Back on Celestial Echo Records with a true modern soul classic — Jan Jones “Independent Woman”, finally given the treatment it deserves.
A record that’s been circulating in DJ sets and collector circles for years, often via bootlegged pressings as the originals are incredibly rare, this is the first fully licensed reissue, presented properly and with both sides intact - something the bootleggers didn’t do.
A-side Part 1 delivers the track in its purest form — tight, uplifting, and driven by that unmistakable modern soul groove. On the flip, Part 2 stretches things out into a longer, more open version, letting the arrangement breathe and giving the dancefloor the 6 minutes it deserves.
Musically, it sits right in that sweet spot for us — rich vocals, warm keys, and a rhythm section that just grooves. It’s one of the ultimate modern soul tracks.
Licensed officially, as always. Celestial Echo is here to put proper soul records back into circulation — respectfully cut, properly pressed, and ready to play.
Red Deviil returns to X-IMG with their first ever vinyl release titled “Tesoros Infernales” featuring five original cuts of their uniquely sinister Techno Body Music topped off by three exquisite remixes by distinguished veterans of the underground dark electronics scene. The LP consists of forty minutes of sinister, brooding, groovy & cutting edge tracks with a bonus digital track included with the attached download code. Remixers include Filmmaker, Arnaud Rebotini & Mind | Matter. This release follows their incredible first X-IMG debut album from 2023 titled “Tendencias Ocultas”.
Red Deviil is the project of Guni Ca & Blak G hailing from the deceptively picturesque town of Tuxtla Gutiérrez in Chiapas Mexico. They are based out of their Astro Bar headquarters & event space where they host regular nights of underground electronic music, cultivating the local scene in Mexico while inviting and performing alongside international acts. The pair’s thick & heavy dark electronic music output contrasts heavily with their idyllic surroundings where they play a key role in developing the local underground community.
Low-key Detroit producer, Aubrey Hoermann, gained notoriety with his Odic Force label launched in 1998 (home for his own minimal techno productions until 2002).
2001's 'The Dance Flo-Funk EP' is widely considered his most iconic release - a minimal percussive journey and the perfect DJ tool. Stripped to the bone. A sound that echoes the late 90s Detroit movement.
Hugely sought after, now reissued for the first time from the original tapes and remastered with love
Supported by the only man with a copy the one and only DJ Harvey, so you know what to expect.
The concept remains simple — extend what already works. With the second chapter of MAXI MAXIMAL, Leicht Matrose SIRS continues a DJ focused approach to reconstruction, taking timeless disco, synth pop and balearic moments and reshaping them into extended, more playable versions built for flow, space, and long-form mixing. This is not about rarity or obscurity, it’s about clarity. Not digging for forgotten gems here but refining familiar material into its most functional, immersive form. Each track is treated with a clear intention: to open up space, deepen the arrangement, and allow the original emotion to unfold over a longer timeline made for modern use, without losing its core feeling. you dig it .
Celebrating 1 year of Lirica with a special reissue of this heavily sought after album from UK duo Relative Progress, remastered with a fresh design, still paying homage to the original asthetics
b A2 Let's Try = Let's Try!; Written-By Original Score Written By – Koji Kondo
[c] A3 お花畑にて = In The Flower Garden; Written-By [Original Score Written By] – Koji Kondo
[e] A5 対クッパ戦 = Battling Bowser; Written-By [Original Score Written By] – Koji Kondo
[g] A7 Super Pipe House = Super Mario House; Written-By [Original Score Written By] – Koji Kondo
[p] B7 ごきげんスター = Irrepressible Star; Written-By [Original Score Written By] – Koji Kondo
[z] C5 ねぇねぇジーノごっこしようよ = Play "Save The World" With Me!; Written-By [Original Score Written By] – Koji Kondo
[xd] D1 土管からコンニチハ = Greetings From The Pipes; Written-By [Original Score Written By] – Koji Kondo
[xk] E1 Long Long Ago… = Long, Long Ago...; Written-By [Original Score Written By] – Koji Kondo
[xl] E2 ちょっとドキドキ = A Little Anxious; Written-By [Original Score Written By] – Koji Kondo
[xt] F2 対 クリスタラー戦 = Battling Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xu] F3 クリスタラー戦での勝利 = Victory Over Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xv] F4 クリスタラーの会話 = Conversation With Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[yb] G5 オノレンジャー参上 = The Axem Rangers Bust In; Written-By [Original Score Written By] – Koji Kondo
[yc] G6 クッパ城（其ノ弐） = Bowser's Keep (Second Visit); Written-By [Original Score Written By] – Koji Kondo
[yi] H5 お・し・ま・い・! = The End!; Written-By [Original Score Written By] – Koji Kondo
[b] A2 Let's Try = Let's Try!; Written-By [Original Score Written By] – Koji Kondo
[c] A3 お花畑にて = In The Flower Garden; Written-By [Original Score Written By] – Koji Kondo
[e] A5 対クッパ戦 = Battling Bowser; Written-By [Original Score Written By] – Koji Kondo
[g] A7 Super Pipe House = Super Mario House; Written-By [Original Score Written By] – Koji Kondo
[p] B7 ごきげんスター = Irrepressible Star; Written-By [Original Score Written By] – Koji Kondo
[z] C5 ねぇねぇジーノごっこしようよ = Play "Save The World" With Me!; Written-By [Original Score Written By] – Koji Kondo
[xd] D1 土管からコンニチハ = Greetings From The Pipes; Written-By [Original Score Written By] – Koji Kondo
[xk] E1 Long Long Ago… = Long, Long Ago...; Written-By [Original Score Written By] – Koji Kondo
[xl] E2 ちょっとドキドキ = A Little Anxious; Written-By [Original Score Written By] – Koji Kondo
[xt] F2 対 クリスタラー戦 = Battling Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xu] F3 クリスタラー戦での勝利 = Victory Over Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xv] F4 クリスタラーの会話 = Conversation With Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[yb] G5 オノレンジャー参上 = The Axem Rangers Bust In; Written-By [Original Score Written By] – Koji Kondo
[yc] G6 クッパ城（其ノ弐） = Bowser's Keep (Second Visit); Written-By [Original Score Written By] – Koji Kondo
[yi] H5 お・し・ま・い・! = The End!; Written-By [Original Score Written By] – Koji Kondo
[b] A2 | Let's Try = Let's Try!; Written-By [Original Score Written By] – Koji Kondo
[c] A3 | お花畑にて = In The Flower Garden; Written-By [Original Score Written By] – Koji Kondo
[e] A5 | 対クッパ戦 = Battling Bowser; Written-By [Original Score Written By] – Koji Kondo
[g] A7 | Super Pipe House = Super Mario House; Written-By [Original Score Written By] – Koji Kondo
[p] B7 | ごきげんスター = Irrepressible Star; Written-By [Original Score Written By] – Koji Kondo
[z] C5 | ねぇねぇジーノごっこしようよ = Play "Save The World" With Me!; Written-By [Original Score Written By] – Koji Kondo
[xd] D1 | 土管からコンニチハ = Greetings From The Pipes; Written-By [Original Score Written By] – Koji Kondo
[xk] E1 | Long Long Ago… = Long, Long Ago ..; Written-By [Original Score Written By] – Koji Kondo
[xl] E2 | ちょっとドキドキ = A Little Anxious; Written-By [Original Score Written By] – Koji Kondo
[xt] F2 | 対 クリスタラー戦 = Battling Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xu] F3 | クリスタラー戦での勝利 = Victory Over Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xv] F4 | クリスタラーの会話 = Conversation With Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[yb] G5 | オノレンジャー参上 = The Axem Rangers Bust In; Written-By [Original Score Written By] – Koji Kondo
[yc] G6 | クッパ城（其ノ弐） = Bowser's Keep (Second Visit); Written-By [Original Score Written By] – Koji Kondo
[yi] H5 | お・し・ま・い・! = The End!; Written-By [Original Score Written By] – Koji Kondo
Connecters Vol. 1: Original Recordings, 1992-1999 ist die erste Veröffentlichung von Larrison, dem Pseudonym des bildenden Künstlers und Musikers Larrison Seidle aus dem Mittleren Westen. Larrison komponierte, programmierte und nahm alles komplett auf einem Casio CZ-5000 auf, während der guten alten Zeit der selbstgemachten Experimente und Entdeckungen in den frühen 90ern. Er lebte in einer Traumwelt, die er selbst erfunden hatte, mit Soundtracks aus Space-Age-Pop-Vignetten, gespickt mit hypnotischen, überschwänglichen, vielschichtigen Synthesizer-Melodien. Mit 26 Tracks, die alle neu restauriert und aus den Originalquellen gemastert wurden, erfindet sich Connecters Vol. 1 Song für Song neu, überwindet die Zeit und trotzt der vorbestimmten Vergessenheit dieser brillanten, diskreten Musik, die vor drei Jahrzehnten entstanden ist. Larrison Seidle wuchs in den 70er und 80er Jahren in Greenwood, Indiana, einem Arbeitervorort von Indianapolis, auf. Er stammte nicht aus einer Musikerfamilie, aber aus einem Haushalt, in dem Musikalität gefördert wurde. Sein Vater kaufte eine elektrische Orgel, in der Hoffnung, dass Larrison und sein älterer Bruder das Instrument lernen würden. ,Am Ende saß mein Vater einige Abende an der Orgel, improvisierte und spielte immer wieder dieses eine Lied, von dem ich mich noch an die ersten Takte erinnern kann", erinnert sich Larrison. Möglicherweise war es in diesem Moment, in dem es zwar keine formale Ausbildung gab, aber viel Ermutigung und Entdeckungsfreude, dass der Künstler seine ersten musikalischen Experimente machte. Diese Erlaubnis, sich auszuprobieren, sollte seine kreative Arbeit in den folgenden Jahren deutlich prägen. Während in Larrisons Elternhaus klassische Rockplatten leicht zugänglich waren, lieh sich sein Vater 35-mm-Dokumentarfilme aus der Bibliothek aus, um sie im Wohnzimmer zu zeigen, die alle mit skurrilen Instrumentalstücken unterlegt waren. Als Teenager nahm er John Carpenters und Alan Howarths Endthema aus ,Die Klapperschlange" mit einem kleinen Kassettenrekorder neben dem Fernsehlautsprecher auf und liebte Tangerine Dreams Beiträge zu Ridley Scotts düsterer Fantasy ,Legend". Seine Faszination für diese weitgehend textlosen, synthesizerbasierten Kompositionen führte zu einem eigenwilligen Verständnis davon, wie Musik nicht nur das ergänzt, was wir vor uns sehen, sondern auch das, was wir in den Tiefen unseres Bewusstseins erleben. 1985, als er dreizehn Jahre alt war, überzeugte Larrison seinen Vater, ihm ein Casio CZ-5000-Keyboard zu kaufen. Wie zuvor die Orgel war auch dieses Instrument eine Neuheit im Haushalt der Seidles. Erst nach seinem Highschool-Abschluss 1991 und dem Beginn seines Studiums an der Herron School of Art in Indianapolis entdeckte er den in das Casio integrierten Sequenzer und begann, seine Kompositionen auf Band aufzunehmen. ,Das CZ-5000 und sein 8-Spur-Sequenzer sind die einzigen Musikinstrumente, die ich benutzt habe. Es hat eine fast unbegrenzte Funktion zur Erzeugung neuer Klänge", erklärte Seidle. Während seiner Zeit an der Herron School of Art freundete sich Larrison mit seinem Kommilitonen und Klangkünstler Michael Northam an, den er bei einem Konzert auf dem Campus kennengelernt hatte. Nachdem Northam Larrison für die Musik von Severed Heads, Throbbing Gristle und Roger Doyle begeistert und damit seine Zuneigung und sein Vertrauen gewonnen hatte, überredete er ihn, nach Austin, Texas, zu ziehen, das in den frühen 90er Jahren für seine lebendige Kunst- und Musikszene bekannt war. Die beiden wohnten zunächst bei Northams Freund Daniel Plunkett, dem Herausgeber und Verleger von ND, einem einflussreichen Magazin, das sich von 1982 bis 1999 mit DIY-Musik und Tape-Trading beschäftigte. In seiner Blütezeit hatte ND Tausende von Lesern, und Plunkett verschickte die Ausgaben weltweit. In den letzten Monaten des Jahres 1993 und Anfang 1994 schrieb und nahm Larrison mit begrenzten Mitteln und grenzenloser Intuition eine Reihe von Songs mit seinem CZ-5000 in einer kleinen Wohnung nördlich der Innenstadt von Austin auf, bastelte eine farbenfrohe, illustrierte Beilage, in der einige Songtitel durch Linien oder Pfeile dargestellt waren, und gab sie an Plunkett weiter, damit er sie für ND rezensieren konnte. Diese einzelne Kassette mit dem Titel Connecters sic war eine von 1200, die im Laufe des Bestehens der Publikation bei ND eingereicht wurden und die Jed Bindeman, Mitbegründer von Freedom To Spend, 2020 erworben und fast wie durch ein Wunder entdeckt hat. ,Ich hatte große Schwierigkeiten, mir die Kassetten in dieser Sammlung anzuhören", gibt Bindeman zu. ,Aber dann legte ich Larrisons Connecters ein und dachte sofort: ,Wow! Was höre ich da?' Die Kassette war von Anfang bis Ende einfach fantastisch." Mit Musik von genau dieser Kassette und anderen Aufnahmen aus Larrisons Experimenten in den 90er Jahren ist Connecters eine Übersicht über Instrumentalmusik, die sowohl durch vielfältige konzeptionelle Strategien als auch durch spielerische Neugierde geprägt ist. Seidle arbeitete unter Bedingungen, die viele Musiker als Einschränkung empfinden würden, und entwickelte technisch innovative Ansätze, um die Klänge und integrierten Effekte des CZ-5000 zu modifizieren. Das Gerät ermöglichte es ihm, die Wellenform, die Hüllkurve und die Tonart von Klängen mithilfe der Phasenverzerrungssynthese zu verändern und so im Grunde genommen Instrumente zu schaffen, während er Songs komponierte. Die Tracks zeichnen sich durch eine durchdachte impressionistische Vielfalt aus, die mal lo-fi, mal symphonisch klingt. Inmitten der Zerlegung und Verstärkung der Fähigkeiten des CZ-5000 gibt es auch einen geschmackvollen Rückgriff auf eine kindliche Interaktion und Erfahrung von Klang. Vielleicht ist es diese Erfahrungsqualität, die es so schwierig macht, Larrisons Projekt einfach als Ambient oder Elektronik zu verstehen. Sein Wille, die ihm zur Verfügung stehenden Werkzeuge zu transformieren, hebt die daraus resultierenden Kompositionen auf eine persönliche Ebene und verleiht der Musik einen bezaubernden Sinn für Mystik. Connecters ist ein Beweis für eine künstlerische Vision, die sich nicht durch Grenzen einschränken lässt und keine Angst vor Informalität hat. Diese Aufnahmen, die dreißig Jahre nach ihrer Dokumentation auf magische Weise an die Oberfläche kommen, zeigen, wie personalisierte Produktionsmittel die Zeit ausdehnen und verkürzen können. Larrison lädt die Zuhörer ein, sich auf die Wunder der auditiven Vorstellungskraft einzulassen - eine Brücke zwischen visueller Erinnerung, emotionaler Resonanz und der grenzenlosen Möglichkeit, mit den uns zur Verfügung stehenden Mitteln Musik zu machen. Larrison's Connecters Vol. 1: Original Recordings, 1992-1999 wird am 3. April 2026 von Freedom To Spend als Vinyl- und Digitalausgabe veröffentlicht.
CYRK return to their Time Zero imprint with The Future EP, a powerful homage to Belgium's new beat legacy. The release features three original cuts alongside a remix from fellow Belgian artist Shero featuring Ki Jeal. The release will be available digitally on Wrong Era
To celebrate the 10th anniversary of the "Surf Rider" EP (originally released in 2015 on Lumière Noire), Dialect Recordings publishes a limited vinyl edition featuring an exclusive edit of "Lies" by Blackjoy. For the occasion, Il Est Vilaine’s long time collaborator Apollo Thomas has designed a brand-new cover and created a mini comics included with the vinyl. A beautiful collector’s item to honor this classic!
KOIZUMIX PRODUCTION, a collaborative project between Kyoko Koizumi who worked under a different name in the 1990s and club culture artists and creators,
is finally being released in analog format. These two works, now difficult to obtain, are making their long awaited debut on vinyl.
The release is a complete analog version of the 1998 CD, which could be considered a KOIZUMIX PRODUCTION remix best-of.
It includes all tracks from the original CD, plus additional remixes that were previously available only on vinyl, compiled into a 2-disc set titled “89–99 COLLECTION”.
Originally Self-produced in 150 copies (1977), MAR-VISTA’s only album is one of France’s most strange and radical records. Psychedelic electronic music, experimental, and acid folk A collector’s holy grail for fans of Klaus Schulze, Terry Riley, Neu, and Silver Apples. Includes a previously unreleased second record (1973)
Sounds of Sirius Music presents SOSNZ013 – BRYZ – Red Light EP
A signal. A reflection. A shift in perception. Red Light explores the space between awareness and observation.
Three original cuts from BRYZ. Deep grooves, hypnotic rhythms, and subtle moods.
On remix duties, Herman Saiz reshapes Double Check into a deeper interpretation.
The first release in the Between Dimensions vinyl series, BDREP001 , presents Oi Zé EP by Lipp — a deep and hypnotic journey rooted in minimal grooves, organic percussion, and timeless underground aesthetics.
Crafted for intimate dance floors and extended listening sessions, the EP balances raw rhythmic energy with refined textures, delivering a warm and immersive sound signature that reflects the identity of Between Dimensions.
On the A side, “Atleta Do Ano” and “Oi Zé!” explore stripped-back grooves, subtle melodic movements, and rolling low-end pressure. The B side features a special reinterpretation of “Oi Zé!” by Barac, transforming the original into a deeper and more atmospheric late-night tool.
BDREP001 marks the beginning of the Between Dimensions wax journey — a carefully curated series focused on timeless electronic music, connecting artists from different parts of the world through a shared vision of depth, rhythm, and dance floor storytelling.
Credits
Original Tracks
by Filipe Rodrigues Bezerra
Remix by Nicolae Barac
Mastering by Rob Smalls
Visual art by Steph Gar
Double vinyl reissue of Skullflower’s epochal “IIRD GATEKEEPER” album - the first time that this album has been available on vinyl for 30 years. In addition to the original LP this definitive and expanded edition includes extra and unreleased tracks taken from the recording sessions. For the first time all the tracks recorded by the band during this period can be heard together giving fans unprecedented access to material previously only available in the bands’ archives. Recorded in London in 1991 and released in 1992 on Justin “Godflesh” Broadrick’s HeadDirt label in 1992, IIRD GATEKEEPER established a worldwide reputation and following for Skullflower and convinced many who heard it that they had encountered nothing less than the best band on the planet. Arriving at the height of the “grunge” and the expansion of underground guitar “rock” into corporate America, IIRD GATEKEEPER had its roots deep in the UK noise and power-electronics scene. Guitarist Matthew Bower and bassist Anthony Di Franco were both graduates of the Broken Flag school of British noise making with their respective projects PURE, TOTAL and JFK. IIRD GATEKEEPER was Skullflower’s third album and was the first of the band’s albums to feature a consistent line-up throughout its production: Matthew Bower (guitar), Anthony Di Franco on (bass) and Stuart Dennison (drums). Recorded and mixed in four sessions between January and June 1991the tracks on this edition of IIRD GATEKEEPER shows the band’s new line up developing their sound, warping and evolving in real time. As such this edition of IIRD GATEKEEPER provides a unique document of the band in a state of transition, with the chemistry of the individual playing combusting in the studio to create a wave of astonishing creativity. IIRD GATEKEEPER is perhaps the definitive British underground rock album of the 1990’s – unique and never equalled. With this new edition Dirter Promotions allows Skullflower fans old and new to listen to this classic album as it was intended: spark up, crank it up and prepare to have your ears and mind blown
For the first time in decades, The Clash’s iconic track ‘Should I Stay Or Should I Go’ will be released as a 7” single on colour vinyl. With brand new artwork and pressed on sunshine yellow vinyl, this striking product will also feature the full version of ‘Straight to Hell’ on the B-Side for the first time; a nod to the original 1982 7” release which featured an edit of this track. Coming out on June 12th
The world of UKG is as fruitful as ever right now and someone who continues to make fresh moves in it is IsGwan, a Melbourne/Naarm-based artist adding his own twist to the classic template. London label Bad Parrot welcomes him for a series of bouncy and bright originals as well as some on-point remixes. 'Next To Me' has low-key groove that skates and scuffs along with a classic r&b vocal from Amber Ferraro, adding the sunshine. There's a slow, more bass-driven heft to 'All That You Want', 'On Your Mind' is sun-baked and blissed out and 'Feel Free' brings more adventurous synth work to a busier framework. Of the remixes, Harvey Sutherland brings his usual sun-facing synth sounds and Rich Ellis makes 'Feel Free' into a more dark and gritty low-end workout.
'Electronic lullabies and folk songs from Ethiopia! A landmark recording from Ethiopia’s vibrant cassette era of the 1980s, Resonance of Time features pioneering composer Wesenyeleh Mebreku reimagining Ethiopian folk melodies through the humble circuitry of an early Casiotone keyboard.
'Historically, the works featured on Resonance of Time (የጊዜ ቃና Yegizie Kana) stand as quiet documents of Ethiopian musical memory. Many of the original songs included in this release emerged during important moments in Ethiopian history when music carried the collective emotion of the nation - love, loss, resistance, dignity, and hope. By arranging these pieces from Ethiopia’s musical heritage instrumentally, Wesenyeleh Mebreku aimed to preserve their essence while protecting them from being confined to a single era or performance style. In doing so, his preservation of Ethiopia’s musical heritage became a contribution to his country’s musical legacy itself, as Resonance of Time serves as an important musical milestone of this composer’s innovative recordings and musical developments in the prolific era of Ethiopia’s 1980s cassette tape culture.
'On Resonance of Time, Wesenyeleh made use of the first Casio electronic keyboard - the Casiotone CT-201 - to arrange and perform Ethiopian folk songs in his own unique style. Implementing the soulful, lo-fi character of the keyboard, Wesenyeleh’s interpretations of these works take on a life of their own. Charming analog tones interpret swirling sounds of organ and piano in kignit modality to the beat of a nostalgic rhythm machine while twinkling synthesizer sounds carry the melodies drifting out of time. The recordings reflect a watershed moment in Ethiopian musical history - when traditional melodies started being interpreted on electronic keyboards, and the advent of cassette tape recording allowed for music to be transmitted more accessibly than centuries-old oral traditions. During this time, Ethiopian musical modes were syncretized with new technology and budding musical experimentation, and Wesenyeleh’s interpretations on Resonance of Time are a landmark recording of this era, following in the tradition of reflecting upon and re-interpreting historical Ethiopian music for a new generation.
'Featured on the release are timeless Amharic folk songs and lullabies, Tigrinya love songs, Gurage and Oromifa popular songs, and even works closely associated with performers from Ethiopia’s 1970s popular music era such as Tiz Alegne Yetintu (ትዝ አለኝ የጥንቱ) which was famously performed by Tilahun Gessesse. Each piece, thoughtfully chosen by Wesenyeleh, is beautifully transformed into instrumental music of his own style - allowing these worlds of song to echo into the future while they are synthesized with the electronic innovations of the 1980s and Wesenyeleh’s own musical history.
'Wesenyeleh says this about his musical approach - ”Instrumental music, for me, is a space of reflection. Without words, the listener is invited to remember, imagine, and feel freely. In Resonance of Time, I hear my own musical philosophy: respect for Ethiopian kignit, careful dialogue with Western harmony, and a deep trust in melody as a storyteller.”
'Each piece performed on Resonance of Time speaks to a time when Ethiopian music was shaped by oral transmission through live performance and communal listening. In today’s fast-moving musical environment, revisiting these works is an act of cultural responsibility. These works remind us that melody once traveled slowly, settling deeply in the listener’s heart. The instrumental format allows these works to cross linguistic and generational boundaries, making them accessible to audiences who may not know the original lyrics but can still feel their spirit.
'Resonance of Time also reflects a broader historical dialogue: the meeting of tradition and adaptation. Ethiopian music has always evolved while holding onto its core identity. These arrangements affirm that evolution does not mean abandonment. Instead, it can be a form of safeguarding - ensuring that the musical wisdom of the past continues to resonate in the present and inspire the future.
'In this sense, the album is both personal and collective. It carries Wesenyeleh Mebreku’s own musical fingerprint, shaped by decades of practice, but it ultimately belongs to a wider cultural continuum. It is the artist’s contribution to keeping time audible so that memory, history, and sound may continue to speak to one another.'
Turn On The Sunlight is the long-running project of Texas-born, Maui-based musician and producer Jesse Peterson.
Originally formed in New York in the late 2000s, Turn On The Sunlight has evolved into a fluid, location-spanning practice rooted in collaboration, intuition and process. Now based on Maui, Peterson’s work draws together a wide network of musicians and environments, with recordings taking shape across Los Angeles, Tokyo, London, San Miguel de Allende and Haʻikū.
Loosely situated within a framework of organic, ambient-leaning jazz, 'Iseo' unfolds as a series of open, exploratory pieces, with electronics sitting subtly beneath acoustic and environmental elements. Built from layered instrumentation including synthesizers, guitar, zither, flutes, voice and field recordings, Peterson moves between grounded, tactile detail and more expansive, immersive states. A sense of warmth and permeability runs throughout: organic percussion, environmental textures and drifting rhythmic elements lend the record a gently saturated humidity, reflecting Peterson’s base in Hawaii, where the presence of nature is felt as much as it is heard.
Underlying the project is a way of working rooted in gathering, listening and tending. Instruments, ensemble sessions, field recordings and everyday environments are approached with attentiveness, shaped through collecting, refining and allowing things to settle. Relationships, landscape and lived experience shape the sound, giving 'Iseo' a tactile, almost hand-made quality.
Rather than fixed arrangements, the album feels as if it has been organically and lovingly assembled through a process of listening and response, each element finding its place within a wider, evolving whole. This approach reaches a natural centre point in the 15-minute piece 'Medianoche En La Calle Aurora', which unfolds patiently, bending through shifting environments as motifs and textures emerge and dissolve with quiet continuity.
Peterson’s role as both instigator and facilitator is central to the project. Bringing together a diverse group of collaborators including Carlos Niño, Mia Doi Todd, Laraaji, Ko Ishikawa, Luis Pérez Ixoneztli and Miles Spilsbury, he creates space for individual voices to emerge within a shared language. The result is a music defined by openness and generosity.
'Iseo' takes its title from Peterson’s son’s middle name, a word that can be understood to mean ‘one-world life’. The piece itself takes the form of a gentle lullaby, its melody loosely shaped around the syllables of his name and sung to Peterson’s son by Luis Pérez Ixoneztli, a close collaborator whose presence across the record reflects a long-standing relationship that extends beyond the music itself.
Sleeve art and design by Michael Willis.
First time 12" pressing of Mac Mathunjwa’s “Give Us More Love” from the same-title EP. A jazz dance bomb that remains relatively unknown but deserves recognition as classic in the genre. Originally released in South Africa in 1976, it has never been widely distributed.
We first heard it in Antal’s Worldwide Festival mix in 2017, and the track is currently gaining popularity through sets by DJs like Ge-ology and Marcellus Pittman.
The A-side features the full-length version (12:43), while the B-side is an edited, shorter version (6:23). An absolute banger of a tune! Highly recommended.
LP,180g, 2027 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
Veteran library musician Alan Parker recorded with session vocalist Madeline Bell for his Themes International Music label and the result was 1976's The Voice of Soul.
The sensational uptempo dancer 'That's What Friends Are For' is probably the most well known track on the record, and is a big hit on the rare groove scene, but it is by no means an anomaly. The Voice of Soul is essentially a perfect, sophisticated soul album with heaps of swagger and sass from beginning to end.
Its once generic-sounding title is now deservedly defnitive.
And the whole LP oozes sex. It oozes sex so much that it could have soundtracked a period porn flm. Indeed, parts of it did. 'Love Is All' and 'You've Got What It Takes' both featured on the infamously banned Pretty Peaches from the same year.
As is usual with library records, The Voice of Soul was hard to get even when it was frst released. It's next to impossible now. So here's your opportunity to own what is in our opinion one of the fnest rare soul LPs of the late 70s, and a superb example of Madeline Bell's superlative vocal talents.
But that's not the whole story. As well as pitching the record as 'a varied selection of modern female vocal features which are equally suitable for background or radio programme usage', the original release notes go on to explain that 'the corresponding backing tracks are issued on TIM 1022 The Sound of Soul. Therefore it is possible to edit from vocal to instrumental version and vica versa where commentary or scene changes occur.'
So yes, all of the backing tracks from The Voice of Soul were released as The Sound of Soul, and we couldn't re-issue one without re-issuing the other.
As with all ten re-issues, the audio for The Voice of Soul comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.
LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
The two sides of 1973's Big Business / Wind of Change are mainly the work of thegreat Keith Mansfeld but there's a killer cameo each from Alan Hawkshaw and David Snell to help deliver a thematic suite, diverse in mood, applicable to dramatic and environmental situations'. A Be With favourite and truly one for the heads.
The Big Business of side A is all the work of Keith Mansfeld. It's heavy on the suspense and features the vital Hot Property', an insistent groove so good that Madlib sampled it to lace the ace Long Awaited' by Lootpack with Dilated Peoples.
Sleeping Giant 1' is a more feshed out version of the equally-dazzling Fatal Error', evoking the orchestral magic of David Axelrod. Indeed, it conjures images of Diamond D falling over himself in the early-to-mid 90s to loop its intoxicatingly
eerie soundscape. Complete with guitar flls that recall Paris, Texas-era Ry Cooder, you need this record for this piece alone.
The horn-and-fute-led "Tycoon" is a head-nodder and "Power Complex" has some fantastic percussion. Other highlights include the breezy glide of Whistle Stop Tour' and its sister groove Clean Air.'
Over on Side B is the more expansive Wind Of Change, which includes the David Snell and the Alan Hawkshaw contributions. But these ain't no fller. Snell's shufing International Flight' sounds like a smooth Dorothy Ashby track tossed from the heavens. Hawkshaw's Road And Rail' is about as luxurious and strung-
out as the great man gets and it might just be the highlight of this whole set.
Not to be outdone, if Mansfeld's Balance Of Power' doesn't make you feel like king of the world then you must be playing it wrong. Oh, and did we mention World In Action'!
As with all ten re-issues, the audio for Big Business / Wind of Change comes from the original analogue tapes and has been remastered for vinyl by Be With regularSimon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's
brand identity.
LP,180g, 2027 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
The 'vivid contemporary sounds for a fresh visual image' make up the now canonised Synthesis from Alan Hawkshaw and Brian Bennett. These two greats go deeper than usual on this collection, and the end result is a synth concept record of sorts. Released in 1974, it's an essential companion piece to
their Synthesizer and Percussion LP, released on Themes International Music in the same year.
Like most of our favourite library records, Synthesis has that gloriously funky, 'weird electronic music' vibe without ever being inaccessible. With the awesome ARP Odyssey at the fore, Hawkshaw and Bennett have created a blissed-out soundscape that, whilst laid back in all the right places, somehow remains heavy on the funk. It's a sort of throbbing, proto-G Funk sound and you can fnd it on many of these low-lit basement workouts.
Take the ice-cool 'Alto Glide'. It's a sunset-funk highlight with an electro-fute refrain that conjures those dreamier Dre / DJ Quick instrumentals from '91 to '92.
Stereolab, Koushik (again) and all those Ghost Box artists were clearly listening very closely in the years since. The equally relaxed 'Mermaid' glides efortlessly with soft, shimmering piano, understated percussion and kaleidoscopic synths.
It's a really beautiful piece.With these two soft-focus closing tracks allowing the LP to foat away over the horizon, the preceding ten tracks have a more insistent, neck-snapping rhythm
section to back the synth overload. Highlights include the head-nod funk of 'Getting It Together' and the synth break in 'The Executive', which informed classic video game soundtracks.
For once Be With really is stuck for words to describe just how good this record is.
Best just to listen. As with all ten re-issues, the audio for Synthesis comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.
LP,180g, 2027 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
Hot Wax is an assured KPM masterclass from a dream team line-up of Brian Bennett, Alan Hawkshaw and John Fiddy. Here we're treated to what happens when all three decide to explore the latest trends in production music'. The latest as of 1976, of course.John Fiddy's numbers are sumptuous, string-led and light. Floaty soft-psych underpinned by a solid groove, particularly on Taste For Living' and "Fresh Start". If you're into Koushik and those early Manitoba/Caribou records - and you should be - you'll appreciate these.
For us, the Bennett and Bennett/Hawkshaw stuf is on another level. Capitol City' oscillates between driving funk and downbeat sentiment. Name Of The Game' is tough, smokin' funk, famously sampled in 2007 by Madlib for Percee P's Who With Me'. Bop On The Rocks' knocks hard and Full Throttle' features a guitar solo with some of the nastiest, about-to-explode fuzz you're ever likely to hear.
As with all ten re-issues, the audio for Hot Wax comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.
With Panorama, Frank Maston pays homage to the classic era of library records and Italian soundtracks of the 70s. A blissed-out, grooving collection of filmic cues, it continues the unique brilliance of Tulips and Darkland. Elegant and easy, subtle and stylish, breezy and beautiful; this is his Maston-piece. Commissioned by legendary label KPM, Panorama cements Maston as a master of modern classics and the most mesmeric of contemporary composers.
In early 2020, Be With suggested to Frank that he should make a KPM record. He wasn't aware that they were still putting out new library records - but he was super keen: "It was completely surreal and it still hasn't fully sank in that I have a record in that catalog, sitting alongside those incredible albums that were so influential to me."
Frank was visiting family in his hometown of LA in March 2020 when the world ground to a halt so the KPM project arrived at a fortuitous moment. Having fantasised about committing to a record with no distractions, with a proper budget, access to his gear and space to work in - to really dig in and try to write and arrange the best work he could possibly make - it was a real "be careful what you wish for" moment. But, as Frank explained, "it completely saved my year and sanity to have something to focus on and get excited about. It was my lifeline." He spent seven months on it, working almost every day.
Maston had already been making library-influenced music so when KPM outlined the criteria for the tracks it was exactly what he had been doing all along. He thought the best approach would be to make a follow-up to Tulips that had a parallel life as a KPM record. Enjoying complete creative freedom, “gave me the drive to power through and dig in deep. I'm not sure if I could have kept myself on such a rigorous recording schedule under my own steam, and I think the momentum I had writing and recording it is part of the strength of this record."
Maston’s sleek retro-groove instrumentals emulate the classic KPM “Greensleeve” reel-to-reel recordings that provided mood-setting music for mid-century cinema, television, and radio programs. Apparently in close conversation with the John Cameron-Keith Mansfield KPM pastoral masterclass Voices In Harmony, Maston's Panorama could be heard as that record's funky follow-up. Yes, it's *that good*. Another reference point from the hallowed library would be Francis Coppieter's wonderful Piano Viberations.
Opener "First Class" is a blissed-out groove, featuring the soothing vocals of Molly Lewis and a glistening harp over drums, a two-note bass motif (from Eli Ghersinu of L'Eclair) and an assemblage of guitars, synths, French horn and glowing vibraphone. Acid Lounge, anyone? The irresistibly funky "Easy Money" is a gorgeous cut led by more of Molly's vocals, pastoral flute and Rhodes, underpinned by drums and percussion, grooving bass, chilled guitars and synth strings. Kicking the tempo up, the percussive "Storm" is a vibin' filmic-fusion jam where psychedelic guitars (courtesy of Pedrum of Allah Las/Paint) organ, jazzy flute, Rhodes and vibes all compete for a place in the sun, over drums and walking bassline.
The heavenly "You Shouldn't Have" is a delicate, melancholic wonder; a dreamy instrumental where the melody is shared by a whistle, harpsichord and celeste, over a cyclical piano chord sequence and bass, synths, guitars, organ and distant French horn. The tempo rises again with the passionate, sticky "Fling", a summery, nostalgic groove with skipping drums and percussion, warm bass and electric guitar, yearning flute and synth strings. The brilliantly titled "Fool Moon" has that Voices In Harmony sound down pat. A romantic slow-mo dreamscape of Rhodes and harpsichord, piano, light drums and softly strummed acoustic guitar.
Side B opens with "Medusa", a hopeful, mellowed-out track with shuffling drums, feel-good flute, muted horns, glowing Rhodes and synth strings. The soft and gentle "Morning Paper" is an elegant way to start the day; a beatless blend of flute, guitar, percussion, ambient synths and vibes. The upbeat head-nod jam "Scenic" has that widescreen car-chase feel, uptempo drums and percussion, grooving bass, piano, synths and ambient electric guitar. "Adieu" is a smooth summer vibe, relaxing with brushed drums, Rhodes, flutes and horns. Molly Lewis's gorgeous vocals steal the show, alongside vibes, jamming organ and synth strings.
"Hydra" is another laid-back 70s-sounding retro cinema cue with light drums and percussion, walking bass, spacey synths, clavinet, glowing vibraphone, vintage organ and electric guitar. Closer "Jet Lag" is a laconic bow out; bass-driven drum machine soul, featuring hand percussion, Rhodes, vibes, synths and organ.
Multi-instrumentalist Frank played a bit of everything across Panorama. Yet, humble as ever, he believes the time, energy, and enthusiasm of all of the musicians invited to the sessions helped him realise his vision: "There were two Italian flautists who really understood what I was going for. Two french horn players, cor anglais, a vibraphonist and a flügel horn player. I've never involved this many people in my projects before, and yet the result is the most "me" record I've ever made."
Musically, a strong Italian theme runs through the record. Frank is fascinated by ancient Rome and both his parents are Italian (Maston was originally Mastrantonio before anglicisation). So, it felt natural to fully embrace these strands and tie everything together with the striking artwork. The Romans were influenced by Greek culture, emulating their art and architecture, which, in turn, influenced Renaissance era artists. Frank acknowledged this tradition when reflecting on his place in the lineage of library and soundtrack composers. He then asked his friend Mattea Perrotta, a painter and sculptor, for some sketches. What he received was exactly what he had in mind: "Especially the theater mask, which really captures the range of moods on the album". Frank arranged them as per the cover and it soon felt right: "I wanted to make a cover that was reminiscent of the classic KPM albums without making it too pastiche - so it has its own identity and looks at home alongside other library records, while still fitting in nicely in the KPM catalogue." The last step was for us to introduce Frank to Be With-KPM’s Rich Robinson, who helped put together the back and centre labels and align it all within the KPM standard.
Panorama is a perfect title for the album. With no opportunity to travel for tours or recording projects, Frank arranged postcards from his collection on his desk with beautiful views of the mediterranean coast, the Roman Colosseum and Cinque Terre. These also served as visual prompts: "That was part of the sonic concept - imagining myself driving down the mediterranean coast with this music on, with the top down." Additionally, the range of moods and vibes - "I tried to make each song very different from the previous one in terms of tempo and arrangement and feeling" - speaks to the idea of a Panorama of music and sounds and emotions. The last track was originally called Panorama, but KPM already had that title in their catalogue so it was changed to "Jet Lag", which, as Frank notes, "is perhaps even more fitting, since the trip is over".
In certain circles, this is a record that would easily be called „eternal“. Back in 1996, when it was originally released, it sounded like nothing else - and still does. The sixth record of Frankfurt’s soon to be imperial Playhouse label and Losoul’s first outing on the label, it hot-wired many things at once: house and techno, US roots and European fruits, grittiness and wittiness, high tech funk, the expansion pf playtimes and the concept of minimalism in dance music. Elegance met effectiveness.
A composition that hooked you and also caused a stir elsewhere. Daniel Bell licensed it to his Elevate label and commissioned a very young Theo Parrish to remix it, Michel De Hey did the same with his EC Records and treatments by Gerd among others.
Here you finally get both of those carefully restored, remastered and reissued next to the originals. Amply placed on a double 12“, it also features the previously unreleased D1. Stemming from the same time and era as Open Door it rings and feels like a compact lost brother. Addictive as on the very first day and here to stay.
180g 2027 Repress They Say: “Descriptive scores for scenes of visual impact”.
We say: Arguably the single greatest album in KPM history. An ensemble piece of staggeringly heavy works from none other than Brian Bennett, John Scott, Steve Gray, Jim Lawless and Johnny Pearson.
For our immense pleasure, Visual Impact includes the insanely ace “Nuplex” by Brian Bennett, a nagging, sweeping, punchy funk piece that exists in a world of its own. If you don’t know, get to know - the record’s worth getting for this track alone. The same goes for the beautifully paced, string-drenched, horn-fed LP opener “Canaveral Scape”, courtesy of John Scott. Truly sublime. Other highlights on the A-side include Bennett’s easy, bass-heavy jazz groover “Sequence Of Events” and the spare, building, undercover funk of Steve Gray’s aptly-named “Low Profile”.
The B-side is straight-up fantastic. The percussive, vibey exotica of Jim Lawless’s “Keeping Pace” is followed by five tracks of slick, weighty funk breaks from Johnny Pearson. Check the pure groove of “Jaguar” with its head-nod drum break intro, the creeping piano-strings combo and… er… giant neck-snapping breaks of “Giant’s Causeway”, the speaker-smashing progressive bass groove of “Fugitive”, the tense "Rock Climb" and the sheer heft of "Heavy Load". Library largeness. If that isn’t enough, John Scott’s incessant “Flight Of The Phoenix” ends the session, brilliantly pilfered by M.O.P. for their much-loved “We Run New York”.
Originally released in 1976 but wonderfully timeless, Visual Impact is a rare example of a library record that’s genuinely great listen from start to finish. Just too good…
As with all of our KPM re-issues, the audio for Visual Impact comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.
And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!
Rhythm Of Paradise captures the essence of modern Italian piano house with the "Ti Sento EP".
A coherent and refined project that blends radio appeal and club depth, all with a warm, Mediterranean soul and pure Italian House Vibe.
The EP opens with the title track, an emotional summer anthem built on a sensual Italian female vocal. Beautiful piano hook in the real Italo style & warm M1 organ bassline, are the foundation that makes this track a unique narrative experience keeping balance between radio-friendly immediacy and a solid timeless club presence.
From the emotional Ti sento going to the festive, sunny mood of "Mi Piace" on A2, where the energy is amplified by a more driving rhythm and piano melodies that celebrate pure joy. It's the EP's track designed to create a peak of collective euphoria on the dancefloor.
On B, Micheal’s partner in crimes St. David reimagines “Mi Piace” track on a tribal dub journey with an Ibizan soul, where the original vocal is deconstructed into echoes, the bass becomes hypnotic, and the groovy organic percussions keeps the floor moving and shaking. A version for emotive charm of early Italo house, evoking euphoric dancefloors, Calypso beach parties in the style of Palmares or Irma records.
Closing with B2. Ti Voglio and its seductive groove, and a refined afterhours atmosphere. It demonstrates how Italian emotion in house music can also be communicated through the power of few elements that hits your sensitive side. Sax atmosphere and deep dub groove capture the rhythm of the listener for this beautiful closing track.
A complete collection of Timeless Italo House journey for those that knows !
Written and Produced by Michele Lamacchia. Includes remix from St. David
Mixed & Mastered by St. David
Mermaids is many things at once: The debut single by Fila Brazillia (named after the mishearing of a Brazilian mastiff breed mentioned on the radio), the second release on Pork Recordings, a deep house master piece, the brainchild of the summer of love, a pen friend to A Man Called Adam’s Barefoot in the Head and most of all pure balearic bliss. Originally released in 1991 and subsequently featured on Old Codes, New Chaos, which according to Frank Tope at Mixmag, is "the Best Dance LP ever made”, it marked the beginning of a long and illustrious partnership for Hull natives Steve Cobby and David (Man) McSherry.
Mermaids still sounds as good and as addictive on any kind of beach or natural environment as it supposedly did on Boris Dlugosch’s Front dance floor or any other basement suffused with strobe lights at the time (or any hedonistic place for that matter). Having been already part of the latter’s and Klaus Stockhausen’s Mastermix Front Compilation, it has now been dusted off and remastered for an individual performance. Added for the first first time though is the original demo version that makes use of a different yet not less enchanting bass line.
Also included is Fila’s 1994 trippy, dare we say progressive, UK house blueprint Slacker. A seismic shift from the traditional tropes of house, it set an example for what should rock the dance music boat just a few years later. Delivered in a previously unreleased extended version for your utmost enjoyment.
Artwork note: The sleeve photograph is a proto-selfie taken by Steve in 1983 (the year the two first met). Man still has those braces.
Rooted in the deeper corners of minimal house and micro-driven grooves. UTROWAX001 marks the first wax chapter from Utro Records with Hive Minded EP, a refined and elegant three-track selection by Peter Zherebtsov, Vid, and Herck. Rooted in the deeper corners of minimal house and micro-driven grooves, this release brings together subtle textures, reduced rhythms, and a strong sense of late-night atmosphere. Wrapped in beautiful artwork and backed by a great minimal track selection, UTROWAX001 is a tasteful debut that captures the essence of understated dancefloor functionality and timeless after-hours appeal.
New Flesh Records returns with its 34th release, bringing together two long-time affiliates: Boris Divider and label mastermind Umwelt. On the A-side, Boris Divider delivers "A New God", a hypnotic slice of stripped-back electro built around his signature robotic vocoder work and a tightly coiled arpeggiated loop that borders on obsession. Umwelt's remix sharpens the edges, injecting a cold, metallic sheen that amplifies its physicality, engineered for peak-time impact without sacrificing the original tension. Flip to the B-side and Umwelt steps forward with "Digital Ruins", a dystopian song that thrives on contrast: powerful, driving rhythms collide with soaring, almost melancholic synthwave textures, giving the track its emotional charge. Boris Divider's reinterpretation leans further into austerity, reinforcing the rhythmic framework while steering the piece into colder, more abstract territory that privileges atmosphere and textural nuance over immediacy, yet remaining firmly anchored in his established sonic identity.
Winter Collection arrives a little late, but it arrives right. Four tracks across two sides, drawing from Chicago, Detroit, Oakland, and Portland, mastered for DMM cut by Lawrie Dunster of Curve Pusher. The vinyl sounds like it means business.
The A-side opens with the Bryan Zentz Remix of Basic Analogue, originally written and produced by Mazi and Joshua Collins. Dunster’s remaster serves the synth work well, keeping the melodic lines clear and the low end present without overcrowding the mix. Zentz built something durable here, and the vinyl pressing confirms it.
Sound Whore by DJ Mes follows, and Mes doesn’t waste any time. The wah-wah guitar arrives early, the trumpet not far behind, and then the Latin percussion and vocal samples start stacking up. It’s a lot, but Mes holds it together with a groove that keeps pulling everything back toward center. You don’t resist it. You just follow.
The B-side belongs to the most requested track in the label’s catalog, and it’s easy to understand why. Mike Huckaby’s remix of Cesar Ramirez’s Congo Fury anchors itself to a conga line and then opens outward, synth lines drifting across the rhythm like smoke. Huckaby had a particular gift for this, the ability to make a moment feel like it could last forever without ever losing tension. Ramirez’s own keyboard solo survives toward the end, a subtle crescendo that feels earned. Dunster captures the whole thing with care.
It’s Time to Jack by Da Outlawz closes the record. 909 drums, cracking snares, chopped vocal fragments. Barebones Chicago house, designed for a sound system that can take the weight. Nothing complicated about it, and that’s the point.
Play it loud.
Track A1 written and produced by Maziar Namvar and Joshua Collins. Remixed by Bryan Zentz.
Track A2 written and produced by Jason Sutton.
Track B1 written and produced by Cesar Ramirez. Remixed by Mike Huckaby.
Track B2 written and produced by Gabriel Palomo & Geto Mark.
Mastered by Lawrie Dunster at Curve Pusher, UK.
Copyright Control
2026 Fresh Meat Records
Shorter Version
Winter Collection arrives a little late, but it arrives right. Four tracks across two sides, drawing from Chicago, Detroit, Oakland, and Portland, mastered for DMM cut by Lawrie Dunster of Curve Pusher. The A-side opens with the Bryan Zentz Remix of Basic Analogue, originally written and produced by Mazi and Joshua Collins. Dunster’s remaster keeps the melodic lines clear and the low end present. Zentz built something durable here, and the vinyl confirms it. Sound Whore by DJ Mes follows. The wah-wah guitar arrives early, the trumpet not far behind, then Latin percussion and vocal samples start stacking up. Mes holds it together with a groove that keeps pulling everything back toward center. You just follow. Mike Huckaby’s remix of Cesar Ramirez’s Congo Fury anchors itself to a conga line and opens outward, synth lines drifting across the rhythm like smoke. Huckaby had a gift for making a moment feel like it could last forever without losing tension. Ramirez’s keyboard solo survives toward the end, a subtle crescendo that feels earned. It’s Time to Jack by Da Outlawz closes the record. 909 drums, cracking snares, chopped vocal fragments. Barebones Chicago house, designed for a sound system that can take the weight. Play it loud.
West Coast tech house had long since taken shape by the time it made its way over to the UK at the turn of the new millennium, and that's in part because of the pioneering work of the Casa Del Soul crew. The "DJ-first, producer-second collective" was founded in Denver in 1999 by a bunch of artists including DJ Darrell Foxx, who put out several records that laid out the blueprint for this raw, gritty sound across several EPs. His debut, 'The Collective EP', was one of them - two live-session, warehouse-ready tracks of low-slung and stripped-back tech with swing in the drums and dust in the percussion. The original DAT tapes were lost in a blizzard, which meant original copies have become ever more scarce and pricey on the second-hand market... until now. This fantastic remaster brings them back to life with the same distinctive rawness that made them favourites with Doc Martin and Tyrant (Craig Richards and Lee Burridge) the first time around. Utterly essential.
Terrestrial Funk presents a piece of Detroit history. Born and raised in Motor City, Karl Fultz knew at the age of twelve that he wanted to be the most talented and successful DJ in the world. In 1999 he released on Juan Atkins’ Metroplex under the alias People Mover and in 2000 he released as Black Electric on Puzzlebox. Inspired by British synth-pop duo Eurythmics, Fultz says Black Electric was a way to get more women involved in the techno movement. Together alongside vocalists Tiffany Elliott, Kim Glover & Talena Fultz, Black Electric brought sex appeal to the scene. Their first and only release stays in demand and has become inaccessible until now. Terrestrial Funk’s reissue provides two fresh cuts on the new 12”; ‘Purple’ a chugging Detroit acid track describing soul modification to enhance intimacy and a proper bassed out club mix of the nasty electro sex song ‘Work That’, which was only featured as an acapella on the original release. The release also features updated mixes of both the title track and the half-time anthem 'Come To Me' alongside the original y2k mix of 'Colors'. Black Electric stands as a testament to turn of the millennia Detroit and the city’s undying devotion to expand our connection to music.
Test Pressing Tracks is back with a new release from Barcelona original PAU. It’s a another club cut this time landing somewhere between early Chicago house at its most sensual, dark, and emotional and a modern day balearic track.
PROA is a new collaborative project by Pau Roca and Orion Agassi, two well-known figures in the Spanish electronic music scene, who have come together for first time to release ‘Incondicional’.
The original version features the vocals of Sandy Nuni and also comes in instrumental form. The B side gets a remix from Tepper & Apiento and goes pure heavy club dub. More soon…
Field Records proudly presents the first complete vinyl edition of Monolake’s seminal excursion into experimental dub techno, Hongkong. Originally released on the now-classic Chain Reaction label in 1997, this collection of early singles by Robert Henke and Gerhard Behles has gone on to become a vital listening experience in its own right - a genre classic alongside the other groundbreaking works from the likes of Porter Ricks and Vladislav Delay.
The tracks which make up Hongkong were made while Henke and Behles studied computer science and immersed themselves in Berlin’s techno scene. Their early forays into computer-based music production were enabled by the use of the Max/MSP programming environment, forming a backdrop to the landmark work they would undertake in developing the Ableton Live DAW. Henke and Behles travelled to Hong Kong in 1996 to attend the annual International Computer Music Conference, and while there recorded extensive field recordings. These recordings became the glue that pieced together their collaborative tracks into a fluid listening experience for a CD-compilation at Chain Reaction’s request.
While absolutely rooted in the embryonic sound of European dub techno, Monolake’s early work possesses a back room, headphone-ready demeanour which lends itself to the album listening experience. In the cascade of rhythms created by precision engineered delays and subliminal, expansive spatial world building occurring throughout Hongkong, the stage is set for a full and thorough immersion. Before the Monolake sound progressed into a more pointillist form of computer music as Henke’s solo project, Hongkong presented a gritty, grainy sonic still tied in some way to the traditional methods of techno production, even as the artists’ ideas were sending the sequencing and arranging in exciting new directions.
Remastered and presented for the first time as a complete double 12” package, this is the definitive edition of an essential work in the evolution of experimental techno. As Henke himself explains, “twenty-five years later, this record still holds immense value to me in many ways.”
Bosconi Records is thrilled to announce a distinctive vinyl release that harks back to berlin 2000’s good old days
The featured track of this release unveils Console’s , known and active as Acid Pauli, reinterpretation of a track that gained fabio’s attention during his stay in Berlin in 2000. Fabio Della Torre, the owner and A&R of Bosconi Records, stumbled upon this hidden gem during his year in Berlin as many djs in the city were spinning it. Finally his quest to uncover the origins of this track led him to a CD release on the label of Angelika Köhlermann. The track in question is Console’s reimagining of “Let’s Rock Baby” a composition by the independent musician and video artist Anne Laplantine, who adopted the Japanese-sounding alias Michiko Kusaki. This version was originally released alongside a series of remixes by artists such as Dmx krew, Felix Kubin, and Adult, all featured on Angelika Köhlermann’s label.
Today, Bosconi Records is thrilled to bring this iconic track to light again on vinyl, accompanied by fresh interpretations. It’s important to note that these reinterpretations breathe life into Console’s work, not Laplantine’s original track, making Console’s version the centerpiece of this release. We have a banger version from German electro luminary The Exaltics which his typilcal electro techno trademark sound. The Exaltics had just released his new album on Clone and has been featured by Helena hauff in her Fabric Mix compilation. Italian producers Voodoos & Taboos, known for their homonymous label and with an recent “banger” on Bordello a Parigi with an electro playful version. The vibrant Queen of Coins have breathed new life into Console’s track, delivering a fresh new-beat acid ebm burner, giving the track a new and personal perspective.
This project mirrors Bosconi Records’ commitment to exploring diverse dimensions of electronic music and featuring compelling compositions. The release looks to resonate with DJs and electronic music enthusiasts, offering a contemporary perspective on a timeless track.
JKS is back on his own imprint with Temples, opening a different chapter of his sound. Across three original tracks, he explores a more melodic and expansive direction, while keeping the raw rhythmic energy and distinctive percussion that have always defined his productions. Processed instruments, playful synth lines and organic textures come together with a sense of openness and curiosity, always anchored in movement and groove. Alongside the originals, three remixes by Aloka, A Strange Wedding and Olympe4000 extend the scope of the release. Each artist brings their own sensibility to the project, reinterpreting the material in their own language and broadening the spectrum of both the record and the imprint. Together, they highlight different facets of JKS’s influences while keeping a shared sense of drive and tension. The result is a collection that balances movement and emotion, precision and spontaneity. Deeply rooted in the dancefloor, yet unafraid to venture beyond familiar boundaries, the release captures an artist and a label continuing to evolve while staying true to their core.
San Dee, TMD - Watif EP - Command Center Records - CCRE001
Command Center Records operates as a unified collective, independent label, and boutique online shop that actively energizes the local Miami community. Launched in 2019, the brand champions multiple musical styles. curating a wide array of genres while amplifying dance music to the forefront.
San Dee and TMD team up to launch this debut vinyl effort, delivering a heavy-hitting release of deep, minimal house and breaks. Across four tracks, "Watif" engineers a landscape of floor-shaking groovers, fusing sub-heavy kicks and rolling bass lines with layering drum machine textures and analog synths.
House titan Adam Collins contributes TWO masterwork Watif remixes that incinerate peak-hour sets. With the first Remix, a deeper rhythmic breakbeat and slapping hi-hats that slightly varies from the original. The second remix, being the Top Down Mix, packs a groovy Detroit electro-house feel, that you'll find yourself cruising at high speed with the top down.
Rounding out the EP is “Listening Minds" which transports the audience through a cosmic soundscape, while a recurring voice instructs the room to "Listen."
&Me, the chunky critter, did it again! This hypnotic one-off was stoically crafted to be lifted into the next dimension with thousands of people. Where the hospitality of all-encompassing love and euphoria awaits with arms raised and eyes closed.
Mano le tough found the original Muddy Funster so boring that he ran out of cigarettes. Even as a non-smoker! With his congenial version of this evergreens, this deranged pig forces his cranky perception on us and takes us into a mystical world in which no two stones are alike, but whose unique construction represents an earthquake-proof pyramid of love whose dimensions have perfect relationships to the size of the earth and to mathematical laws. Illumination feat Roísín Murphy as Mano Le Toughs needs A Birra Light Remix persistently pulls us music-loving dance muffins under the disco ball with all the TikiTaka tricks in the book, only to let us go and spin gloriously free at the crucial moment. So beautiful, we dance, wow.
