. An imaginary soundtrack. A stylish slap.
Edition of 300 ex - Hand mande Screen printed cover - Hand numbered.

Hit after hit! The 4th in a series of sample-delic electro 12”s inspired by the LA X-men, Arabian Prince, Marley Marl, DJ Di’jital. This one features Ivan “Funkboy” Bodley on electric bass guitar. electro salute!"

The begena is a large ten-stringed lyre which is part of the traditional Amharic heritage of Ethiopia. The Amharas, who have long formed the politically and culturally dominant people of Ethiopia, mainly inhabit the central and northern part of the country. In the majority, they follow the monophysite Orthodox Tewahido Church established in the early fourth century AD.

Music plays a very important part in the life of the church. Most of the liturgy is sung and, contrary to secular music, it is accompanied by percussion instruments only. The begena occupies a special place because it is the one melodic instrument exclusively dedicated to the spiritual repertory. Because of its mythical origin, it is highly respected. Tradition holds that the begena was given to king David by God, and brought to Ethiopia by Menelik I, together with the Ark of the Covenant. It has always been the instrument of kings and nobles. Played by pious men and women of letters, it never became widespread. But it never disappeared either, not even under the Derg regime (1974-1991) which had banned the instrument.

Among Amhara string instruments, the begena is the most carefully crafted, especially with regard to the ornately sculpted crossbar. Its ten gut strings are cleaned and twisted several times. The characteristic buzzing timbre equalled by no other Amhara instrument is due to the enzirotch, that is, small bits of leather placed between each string and the bridge. This plays an important part in the sound production by creating a brief contact between the string and the upper rim of the bridge, thus modifying the vibrating properties of the string. In this manner, the spectrum of the sound is considerably enhanced (up to over 10 kHz).

The begena is a very powerful instrument, it keeps the devil thirty steps away, and its presence in the home wards off malicious spirits. Priests and preachers recommend its presence, especially during Lent (Fassika Tsom) when the Orthodox Amharas ponder their sins and repent. Because of its spiritual import, the begena generates intense emotion. According to some musicians, playing the begena brings them into direct contact with God or the Virgin Mary. The religious role of the begena is underscored by the shape of the instrument, each part symbolises an important element of the faith. The crossbar for instance, which reaches across the entire width of the instrument, represents God who is above all things. The belly which "gives birth" to the sound represents the Virgin Mary, and the ten strings recall the Ten Commandments.

Recorded by Stéphanie Weisser in Addis Ababa, Ethiopia, March 2002-December 2005.

Mastered by Renaud Millet-Lacombe.

Issued under license from VDE-Gallo, Switzerland.

Celebrated DJ, producer, and sonic explorer Auntie Flo (aka Brian d’Souza) — described by The Guardian as “one of global club culture’s most vital voices” — returns this autumn with ‘Birds of Paradise’: a rhythmically rich, emotionally resonant, and ecologically grounded new album, out 23 October via his A State of Flo imprint. The album will be launched with a special live show at London’s Jazz Caféon the same day.

‘Birds of Paradise’ draws on d’Souza’s global club experience while deepening his connection with the natural world. Built around classic Roland drum machines and iconic vintage synths, the record is a joyful, body-driven celebration of rhythm and movement, but one grounded in ecology and place. The album’s spiritual centre lies in Saligao, Goa, near d’Souza’s maternal homeland where his Auntie Florie (where the name is derived from) is buried. Where he found his ‘paradise’ nearby, staying in a converted fisherman’s hut and recorded dawn choruses from a riverside studio overlooking mangrove-lined waters. Environmental textures from Japan also make their way into the music, creating a sonic map rooted in lived experience.

“Birds of Paradise is about finding beauty and rhythm in a chaotic world. It’s about listening, to nature, to our bodies, to what’s real. It’s a reminder that dance music can be both joyful and grounded.” The album blends Afro-Latin polyrhythms with Western 4/4 patterns, fusing instinctive, dancefloor energy with field recordings that anchor the music in the earth. Described by d’Souza as “tropical with a few deeper edges, a balance of light and dark.”

The new record follows the acclaimed ‘In My Dreams, I’m A Bird and I’m Free’, which earned 4 stars and Global Album of the Month from The Guardian, featured in Disco Pogo’s Albums of the Year, and received support from Luke Una, Resident Advisor, Juno, Bandcamp, Mixmag, DJ Mag, Electronic Sound, The Skinny, Beatport, Ban Ban Ton Ton, and more. The album’s launch show at Omeara London sold out. Other recent projects include the ‘Outernational Dance’ EP on cult label Multi Culti, event series ‘Plants Can Dance (and Mushroom’s Sing)’ which explore plant and fungi bioelectricity as a means of live composition, and ‘Black Beacon’, a haunting cassette release and soundwalk series recorded on the abandoned military island of Orford Ness. There, d’Souza explored the eerie intersection of nature, decay, and deep time, gaining special access to restricted buildings to capture long-form soundscape compositions.

Alongside his production work, d’Souza has emerged as a leading voice at the intersection of sound and science. He curated music for Imperial College’s groundbreaking psychedelic therapy trials, developing six-phase playlists to guide participants through psilocybin-assisted sessions treating conditions such as fibromyalgia and gambling addiction. His five-hour ambient set at Watching Trees Festival, selected as Resident Advisor’s Mix of the Day, continued this exploration into the therapeutic potential of sound in altered states. He also spent six months collaborating with BBC producer Tom Raine on a documentary for BBC World Service, centred on a two-week journey through Kenya and Goa. There, he performed live, led plant music workshops, and joined a deep listening retreat rooted in field recording. “I realised my studio isn’t just four soundproofed walls filled with instruments — it’s the journey itself. It’s the people I meet, the natural world I listen to, and the connections I feel.”

This same commitment to deep listening fuels his live concept Plants Can Dance, a project that combines the biosonification of plants and fungi with modular synthesis. The next event, on 14 September at Hideout Hackney Wick, will feature performances by Stella Z and Lapalace, with d’Souza and resident Lamine playing live alongside responsive plants in collaboration with Repot Hackney Wick and the label Music To Watch Seeds Grow By. “I’ve spent years exploring how electronic music can connect us, not just to each other, but to the natural world. Whether it’s translating mushroom data into melody or capturing birdsong at dawn, it’s about finding resonance across bodies, ecosystems, and machines.”

Rooted in his Goan and Kenyan heritage and shaped by years of travel and collaboration, d’Souza’s creative mission is simple: to reconnect the electronic world with the natural one. Through A State of Flo, he continues to blur the boundaries between club culture, sound art, and ecological awareness.

Detroit, MI – – Blank Code Records, a cornerstone of the underground electronic music scene, is proud to announce the launch of its highly anticipated sublabel, Modern Relics @modernrelicsrecords. This new venture is set to redefine the future of electronic music by merging a diverse range of genres, including techno, drum & bass, atmospheric, polyrhythms, ambient, and dub.

Conceived in the heart of Detroit, Michigan—an internationally renowned hub for electronic music innovation—Modern Relics is dedicated to exploring the freshest, most experimental soundscapes. The label aims to introduce listeners to groundbreaking productions that push the boundaries of genre and convention, reflecting the cutting-edge spirit of the underground scene.

Modern Relics will serve as a platform for both emerging and established artists who are unafraid to break free from traditional constraints, weaving together intricate rhythms and atmospheric textures that captivate and challenge the listener’s perception of sound. Drawing from a wide array of global influences, the label will focus on music that’s as dynamic as it is genre-defying, from hypnotic techno to the pulse of drum and bass, with hints of ambient sound design and the intricate complexity of polyrhythms.

"We wanted to create a space where experimentalism meets accessibility, where the boundaries of different genres can be blurred and redefined," says Co-Founder Chad Parraghi. "Detroit’s legacy in electronic music made it the perfect place to launch a new chapter that honors the city’s rich history while also pushing into the future with new and innovative sounds."

Modern Relics will launch with a series of forward-thinking releases. Expect immersive soundscapes that transport you into uncharted auditory territories—one where techno meets the experimental, drum and bass merges with ambient sound design, and dub echoes resonate within polyrhythmic structures. The label will feature a diverse roster of talented artists whose work reflects the international underground, bringing together voices from every corner of the globe.



Bio: Echoføn is the project of Detroit producers and Blank Code co-founders Chad Parraghi and Corbin Davis. Their music pulls from the roots of Detroit techno while folding in the energy of drum & bass and the complexity of polyrhythms, giving their tracks a sound that feels both raw and forward-looking.
Through their work with Blank Code, Parraghi and Davis have long been part of Detroit’s underground, building spaces for artists and pushing new ideas into the scene. Echoføn is a natural extension of that—two voices combining into something new, but still grounded in the city that shaped them.

Their first release, the Empty Space EP on Modern Relics Records, has already picked up support from artists like Polygonia, Kangding Ray, and Forest on Stasys, marking an exciting start for what’s ahead.

pictured cover sealed in shrink wrap (first time ever on Samosa)



Samosa Records comes back with a real summer bang in the form of the ‘Afro-Ritmo EP’ – a four-track journey into afro soaked vibes courtesy of Anura & Sr. Lobezno and featuring label boss De Gama!

First up on side A is the EP’s title track, the mesmerising ‘Afro Ritmo’. Anura & Sr. Lobezno announce their arrival on Samosa Records with this spicy West African rhythm bomb. Kakaki trumpet fanfares meld with intricate synth stabs and ethereal Oja flute, whilst the solid tribal beats and rolling bass dictate the dance moves. And dance you must…

Track 2 is the deliciously glitchy, conga bonanza ‘Sungu Sa’. Make no mistake, ‘Sunga Sa’ is out to get you from the very first beat – tempting you to go behind the curtain as the haunting guitar lures you ever closer to its secret door. Dark, uplifting and ritualistic, the chant of ‘Sunga Sa’ will live in your head rent free well after the sun has gone down. Don’t say you weren’t warned.

Over on Side B De Gama takes the title track ‘Afro-Ritmo’ and applies his unique sonic rubs, balms and enhancers to create a pulsating after hours jam full to the brim with Afrotropic sparkle and magic dust. Like an unstoppable chugging train steaming through a savanna, De Gama is the conductor supreme as the raspy synth, bluesy guitar riff and uplifting brass fanfares entwine around that pounding beat.

Finally, Track 4 gives us the seriously powerful Javier Morrilas remix of ‘Afro-Ritmo’. The original is stripped right down and given the Big Beat treatment for this insanely good take – a peak time switcheroo of a track that keeps you guessing as to where it’s taking you. As the flutey breakdowns and broken beat madness get you, you will fall in love with this one instantly.

The ‘Afro Ritmo’ EP is a powerful, masterful four tracker from Anura & Sr. Lobezno which is well at home in the Samosa Records cooking pot. Spread the word, buy the vinyl. You won’t be disappointed.

• Reviewed with love by The Black Light Disco

Written, Produced, Arranged and Mixed by Anura & Sr. Lobezno.
Keyboards & Percussions: Anura.
Trumpet: Jimmy Garcia
Sax & Flute: Carlos Ligero
Trombone: Prudencio Valdivieso

*Remix and Additional Productions by Stefano Gamma aka De Gama for De Gama Rec - Rome.
Jazz Guitar & Acoustic Bass by Pietro Nicosia.

** Remix and Additional Productions by Javier Morillas.

All tracks mastered by Francesco Pierguidi at L’n’P Studio – Rome.

Artwork and computer graphics by Nerina Fernandez.


SMS038

For its sixth release, Rio de Janeiro’s Onda Boa label sees founder Joutro Mundo, step up once again - this time reviving and re-vibing Netinho’s independent 1980s bop, “Du Du Du Domingo”.

Netinho first made his mark in the 1960s as the drummer for Brazilian beat icons Os Incríveis, then again in the 1970s with the heavier, lysergic sounds of Casa das Máquinas. By the 1980s, he had turned toward a new vision, inspired by the spiritual group Amor e Caridade. Released on his own imprint, Manancial do Amor, 1982’s Apartamento 97 – Projeto Amor & Caridade Vol. 2 brought together heavyweights Zé Rodrix, Faísca, and Manito to expand on this funky, pop-rock chapter first introduced with 1980’s Amor & Caridade Vol. 1.

According to Netinho, a year passed in search of inspiration for the follow-up LP before he began receiving notes and poems through his medium, dictated to her by his “protector.” Following that divine intervention, the album’s songs were completed in just two days—including the standout track, “Du Du Du Domingo,” an ode to the beauty of a Sunday afternoon after the toils of the workweek.

Side A presents the original track, lovingly remastered, in all its stripped-down, idiosyncratic glory. A bubbling synth bass paired with a nimble electric bass line set the stage for the plunky synth melody that defines this anomalous yet infectious gem—before giving way to a samba break and a wafting crowd noise that instantly transports you to a sunny Sunday by the sea.

On the B-side, Joutro Mundo injects a new vitality into the track with crisp hi-hats, a thumping kick, and other subtle studio magic. The samba break is brought forward, while the electric bass line—previously bubbling beneath the surface—rises to center stage around the three-minute mark. True to form, Joutro Mundo avoids the obvious, drawing on his deep crates and production sorcery to conjure up yet another gem for the balearic heads and other lovers of left-field dancefloor deviance.

"Pretty Close", Ethel Lindsey's debut LP, marks the beginning of a new musical journey, showcasing the talent and heartfelt nostalgia of this gifted singer-songwriter. Deeply rooted in the sound and spirit of the 1970s, her work draws from the golden age of Soul, Funk, Disco, and AOR, blending these genres with elegance and authenticity. Her songwriting and vocal delivery are so true to the era that one could easily imagine this album emerging straight from a California studio in 1976.

Entirely composed, written, and performed by Ethel Lindsey, Pretty Close is a deeply personal and cohesive body of work. From lush harmonies to groove-driven arrangements, the album captures the warmth and depth of vintage recordings while offering a fresh and intimate take on these timeless sounds.

Once again, Favorite Recordings brings its signature dedication to the project, ensuring every step of the process—from production to final mix—remains faithful to the sonic and aesthetic codes of the era. The album was produced using a maximum of vintage analog equipment, staying true to the texture and character of original 70s productions.

This is not merely a nostalgic tribute—it’s a sincere continuation of a musical tradition. With a deep respect for the past and a forward-thinking spirit, Ethel Lindsey breathes new life into classic genres, reaffirming their relevance in today’s musical landscape.

As Ethel herself puts it:
"The songs on this album offer but a fleeting glimpse into the whimsical, melodic reveries that may have danced through the mind of a young girl growing up in the northeastern suburbs of Paris, France during the early to mid-1980s. They are, perhaps, the earliest echoes of a fraternal musical upbringing—an inheritance both consciously absorbed and unconsciously imprinted—shaped by shared moments, half-remembered sounds, and the mysterious alchemy of childhood imagination. This collection is, in essence, a first distillation of that early inner world: playful, imperfect, sincere."

Word is the name of the next EP which has been announced on the label as you can see right now. It was written by the prominent artist Orbet that has been making waves in his native country Russia and has played nearly all the hottest events and festivals there are and continuing doing it without any will to stop. It has been 5 years since his last vinyl release which was a sellout hit so this is an important year we marking in the artist’s life and sound output and celebrating his return to releasing the music again. The design of the record comes in the style of graffiti that is very close to the artist as Orbet is no stranger to this art being an artist of graffiti himself. The tracks have a wide range of sound and would be able to work at different times of the party whether it’s prime, warm up or the afters. The four tracks presented on this disc are ready to be worked round the clock strictly for the pleasure of the people of the underground. I think that should conclude my verbal ramblings as it’s best to test this record in action to see it for yourself.

Flash Atkins has pulled together a crack team of musicians for Sanza Mibale Ya Bo Pemi.
It is a tribute to the golden age of Afro-Disco, when the sounds of 70's New York found their way to the continent and fused with local musical styles and rhythms.
Felix Ngindu sings in his native Lingala language from the DRC over a locked bass, congas, keys, percussion, rhythm guitar and a brass section from Haggis Horn's Atholl Ransome and Malcolm Strachan.
Funk, disco, soul and jazz all blend for a peak time jam.

The Flash Dub strips things back to the rhythm section for heads down, dubby action and a tracky take that still packs a dance floor punch.
The incomparable Bosq steps up for remix duties and knocks it out of the park. Layered drums and percussion give things a more Latin swing before the beats break, piano enters the fray, and it's a tropical-funk party-starter all the way. The dub does the beat thing, rocking a hard groove for the dancers.

Hands in the air? F**ck yeah!

LTD Edition in individually sprayed sleeves !

Repress!

Biosphere is the main recording name of Geir Jenssen (born 30 May 1962), a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.



Cirque - originally released in 2000 - was Biosphere's first album for the UK label Touch. This new re-issue comes with a 6-track bonus album and new artwork.



Mojo (UK): Fourth full album from ambient pioneer. Coming to prominence with 1992's Microgravity - which along with the first couple of Aphex/Polygon Window CDs, defined the genre ambient - Geir Jenssen as Biosphere has made three of the '90s' best albums, culminating with last year's near beatless Substrata. The idea - as it always was thanks to Eno's On Land - is music as environment (reflecting, creating): working from his base in Tromso, Arctic Norway, Jenssen offers a polar, Apollonian exploration of the human psyche. Cirque is a perfectly constructed 47-minute sequence: cold clarity up against real depth of field, synth cycles dissolving into sudden moments of sonic revelation that sound like a waking dream - try the first 20 seconds of Black Lamb and Grey Falcon. (And if you think that's pretentious - your loss). Inspired by the story of a young American, Chris McCandless, who walked alone into the Alaskan wilderness and perished, Cirque balances the tightrope between warmth and unease, resolving into a moon melody that leaves you a peace. What a good record! Jon Savage.

DUSTY DONUTS ISN’T JUST A LABEL — IT’S A TURNTABLE MANIFESTO.

Since its inception, the collective of vinyl scientists behind Dusty Donuts has been applying their signature "Dusty Formula" to every cut – a potent blend of deep crate knowledge, razor-sharp edits and roots firmly planted in the Hip-Hop culture. Each 45 is crafted with the instincts of seasoned DJs and the ears of lifelong diggers, spinning like a secret weapon on the decks: restructured classics and forgotten gems, reimagined with just the right bounce for today’s dance floors.

Now, with their new imprint DUSTY DONUTS CLASSICS, the crew levels up – kicking things off with a standout collaboration featuring the incredibly talented Emma Noble, who they first crossed paths with at the legendary Mojo Club. Emma’s soulful style and versatility made her the perfect fit for the launch of this new venture.

Two sides, two heatwaves pulled from the depths of Afro-diasporic analogue archives and reborn for contemporary dancefloors.

On the A-side, “Chiacchiere di Lavoro” is a razor-sharp re-edit of a Nigerian track, that is just like its new producers: obscure and way ahead of their time. The B-side dives into the Antilles: "Taxi Safari" is a rare tropical gem, reworked with finesse by editing maestros Lance and Disco Strummer.

But what is La Sirenetta?
La Sirenetta – “The Mermaid” in Italian – is a name that evokes memories of a Riviera discotheque, the faded glamour of a beach club, or a fried fish shack glowing in the sunset.

In fact, this La Sirenetta is a sub-label of Maledetta Discoteca Records, dedicated to digging, selecting, and editing analogue World Black Music bangers from the ’80s and giving them a second life.

The formula? High-quality, highly collectible 12” double-siders.
All La Sirenetta records are a limited edition, one-time pressing only. Don't miss them!

The Toxic Funk series keeps the dancefloors moving, and for Volume 17 we welcome back the ever-funky duo Suckasidewith a pair of groove-heavy gems pressed on 7" vinyl. DJ B-Side and Sucka Timmy once again show their mastery of blending classic soul, funk, and RnB flavors with breakbeat punch.

The A-side, Hot Pants I Just Wanna Love You (112 BPM), is pure sunshine soul on wax – bright and upbeat with crisp breakbeats, silky vocal chops, and infectious horn stabs. Its warm groove and steady energy make it the perfect opener for a DJ set or a surefire way to lift any crowd.

On the flip, Dang Lazy (SuckaSide 45 Edit) kicks things up a notch with a faster, more driving funk workout. The bassline struts, the drums snap, and playful vocal snippets dance over the top, all tied together with Suckaside's tight, polished production. It's a party starter with a cheeky edge – perfect for when the floor is already buzzing and you want to take it higher.

Lilya Mandre makes her Crosstown Rebels debut with her emotive three-tracker, ‘Exi(s)t’. Out on 10th October 2025, the Casablancan artist unveils two originals, including a collaboration with Zac Martel and Jono McCleery, backed by a remix from Haitian star Francis Mercier. Marking her first appearance on Damian Lazarus’ iconic Crosstown Rebels imprint, Moroccan-born artist Lilya Mandre steps into the spotlight with ‘Exi(s)t’. Landing on 10th October, the EP pairs her expressive, melodic style with a striking vocal feature from UK-based singer-songwriter Jono McCleery and a collaboration with Montreal’s Zac Martel, completed by a stellar remix from Haitian heavyweight Francis Mercier.An ascending name in the global electronic sphere, Lilya Mandre channels her Casablanca roots into a sound that balances deep, minimal-leaning grooves with raw emotional weight. Her magnetic presence has already taken her to stages such as Hï Ibiza, where she joined Crosstown head honcho Lazarus for his summer residency, plus the likes of Moga Festival, La Clairière Paris, and Picnik Electronik, while recent releases on Mind of A Genius, IN/ROTATION and Madorasindahouse continue to position her as one of the scene’s most exciting breakthrough candidates. With ‘Exi(s)t’, she brings this same captivating energy into the studio, weaving powerful collaborations and evocative solo work into a release that captures her artistry in full.

Opening track ‘A Part Of Your Soul’, crafted alongside. Canadian producer Zac Martel (Madorasindahouse), sees Lilya also link up with acclaimed English singer-songwriter Jono McCleery (Ninja Tune), whose delicate and soulful vocals glide over rich synth work and fluid percussion to deliver a stirring and cinematic cut. Deep Roots founder Francis Mercier then steps in on remix duties, injecting his signature blend of worldly percussion and driving energy to transform the original into a hypnotic, club-ready anthem. Closing the package, ‘Malou’ takes things deeper as Lilya steps out solo, layering subtle melodies and textural flourishes for a track that’s both restrained and emotionally resonant. With its balance of expressive collaborations and immersive solo work, ‘Exi(s)t’ sets a compelling tone and brings an impressive debut to Crosstown Rebels, showcasing her ability to craft moments that resonate both on the dance floor and beyond.

Repress
the journey continues...

The third part in the Drexciya re-issue series! Another part of the exciting journey of Drexciya with mind blowing tracks such as You Don't know, Intensified Magnetron, Aqua Worm Hole etc.
One of the finest moments in electronic music history and Detroit techno available in remastered versions including unreleased material. Essential in every serious electronic music collection

Enter DJ Fly’s sonic arsenal with this precision-engineered breakbeat, crafted as a high-performance toolkit for the modern turntablist.
This vinyl delivers a sharp selection of expertly curated sound banks, including signature samples from DJ Fly’s legendary DMC routines, along with exclusive, never-before-heard material. All content is organized into thematically distinct sections to optimize workflow and creative output:
Epic & Orchestral – Acoustic & Electronic Instruments – Modern Textures & One-Shots.
Custom skipless loops (skipproofs) are designed to streamline cueing and enhance performance fluidity across all scratching and beat juggling techniques.
Features one side cut at 45 RPM and the other at 33 1/3 RPM, providing expanded control over pitch, tempo, and phrasing – perfect for hybrid routines and intricate transitions.
Each bank is structured to ensure harmonic, stylistic, or tempo-based coherence (BPM-aligned), supporting seamless layering, real-time improvisation, and the construction of musically cohesive sets.
A precision-cut breakbeat, purpose-built for vinyl technicians and battle-ready routines.

a A1 - The King's Bank Am/90bpm
b A2 - Bass Armor Bank [Fm/180bpm]





[h] A8 - Skip Beat_Crown Drum [90bpm]

[j] B2 - Durandal Bank [133,33bpm]
[k] B3 - La Joyeuse Bank [83,33bpm]
[l] B4 - Excalibur Bank [100bpm]

[n] B6 - Classic Cuts Bank [100bpm]


[83,33bpm]

“Oh my God! Super dope!” - DJ Qbert (Invisibl Skratch Piklz)

Kid Ginseng’s 3rd in a series of sample-delic electro 12»s embracing the sound of the diskette between 8-16 bit sound influenced by DJ Di’jital, Arabian Prince, and the LA X-men which consisted of Unknown DJ and DJ Slip. The whole LA Techno Hop label is a massive influence. Of course compatible with a Detroit electro set. Kid Ginseng is an individual.

a A1 James Russo (2)– Winged, Written-By Dialogue – Quentin Tarantino


d A4 Jamie Foxx And Christoph Waltz– "In That Case Django, After You...", Written-By [Dialogue] – Quentin Tarantino

[f] A6 Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 Samuel L. Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T. Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 Samuel L. Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 Samuel L. Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 Annibale E I Cantori Moderni*– Trinity: Titoli, Composed By – Franco Micalizzi, L. Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 Jamie Foxx And Christoph Waltz– "In That Case Django, After You...", Written-By [Dialogue] – Quentin Tarantino

[f] A6 Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 Samuel L. Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T. Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 Samuel L. Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 Samuel L. Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 Annibale E I Cantori Moderni*– Trinity: Titoli, Composed By – Franco Micalizzi, L. Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 | James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 | Jamie Foxx And Christoph Waltz– "In That Case Django, After You ..", Written-By [Dialogue] – Quentin Tarantino

[f] A6 | Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 | Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 | Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 | Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded | By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 | Samuel L Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 | James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 | Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 | Samuel L Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 | Samuel L Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 | Annibale E I Cantori Moderni*– Trinity Titoli, Composed By – Franco Micalizzi, L Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 | James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 | Jamie Foxx And Christoph Waltz– "In That Case Django, After You ..", Written-By [Dialogue] – Quentin Tarantino

[f] A6 | Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 | Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 | Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 | Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded | By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 | Samuel L Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 | James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 | Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 | Samuel L Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 | Samuel L Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 | Annibale E I Cantori Moderni*– Trinity Titoli, Composed By – Franco Micalizzi, L Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

The Danish/Norwegian duo of Ida Urd and Ingri Høyland believe that music is an extension of one’s immediate sensory environment. Duvet, their collaborative full-length debut, explores the way that creating sounds together is intertwined with various quotidian actions: establishing surroundings, rearranging furniture, moving towards the light, collecting flowers or other objects for aesthetic and sensuous impulses. Through a quiet and attentive process, music becomes a way of nurturing space: a soft architecture for play, writing, care, or simply rest.

Sonically, Duvet feels like an extension of Høyland’s last album, 2023’s Ode to Stone, which also featured Urd along with ambient musician Sofie Birch and visual artist Lea Guldditte Hestelund. But where that album, created in response to an open call for work themed around Denmark’s national parks, suggested rolling landscapes and endless horizons, Duvet turns inward, countering chill winds with glowing warmth. Its eight tracks seek a balance between abstraction and melody, intention and happenstance.

“We had a truly inspiring and rewarding process working with Birk Gjerlufsen Nielsen from Vanessa Amara, who co-produced and mixed the album with us,” Ingri adds. “He approached the material with great care and sensitivity, while also bringing his own distinct presence and creativity into the sound.”

Høyland and Urd both studied at the Rhythmic Music Conservatory in Copenhagen, which has turned out many acclaimed artists over the past few years, including Erica de Casier, Astrid Sonne, and Smerz. Over many years, the two composers have developed a collaborative method based on connection and trust. A practice, they write, “where composing, or rather suggesting, sounds and melodies for one another is a way of carefully talking, mending emotions and obstacles. Saying yes to one another. The compositional space becomes a nest for entangling whatever emotions, thoughts, or barriers one of the composers brings to the given day or moment.”

Quiet and contemplative, Duvet is simple on the surface but rich in timbral, textural, and emotional complexity. Høyland and Urd sourced their sounds from an array of instruments and techniques—electronic devices, modules, pedals, and also electroacoustic treatments of various wind instruments.

Mixing primarily through analog tape units added further mystery and depth, weaving together wordless voices and unknown sounds—breathing, rustling, perhaps the coppery gleam of Urd’s electric bass—into a dynamic matrix. Like a nest, pull one twig and the whole thing unravels.

In the winter of 2023, Ingri Høyland and Ida Urd retreated to a summer house along the coast to create the album. Picture the scene: an abiding quiet all around. Gardens carpeted by snow; beach grass silvery against the silvery sky; a tendril of smoke rising from the chimney. Not another soul in earshot. This sanctuary was the perfect setting to yield this meditation on shelter, trust, and communication. The two composers hope the album can be a similar space for others—a temporary space of residence, it can represent a summerhouse, a cabin in the woods, your favorite bench or wherever you need to go. “The album also works really well when picking out apples in the supermarket” Urd laughs.

Following the success of the 12” “Trip To Your Mind (The Reworks)”—where Delfonic and LTJ Xperience both brought their own magic to Hudson People’s disco/jazz-funk anthem—we’re back with a fresh twist: DJ Friction steps in for an official 7” rework, breathing new life into this cult classic in his own unmistakable style.

For those who’ve been following the story, you know “Trip To Your Mind” is a true favorite among DJs and collectors since decades, from its creative inception by the writer Reginald Hudson with the GI funk band Body Heat, to the original recording taking place in the late 70s in London that eventually paved the way for disco lovers to produce this recent string of reworks.

Where the 12” reworks stretched out the groove with extended intros and club-friendly builds, Friction’s version keeps things tight and energetic. He adds his own drums, claps, synth touches, and some new vocal layers—combining the standout parts from both the original mix and the classic UK remix. The result is a punchy new take that’s perfect for DJs who want maximum impact in a short format, but still want all the funk and psychedelic flavor that’s made this song a dancefloor staple for decades.

And for collectors? The original 7” of “Trip To Your Mind” is notoriously hard to find—and pricey when it turns up. This new release finally makes it easy to spin a fresh, fully licensed version on 7” wax, expertly mastered for today’s systems.

Whether you were hooked by the Delfonic or LTJ Xperience edits, or you’re just discovering this tune for the first time, DJ Friction’s rework is a natural next step in the ongoing journey of “Trip To Your Mind.

To mark 10 years since SOPHIE’s game-changing singles collection PRODUCT, Numbers are celebrating with a special edition featuring 11 songs across Deluxe Vinyl and Compact Disc.

This anniversary release includes bonus tracks, track-by-track slide posters, and a SOPHIE PRODUCT Card. Physical editions are now available for pre-order and released on 11th July 2025.

SOPHIE classics ‘BIPP’, ‘LEMONADE’ and ‘VYZEE’ are joined by two immaculate PRODUCT-era songs ‘OOH’ and ‘GET HIGHER’ recorded and produced at the time, each with colourful single artwork completing the set.

‘OOH’ is one of SOPHIE's earliest productions that has been through several revisions since 2011. It was one of three original tracks that Numbers had signed when SOPHIE uploaded the song alongside 'BIPP' and 'ELLE' to her Soundcloud, and while it had been through several iterations and speed changes, this finalised version was completed by SOPHIE in 2019.

SOPHIE once described ‘OOH’ as “hi tech club dance pop”. Musically speaking, the earworm hook is carved out by her signature portamento-infused synths and candy-coated lyrics, a firm cult classic approved by AG Cook and Charli XCX. Initially titled 'MAKE RESPECT', the track was first performed live by SOPHIE in 2011 to a handful of lucky people at a beach afterparty surrounding Sonar Festival, Barcelona and later that year at Manhattan's New Museum. The vocal was recorded as the first track in the same one-day recording session as SOPHIE's debut single 'NOTHING MORE TO SAY', released on the Huntley & Palmers label, where Sophie's songwriting was performed by the London vocalist Jaide Green.

The genesis of the ‘OOH’ and ‘NOTHING MORE TO SAY’ recording session is lore-worthy in its own right: after watching Jaide Green perform live with Olly Murs during the sixth series of The X Factor in 2009, SOPHIE reached out and invited Jaide to record in her home bedroom studio.

‘GET HIGHER’ was born during joyous sessions in 2013, when SOPHIE’s beat was introduced to the vocalists Cassie Davis and Sean Mullins. The track feels like a visionary precursor to ‘Vroom Vroom’, and doesn't sound out of place next to the sub-clang intensity of SOPHIE’s ‘HARD’ and ‘MSMSMSM’. Striking a playful balance between blissed-out hyperpop and club-ready Atlanta trap, it showcases SOPHIE’s signature, laser sharp sound design. Originally released as a bonus track on the Japanese CD edition of PRODUCT, ‘GET HIGHER’ has remained a hidden gem.

A groundbreaking producer, songwriter and performer, SOPHIE's visionary approach reshaped the landscape of pop and electronic music. Emerging in the early 2010s, SOPHIE introduced a hyper-detailed, futuristic sound defined by metallic textures, elastic basslines, and an uncanny blend of synthetic and emotional tones. Collaborating with artists including Charli XCX, Madonna, Vince Staples and Arca, SOPHIE helped pioneer a new pop movement while challenging conventions around identity, genre and production. SOPHIE's work continues to resonate deeply, leaving a lasting impact on a generation of artists and listeners alike. Discography: PRODUCT (2015), OIL OF EVERY PEARL'S UN-INSIDES (2018), SOPHIE (released posthumously, 2024).