Moosgrünes Vinyl, limitiert auf 1000 Exemplare. B O D I E S ist Kat Frankies außergewöhnliches A-cappella-Projekt: acht Stimmen, keine Instrumente, pure Energie. Auf ihrem neuen Album "The Dream" verschmelzen kraftvolle Harmonien, intime Momente und pulsierende Rhythmen zu einem ganz eigenen Sound. Kat Frankie rückt die menschliche Stimme und den Körper ins Zentrum und lotet dabei Nähe, Freiheit und Selbstbestimmung aus. Mal zart und verletzlich, mal überwältigend intensiv - "Bodies" klingt unmittelbar, körperlich und überraschend modern. Ein Album, das Pop, Chormusik und Performance auf einzigartige Weise verbindet.
Yung Lean - That's It (feat. Future & Metro Boomin)
Travis Scott - RHYNO (prod. by Guy-Manuel de Homem-Christo)
CA7RIEL & Paco Amoroso, PinkPantheress,
Fred again.., & Etienne de Crécy - Sexy Magic
Morgan Wallen - Last Thing You Need
Rauw Alejandro - Macacoa 2000
Keith Richards - Bright Lights, Big City
Legendary London drummer Crispin “The Pump” Taylor releases his long-awaited debut album Licence to Fill on Monks Road Records, celebrating 35 years at the heart of the Soul, Funk, Rare Groove and Acid Jazz scenes.
A founder member of Push and former member of pioneering Acid Jazz outfit Galliano, Taylor has also toured and recorded with Zero 7, The Blow Monkeys, Dexys Midnight Runners, Seal, Paul Weller, The Funk Brothers, Marlena Shaw, Candi Staton, Carleen Anderson, Urban Species and many more.
Licence to Fill brings together original Funk, Soul and Jazz material, featuring acclaimed musicians including Mick Talbot, Angelo Starr, Joe Cang and Matt Deighton.
A heavyweight debut from one of the UK's most respected groove-driven drummers.
Die Band ,The Holy Kiss" aus San Francisco erhebt sich aus dem Grab, um ihre letzte Aufnahme erstmals auf Vinyl zu veröffentlichen. Aufgenommen im Jahr 2009 von Skot Brown (The Phantom Limbs, Altar de Fey) und zuvor auf 50 handgefertigten CD-Rs veröffentlicht, ist ,Gunslinger" ein raues Meisterwerk aus der Blütezeit von The Holy Kiss mit vier Songs, die feurigen Blues mit Blut, Schweiß und einer kräftigen Prise The Birthday Party vermischen. Der Titeltrack der 12", ,Gunslinger", ist ein Cover eines Bo-Diddley-Songs, den die Band so arrangiert hat, dass er ihrem Hang zur melodischen Kakophonie entspricht. Frontmann Matty Rue Morgue singt mit dunkler Sonnenbrille aus tiefster Seele, während ,Schlagzeuger Nick Ott wie ein Riese über einem elfenhaften Schlagzeug thront und die Felle so fieberhaft bearbeitet, dass er eine Selbstentzündung riskiert" (Tatiana Simonian, L.A. Weekly). Das im Jahr 2000 offiziell gegründete, von schwarzem Humor geprägte, altmodische und gut gekleidete Quartett ,erzeugt einen dunklen und auf süße Weise dissonanten Krach, der an Mordballaden erinnert und perfekt dazu geeignet ist, die im Limbus schwebenden Geister der Betrüger, Verrückten, Säufer und anderer gesellschaftlicher Ausgestoßener heraufzubeschwören, über die die Band gerne in ihren schattenhaften, Dickens'schen Liedchen" (Bill Picture, San Francisco Chronicle). Die Veröffentlichung von The Gunslinger enthält außerdem eine Bonus-7"-Single mit Solo-Aufnahmen, die Matty Rue Morgue 2009 gemacht hat - nur wenige Jahre vor seinem viel zu frühen Tod im Jahr 2015. Darauf sind zwei Songs von Matty und ein Song von The Holy Kiss (,Go Head N Count `Em"), die für Solo-Akustikgitarre neu arrangiert wurden. In seiner Version von ,Go Head N Count `Em", gespielt mit Liebe und tiefem Respekt vor der Blues-Tradition, lässt sich Matty gleichermaßen von Lightnin' Hopkins und Lux Interior inspirieren.
Detroit's Javonntte returns to Yore Records with four soulful, late-night house cuts, blending deep grooves, warm jazz-infused harmonies and rich chord progressions. Staying true to his unmistakable style, the EP combines timeless musicality with dancefloor functionality, creating an atmosphere equally suited for intimate listening sessions and underground clubs.
Adding another personal touch, Javonntte performs his own vocals on selected tracks, bringing even more soul and authenticity to this deeply personal collection.
From the driving "Donnie Brasco" and atmospheric "Dream of Mind" to the heartfelt "Let's Not Wait Any Longer..." and uplifting "Morning Till the Groove", this is classic Yore Records territory: sophisticated, soulful house music with depth, warmth and lasting appeal.
Amazing Part 2. all groove, all dancefloor, no filler. across all four sides the mood stays the same, beautiful, groove first, dancing first. Nothing forced, nothing loud for the sake of it. Four artists, four classics, one record that just wants people moving
(Orange transparent vinyl, limited edition) Age Of Love's 3 most famous remixes on 1 record: the legendary 1992 Jam & Spoon 'Watch Out For Stella' Mix, Charlotte de Witte & Enrico Sangiuliano's 2021 Remix & Solomun's 2017 remix.
Age Of Love wrote and released their most iconic track in 1990. It went on to become a stone-cold dance classic that inspired a whole trance movement that has endured throughout the years.Now its 3 most famous remixes are available on 1 record: the legendary 1992 Jam & Spoon 'Watch Out For Stella' Mix, Charlotte de Witte & Enrico Sangiuliano's 2021 Remix & Solomun's 2017 remix.
Medusa Outdoor presents the third chapter of its Vinyl Collector series: MO_03 – The Vinyl Collector III, featuring six carefully selected techno tracks across different generations, curated by resident dj's Michael Forzza and Jochen Robberecht. The release brings together internationally renowned artists including Nicole Moudaber, Johannes Heil, Envoy, Frank Biazzi, Flug and Steve Nash. Among its highlights is the long-awaited return of Johannes Heil’s “Paranoid Dancer”, presented as a Re-Mastered Original and appearing on vinyl for the first time since its original 2002 release, alongside Envoy’s timeless techno classic “Dark Manoeuvres” and Nicole Moudaber’s powerful “Movin’ On”. From rare collector material and timeless classics to contemporary techno, MO_03 brings six outstanding tracks together on one distinctive bordeaux-coloured vinyl, housed in a beautiful gatefold sleeve. Six tracks. Different generations. One shared techno legacy.
A staple of the ’80s electro-funk and disco scenes, On The Shelf by The B.B. & Q. Band is a classic 1985 disco-funk track. Remixed by legendary Dutch producer and DJ Ben Liebrand. (“BL” stands for Ben Liebrand), who created several extended and “Finest” mixes for the group’s seminal 1986 Genie album. Now remastered and reworked, these mixes are on point: electro drums, punchy keys, and really warm, subtle bass. A very sexy slice of mid-80s disco funk with soul.
Massive Attack need no introduction. ‘Boots On The Ground’ marks their return, with their first new music in 10 years and Tom Waits first vocal feature in over a decade. Releasing everywhere apart from Spotify. Physical release features extra spoken word track ‘The Fly’, exclusive to vinyl. Vinyl is created using recycled water bottles with all paper elements using 100% recycled fibres.
Two voices at the frontier of deep, hypnotic and experimental electronic music converge with four-track split EP that moves between first light and subsurface dark.
Lost Few’s productions inhabit the hazy threshold between ambient and dancefloor music - textured, atmospheric productions built around mood and motion. On the A-side, Broken Dawn opens with a sense of slow emergence: layered pads and rhythmic pulse conjuring beauty before sunrise, when sound feels closer to dream than waking. Light Before The Haze deepens the journey; a longing, weightless piece that traces the diffuse glow that precedes full light — melodic, restrained, and deeply felt.
Dino Sabatini needs no introduction; his productions have bolstered the underground electronic music scene while sculpting a new narrative for deep, modern electronic music. On the B-side, Subsurface Light is characteristically Sabatini: a hypnotic descent into pressurised depths, where rhythm becomes ritual and texture carries the weight of ancient resonance. He then reimagines Lost Few's Light Before The Haze as a closing meditation — pulling it further inward, slowing its pulse, and casting it in the particular deep-techno shadow he has made his own.
Together, the four tracks form a coherent arc from the pre-dawn quiet of Lost Few's introspective electronics to the subterranean intensity of Sabatini's world — a release that rewards both patient listening and late-night movement.
Two voices at the frontier of deep, hypnotic and experimental electronic music converge with four-track split EP that moves between first light and subsurface dark.
Lost Few’s productions inhabit the hazy threshold between ambient and dancefloor music - textured, atmospheric productions built around mood and motion. On the A-side, Broken Dawn opens with a sense of slow emergence: layered pads and rhythmic pulse conjuring beauty before sunrise, when sound feels closer to dream than waking. Light Before The Haze deepens the journey; a longing, weightless piece that traces the diffuse glow that precedes full light — melodic, restrained, and deeply felt.
Dino Sabatini needs no introduction; his productions have bolstered the underground electronic music scene while sculpting a new narrative for deep, modern electronic music. On the B-side, Subsurface Light is characteristically Sabatini: a hypnotic descent into pressurised depths, where rhythm becomes ritual and texture carries the weight of ancient resonance. He then reimagines Lost Few's Light Before The Haze as a closing meditation — pulling it further inward, slowing its pulse, and casting it in the particular deep-techno shadow he has made his own.
Together, the four tracks form a coherent arc from the pre-dawn quiet of Lost Few's introspective electronics to the subterranean intensity of Sabatini's world — a release that rewards both patient listening and late-night movement.
Acid Pauli returns to the curious world of Gwar Is Not The Answer (originally released 2006 on Smaul) with a carefully remastered re-release that includes two new remixes from Jonathan Kaspar and Acid Pauli. The title track unfolds at an unhurried pace, weaving loose acid traces through warm percussion and off-centre melodic fragments that seem to appear and dissolve before settling into place. It drifts forward with a quiet sense of momentum, balancing eccentric textures with a groove that remains firmly grounded throughout. With his new remix Jonathan Kaspar takes the original into leaner territory, sharpening its contours and drawing out its tension while preserving the peculiar character at its core. His remix stretches the track into a more focused club framework where rolling low-end pressure meets finely tuned rhythmic movement, allowing small details to carry unexpected weight. On the flip Acid Pauli revisits the track from a different angle. The remix opens up the source material into a spacious and fluid arrangement where shimmering tones circle around a deep pulse and subtle harmonic shifts gradually reveal themselves over time. Together the three versions explore different dimensions of the same musical language, moving between psychedelic house, understated dancefloor functionality and the kind of idiosyncratic storytelling that has long defined Acid Pauli's work.
3x12'' Re-issue of this Drexciyan masterpiece that was previously released on Supremat. Now including the tracks that were only available on the CD version when the album first came out in 2001.
If the late James Marcel Stinson left anything in his wake it's certainly the staggering amount of beauty he produced over the years. Tresor Records prepare to re issue a slice of that beauty on October 10th.
Thematically, 'The Opening Of The Cerebral Gate' saw Stinson shift away from the grand narrative of the Drexciyan saga, instead exploring a sub-plot of esoteric concepts revolving around internal, mental and psychedelic tropes. Musically, it presents the electro genius at the height of his game.
The breakthrough hit that cemented THE SOUNDLOVERS
as one of the leading international dance acts of the ’90s.
A timeless anthem about overcoming loneliness,
embracing emotional growth, and finding the strength to
move forward. Beneath its uplifting dance groove lies a
message of hope, resilience, and self-discovery.
*The Mood Mosaic Vol. 12 – Mondo Porno* returns in a special new edition. This cult
compilation explores the sensual, cinematic side of rare groove, bringing together
funk, soul, erotic lounge, psych-funk and afro-funk through a selection of rare tracks
by artists including Chakachas, The Afro Rhythm Group, Bill “Ravi” Harris, Rita
Cadillac and South African Combo.
Fully remastered and expanded with a previously unreleased track, the reissue comes
as a double LP on white vinyl and includes an exclusive 50 × 70 cm poster.
A collector’s edition created for lovers of irresistible grooves, vintage sounds and cult
cinema.
Ilija Rudman is marking the 30th release on our musical town of Sakskøbing. The Croatian artist has told this particular story how he wanted with 4 tracks crucially being together on this disc so it would be a complete tale of “Egg of the Sun”. From heavenly pads & guitar riffs he has given birth to this particular disc which is ready to enter into the vast world of music. The artist has been putting out discs since the early 2000’s and has developed a vast discography behind his name that only deserves respect and admiration whether he is working solo or in collaborations with other musical souls. The label is welcoming a true visionary to its roster and it can only yield the feelings of excitement, admiration and proudness. The egg is so close to the sun like Icarus used to be in his time however instead of burning it only shines with brilliance.
Nail is one of our favourite house artists. He was a key player in the 90s, not least with Nottinghman's DiY, then disappeared for many years before returning a decade or so again. Since then he has kept on turning out unique house jams (there have been tens of them by his and others on his latest label in the last six months) and now curates the first volume of House Fire Records material for his In The Dance label. This compilation brings together his aliases Scorpio Parish, DJ XE0re, George F, Peoples Inc. and Five Bagonag. The grooves are killer, the production perfectly undercooked, the swing often central to everything.
Transparent Sound presents - AXIOMATIZE - The Ultra EP
The new Transparent Sound presents series. Axiomatize are will not to be compromised with there. Slipstream the next phase adjust the gauge deliverance. Shacking the cage with the extremely impressive EP thats a must own release.
Re-issue of the long out-of-print Kerri Chandler remixes. The Instrumental remix was previously available as a limited 12inch mentioning 'TSIY -KERRI001' while the vocal remix became even more popular when used in the nightclub scene at the start of the Black Mirror episode 'Striking Vipers' (S5 E1). Pure hypnotic synth chords and bass pressure!
Nug-Net returns to vinyl with another best-of selection from last year's contest entries. The disc compiles a pair of anytime anywhere cruisers on the A-side from returning Nug-Net alum Guessbeats and newcomer Tanda. The Big Paneer's contribution harks back to the early days of Limousine Dream (pitch drift on high) while Franz Fraiz strays into what do you even call it indie-pop-house territory. Take the Nug-Net production course yourself at nug-net
For the 4th release on Children of the Sun, we welcome our good friend and longtime collaborator, Cosmic JD, with a hardware heavy EP, a homage to the vintage art of magnetic recording.
Each track embodies Cosmic’s approach to music making: hardware based, machine finished. Raw, deep and instinctive, with every track printed to tape, giving the machines room to breathe and the sound its own character.
Coin-Op Records serving up another killer 4 track EP, this time from The Sentinel.
Title track "Theme from Sentinel" is a slab of jacking, relentless, robotic funk that will get heads nodding like nothing else. "Binary Communication" recalls 00's tech; punchy drums and drifty intro pads set the scene before dropping into a heavy stabs-n-bass groove.
On the flip, "Fight or Flight" builds from driving percussion into a gorgeous peak-time synthy slammer. Closing track "Climbing Cosmos" is in the classic B2 style; laid-back, groovy deepness, with glassy chords and 808 drums lifting you up to round off the EP.
The duo of Nail and Barney Osborn are rising stars who work under the Indoor Tall Boys alias, a new name on us but this fresh drop on In The Dance suggests they have a deep understanding of dancefloor dynamics and a wide-ranging taste. 'Flames' is a supple, succulent and poppy sound with silky disco flourishes and a soulful, almost gooey groove. 'Re-Vibrations' has a lovely double skip in the drums and a gloopy bassline that brings a nice louche vibe, while 'Hold A Groove' has a sunny outlook and subtle strings worked into a smooth groove that exudes summery heat. 'KTT' shuts down with a filter-edge and glistening keys all stitched into a classic disco house groove full of colour and funk.
Out soon via Heads In The Clouds - H004 - Josh Wink & DJ ESP - Stairway To Headphones (12") Re-issue from 1995
Communique Records re-issues an classic by Josh Wink & ESP aka Woody McBride on the sublabel "Head In The Clouds"
from 1995. All tracks are re-mastered and re-recorded from original DAT.
Highly recommended!
Synth heavy club tracks from Jack Tiraquon aka Space Dimension Controller.
The original A-side version surfaced in 2025 as the sold out (now repressed) Rush Hour Store exclusive white label “SHOP006”.
For TQN007, Tiraquon has invited the elusive YMC to help reshape the material with a new edit.
This is the first physical transmission from Tiraquon Recordings since the sold out compilation in 2022
Unlock the allure of The Hot Spot through its unforgettable soundtrack, a captivating collection that brings the film's sultry ambiance to life.
Set against the backdrop of a small Texas town, The Hot Spot follows Harry Madox, a charming drifter with a dark past. As he arrives in town, he becomes embroiled in a web of seduction and deceit, navigating his way through a love triangle involving the sultry waitress, Gloria, and the alluring femme fatale, Dolly. Tensions rise and passions ignite, leading to a thrilling climax where desire and danger intertwine. Directed by the visionary Dennis Hopper, the film is a masterclass in mood and atmosphere, capturing the essence of 1990s neo-noir.
The Hot Spot has garnered acclaim for its stylish cinematography and gripping narrative, but it's the music that truly sets it apart. It's an amalgamation of swampy blues, jazz and rock — all mixed and recorded in a sparse, bloomy and eerie sort of way.
Critics hailed the soundtrack as "an electrifying fusion of jazz and blues that perfectly complements the film's seductive undertones." The blend of sultry melodies and haunting instrumentals creates an immersive experience that resonates long after the credits roll.
This recording is just so damn fine, so airy and warm. And the musicians aboard on this Dennis Hopper film are a who's who, including Miles Davis, John Lee Hooker, Taj Mahal, Roy Rodgers, Earl Palmer and Tim Drummond. This has long been a highly sought-after and collectible record among audiophiles. This soundtrack is essential for any music lover or film buff, capturing the very essence of the film's seductive spirit.
A cassette-only collection of scratchy one-away dubplates and 45s from the vaults of Jah Massagan Sound, featuring plates cut at the studios of legendary producers and engineers such as King Tubby, Lee Perry, JoJo Hoo Kim, and Joe Gibbs among others during the peak of the roots sound in the mid 1970s through to the early 1980s.
Beginning in Leyton in 1972, owner-operator Lloyd alongside childhood friend and amp builder Tony Mass were part of a wave of reggae soundsystems formed in London and across the UK immediately after the Windrush generation. Focused on preserving and promoting the authentic Jamaican roots, Jah Massagan has remained a small but steadfast cornerstone in the East London scene more than 50 years later. Eljay Mass, the son of owner Lloyd, takes the reins for this cassette-only document, as the torch is passed on inter-generationally to continue the sound’s work.
2026 Repress in White Vinyl
There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’. A Grammy Award winner, Frankie had a street in Chicago named after him where the old Warehouse once stood to commemorate the first ever Frankie Knuckles Day on 25th August 2004. Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades.
Now he is commemorated once again by long time writing and production partner Eric Kupper who will release part II of the special commemorative album on vinyl around this date. Eric, himself a seasoned DJ producer and writer, working side by side with Frankie on many his seminal classics, as well as personally working on over 116 Billboard #1 Dance Records. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.
The album features some of Directors Cut’s best works with the Re-Directed version of the seminal classic ‘Baby Wants To Ride’ plus their re rubs of Inaya Day, Sybil, Hardsoul and Lou Rawls - You’ll Never Find Another Love Like Mine (Kenny Summit, Frankie Knuckles & Eric Kupper Unreleased Anthem).
This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continue Frankie’s legacy whilst focusing on music in schools, LGBTQ youth homelessness, AIDS research / prevention & diabetes research / education.
Kisah Pasar Baru: The Modern Sound of 1950s Indonesia
When Indonesia gained its independence from the Dutch colonial government in 1945, politicians and soldiers weren’t the only ones playing a major role in building the sense of national identity.
Also working on the nationalist front were merchants and traders of phonograph records, who prior to the country’s independence served as local agents for foreign labels like Odeon and Beka. In Batavia, one of these traders were Tio Tek Hong, distributor of the international label Odeon and the other figure was Soejoso Soekarso, who also served in the Indonesian Military as an Air Force Marshall.
Irama Records, the music label he founded in 1951, was first attempt to “nationalize” the means of production of “indigenous music” from both foreign labels and intermediaries like Tio.
Soejoso stood at the intersection of music, business, and nationalism. He was the vanguard in the process of popularizing of a new breed of “national” music, especially the type he showcased in the compilation Kisah Pasar Baru: The Modern Sound of 1950s Indonesia, released in 1958.
Yet, the idea of an indigenous music championed by Soejoso was in fact the amalgamation of a myriad of cosmopolitan strands. As an air force officer, Soejoso spent some of his time playing in the Hawaiian band Lieve Souvenier in Semarang before relocating to Jakarta and started jamming with the band Elshinta Hawaiian Senior.
In addition to Hawaiian music, Soejoso was a versatile musician who also had the chops for jazz, a musical genre wildly popular in the 1940s and early 1950s Indonesia. And it was jazz that he first recorded for his Irama Records label.
One night in 1951, he squeezed pianist Nick Mamahit, bassist Max van Dalm, drummer Dirk van der Capellen, and guitarist Dick Abel into a 2×3-meter studio on Jl. H. Agus Salim, Central Jakarta, to record the first local jazz album of the post-independence era.
Kisah Pasar Baru is a compilation of hybrid music that Soejoso and his coterie of musicians championed in the early 1950s, a mix of Hawaiian, Keroncong and Jazz and it became a hit soon after being release.
One of the best compositions on this album, “Pajung Fantasi,” composed by the legendary composer Ismail Marzuki, is essentially built from Bing Slamet’s baritone—Indonesia’s equivalent of Bing Crosby--and the distinctive Hawaiian-styled steel guitar. The most famous song on the album, “Sabda Alam,” also written by Ismail Marzuki, follows the same pattern, its steel-guitar works now backing Theresa Zen’s hauntingly ethereal vocals.
Kisah Pasar Baru was never designed to be a long-playing record, and its presence on the market was to capitalize on a new trend in the recording industry. The album is a greatest-hits compilation, with songs in this album previously circulating individually on 78-rpm discs—a format that was gradually abandoned following the invention of the 7-inch single and the 12-inch long-play vinyl.
This is the first time this monumental record is being reissued for the international market outside of Indonesia.
Truths and secrets often reveal themselves at night, under the freedom of shadowy darkness, away from prying eyes. In creating Given to the Night, sisters Valentine and Clementine Nixon have crafted a world that drifts through the in-between: between dream and reality, between day and night and the undefined, and ultimately a world that embraces the discomfort of being untethered. A process that follows simplicity and intuition rather than pre-determined narratives. “We recorded songs as they appeared, which sometimes felt like catching light. Before we realised it we had a record”, the duo explain.
While making the record Valentine and Clementine gently pushed away from the world- deleted social media, retreated into the trees of their native New Zealand - and only invited a couple of people in during the recording process. From that space, the album came together in an eerily easeful way.
There is a dream-like drift and sonic timelessness to the the record, as reflected in its nocturnal title, which can be read in two ways:
“Being taken by, or being inclined towards nighttime, preferring its blurry cloak of shadows to the harsh light of day; or giving oneself up to night, in sacrifice, letting go of fear and melting into the darkness.”
Written during a time of personal transition there was “a sense of finding the light in the shadow” they add. Guitar lines float, synth lines entwine, tapes hiss and vocals stream creating a kaleidoscopic montage of transient memories and emotions. A spectrum of feelings arise - isolation and joy, insomnia and manic highs, confusion and fleeting clarity, grief and healings. In the record, these feelings all merge and fade into one another in a nonlinear manner, as life tends to do; creating something deeply human that simultaneously gestures towards the transcendental.
7–Early Years–79 was The Fall's first comp ever. Originally released on Step-Forward in 1981, the LP compiles the group's first four singles recorded for the label between 1977 and 1979 – Bingo-Master's Break-Out, It's The New Thing, Rowche Rumble and Fiery Jack – none of which appeared on any of the band's studio albums. (Also included is "Dice Man" from 1979's Dragnet.) Taken together, these 7-inches are The Fall as they initially emerged from the primordial soup of '77 Manchester, pushing out from founder Mark E. Smith's poetry-collective origins into the early punk scene.
Right from the first track, "Repetition," Smith and crew's working-class art punk is in full effect. His obtuse lyrical brilliance and inimitable vocal delivery ride atop the band's ringing atonal guitar, looping basslines and propulsive drumming – complemented by wheezy combo organ tones. The tracks from each 7-inch are presented here in reverse chronological order. The Fall's fierce contrarianism defines the early UK punk sound and, at the same time, sounds nothing like any of their contemporaries.
The revolving cast of band members includes Martin Bramah, Una Baines and Karl Burns as well as Marc Riley, Craig Scanlon and Stephen Hanley who would remain in The Fall's classic '80s lineups. Many of their best-known songs are featured here – from "Psycho Mafia" and "Rowche Rumble" to the Mayo Thompson-produced "Fiery Jack."
Superior Viaduct's edition is the first time that 77–Early Years–79 has been reissued on vinyl. Includes liner notes by Stephen Malkmus.
In the history of hip-hop, certain collisions alter the orbit of the culture entirely. When Busta Rhymes first stepped into the otherworldly, swing-heavy universe of J Dilla, it was an alignment of two unstoppable titans—the most chaotic, kinetic vocalist in rap history meeting the quiet deity of raw soul and sub-bass perfection. Their original pairing set a gold standard for what happens when top-tier lyrical warfare meets sacred production. Now, the vault opens to unveil DILLAGENCE II: a resurrection of that mythic frequency, bridging the raw grit of the streets with a legendary, earth-shattering grandeur.
Authorized directly from the Yancey estate, DILLAGENCE II pairs Busta’s razor-sharp, rapid-fire flows with Dilla’s nastiest, most sought-after unreleased beats. Built upon rare MPC canvases unearthed from Dilla’s legendary vault, the album captures both masters in a state of absolute, unchained ascension. Every track hits like a heavyweight knockout—blending off-grid snares, filthy basslines, and soaring soul chops with Busta’s apocalyptic precision. He treats every lost Detroit tape like a battleground, unleashing a larger-than-life energy that turns unreleased boom-bap into a stadium-sized manifesto.
Forget the cheap nostalgia cash-ins and posthumous butcher jobs. DILLAGENCE II hits with the weight of two master craftsmen operating at the absolute peak of their powers. By locking Detroit’s deepest low-end grooves directly into New York’s loudest, most relentless vocal engine, this record doesn't just honor Dilla's legacy—it kicks the door off its hinges and demands you listen.
A key name from the golden era of French Touch, The Buffalo Bunch return to the spotlight with a selection of some of their most essential cuts, including their highly sought-after remix of Phoenix’s “If I Ever Feel Better” — a track that has become increasingly elusive on vinyl over the years.
Also featured is We In Music’s “Grandlife”, a cult early-2000s gem born from the same creative circle. Built on addictive disco-funk loops and straight-to-the-floor energy, it sits perfectly alongside The Buffalo Bunch’s signature productions.
Filtered house, disco, funk and raw groove collide throughout the compilation, capturing the unmistakable sound of a duo whose records have become firm favourites among DJs and collectors.
More than twenty-five years after their first releases, TMS Records brings these tracks back into circulation with a vinyl edition made for the dancefloor, the record bag and a new generation digging deeper into the French Touch legacy.
Originally released on Flying Nun in 1983, Fall In A Hole is a double LP of an especially incendiary Fall show at Mainstreet Cabaret in Auckland, NZ in August 1982. The second of a two-night stand, this would be the band's final concert of its successful first tour of Australia and New Zealand. Recorded by longtime Flying Nun associate Chris Knox – who also made the striking cover artwork – Fall In A Hole follows the release of earlier live albums Totale's Turns and A Part of America Therein, 1981.
Besides capturing The Fall onstage during one of its most feral and exhilarating periods, Fall In A Hole is historically significant for several reasons. It heralds the end of Marc Riley's tenure with the band, an era considered by many Fall fans to be the group's peak, and showcases the two-drummer lineup heard on 1982's Hex Enduction Hour, with both Paul Hanley and Karl Burns sharing drumkit duties onstage. With Riley and Craig Scanlon on dual guitars and Stephen Hanley on bass, The Fall was stepping out in its final iteration with a majority of personnel rooted in their late '70s lineup.
The setlist is peppered with a mix of singles and album tracks old and new – including several that had yet to be released. Rarities like "Fantastic Life," "Backdrop" and "Solicitor In Studio" are given epic, feedback-drenched airings, while fan favorites like "Hip Priest," "Prole Art Threat" and "The Classical" radiate with lively, raucous energy.
Superior Viaduct's edition is the first time that Fall In A Hole has been reissued on vinyl. Includes liner notes by Roy Montgomery. Digital transfers made from analogue master tapes in the Flying Nun Collection and Chris Knox Collection held at the Alexander Turnbull Library (National Library of New Zealand).
For this second volume of UK ELECTRONICS, we’ve once again selected, here at Delodio, some of our favourite tracks from Mindscan Tapes, an English DIY label active from 1988 to 1994, run by Robert Maycock, a young Englishman with an extraordinary ear.. Its Beatronic and UK Electronics compilations brought together electro, early techno, ambient, experimental, house and industrial music at a time when most labels stayed within clearly defined genres.
Here at Delodio, we are amazed by the contrast between the quality of these cassettes and the label’s extremely underground nature: its best-selling title has barely sold 30 copies.
More than a compilation, the album is a tribute to the artists involved, Robert’s artistic vision, and the pre-internet DIY culture that connected music obsessives through mail, flyers and home-copied cassettes.
A snapshot of an era when a young Englishman spent his dole money bringing unheard music into the world.
Deep frequencies beamed out from Brixton’s front line. Four highly sought-after cuts from Grant Dell’s back catalogue that need little introduction now gathered onto a single 12”. The record highlights the infectious and rolling house groove Grant became synonymous with in the early 2000s which is as relevant today as it was then.
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Recorded between 2002 and 2005 the record features ’So Good’ originally released on Jay Tripwire’s Spaced Out and ‘Acid Bubble Baby’ ft. DJ Deano on Stupendous. The other side see’s a reissue of Grant’s Chicago Transit Authority alias with ‘Still Disillusioned’ and also ‘Be Good Tonight’ originally released on his own label, Cove Records.
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Written and produced between 2002-2005 by Grant Dell except A2 featuring DJ Deano.
Remastered by Justin Drake
Pressed by Vinyl Presents
Distributed by Palace Vinyl
Oscar-nominated composer Max Richter's new album While The Flood Rages, drawn from Richter's latest collaboration with choreographer Wayne McGregor, MaddAddam, inspired by Margaret Atwood's trilogy.
Across 15 tracks split into three acts, Richter blends orchestral writing, electronics, processed field recordings, choir and piano to create an immersive sonic journey.
Themes of ecological collapse, technological acceleration and resilience run throughout, with recurring piano motifs providing moments of reflection amid dense, cinematic soundscapes.
After the worldwide techno hit that was Darc Marc's "Dirty Rocking Bass" comes the next Cluster X instalment from French legend GANEZ THE TERRIBLE. "The Rave..." is another prime time techno monster from the Acid Techno/Techno underground that is going to cause massive dancefloor mayhem with its cheeky 'The rave, the sound, the people, the party" sample and hard funky beats and 303 stabs. With pounding remixes from D.A.V.E. THE DRUMMER, and new kid-on-the-block SEON, and a kicking bonus track "Elevator" from Ganez himself this gives a nod to all areas of harder techno.
A.P. and Rowland The Bastard provide 2 tough warehouse techno tracks each for the iconic Cluster label. A.P. gets slightly funky on City Fever but then pounds hard on You Are What You Are, whilst Rowland delivers sinister grooves on Barabas, and more straight ahead dynamic power on Overlab Sub Stab.
RAWAX proudly presents the 5th release by Gerald Mitchell on his own RAWAX MOTOR CITY - series.
This time we have the honor to present you "Groove Within The Groove". This classic came originally out on 430 WEST in 1999!
Don't feed the Discogs Sharks!
Somewhere between extraterrestrial techno and intergalactic disco lies Oli Silva. A waveform of multi-dimensional energy filled with analog heart and electric soul.
His first outing finds him land his spaceship directly on Craig Richards' The Nothing Special, with the genre bending Unlikely Punctuality EP.
The seventh release on Slow-Wave welcomes tech house icon Richard Grey aka The Real. A true underground classic is finally back on a limited hand stamped vinyl.
Please can someone please give me a better word for Sexy? Because the thesaurus is giving me ick...Send help because this is a SEXY record – and (football analogy incoming) – a sexy summer signing....
Yes, that’s right ODF’s summer transfer to the Shall Not Fade main label is complete. ‘The Rhythm Grooves’ makes a hat trick of 12”s for us after the UK OTW producer’s double sell out EPs ‘Deep Step’& ‘Rock With Me’ on our Time is Now imprint. The UKG and grooving breaks specialist has been developing his game and steps into House territory for something of a statement EP and we’re (hot and) here for it. Since launching his own On Da Floor label last year ODF has been on a tear and this record perfectly encapsulates why. Four double threat tracks that can be weaponised both as main stage WMDs or as deadly 3am tickets to another place....
This invisible dichotomy is most clearly on show in title track & A side opener ‘The Rhythm Grooves’ is equal parts hot under the collar and hands in the air. Deep and sexy house but with a stepping baseline and a big vocal. ‘Free Your Soul’ stays deep, a swung jacking house cut with big M1 stabs and piano riffs and cheeky breakbeat breakdowns. That palette is timeless and there’s every reason this track will be too.
The B-side leans more into sweaty room & heads down territory but just like before there’s that double threat and we’ve seen both these tracks go off in big rooms at peak time. ‘Back to Mine’ calls back to that sweet spot in the early 2000s with French Touch inspired tech house was dominating Ibiza...Sleazy and sunbaked? Check. But what we didn't realise was missing w as some Accieeeed. Big shout from ODF there.. ‘Do You Feel Me?’ closes out in celebratory style. A proper tech house tool complete
with chugging bassline and more sexy breathy vocals. It’s the after hours roller.
A serious note to close, because I don’t want the playfulness of this press release to make you overlook this (sexy) EP as it’s appeal is more than skin deep. Having sat with – and lusted over –these tracks for a while I can tell you that they just get better (and hotter) with every outing. The Rhythm Grooves is out 28th August 2026 on Shall Not Fade.
Often credited as the father of multi-media theatre, Alwin Nikolais (1910-1993) took complete creative control over his productions - including cutting-edge approaches to lighting and costume that transformed human bodies into shifting sculptural shapes, while also composing wildly innovative electro-acoustic and synth-based audio as accompaniment.
After initially experimenting with musique concrète and tape manipulation (as demonstrated on the 1959 LP Choreosonic Music of the New Dance Theatre of Alwin Nikolais) Nikolais became the first owner of Robert Moog's synthesizer at the Audio Engineering Society convention in New York in late 1964. Relying heavily on the Moog and later the Synclavier synth/sampler, these 21 tracks document Nikolais' highly-prescient compositions across the mid 1960s through to the late 1980s - existing not only as extensions of his other-worldly choreographic productions, but standalone pieces of foundational mid-century American electronic and experimental music.
"Born in Southington, Connecticut in 1910, Nikolais’s early years and early career were in acting, music and puppetry. It was not until the late 1930s that he began his work as dancer/choreographer in Hartford, Connecticut, where he was commissioned by the Avery Memorial Theatre, a part of the Wadsworth Atheneum, to create an evening-length work to the music of Ernst Krenek. Previously his work and study as a pianist-organist found him accompanying silent films. This sort of accompaniment required from the musician not only a playing skill but also a versatility in improvisation, matching movement to sound, and evoking mood to situation.
Nik was drawn initially to dance by his involvement with the percussion scores used by the illustrious early twentieth century German dancer Mary Wigman. In trying to learn more about percussion, he was lured into dance class and thus his career began. His development of music and dance occurred simultaneously. His introduction to the twelve-tone technique opened his mind to the expanding areas of atonal music, and his dealing with music as sound per se. In 1948, after being appointed director of the Henry Street Playhouse in New York, Nikolais formed the Playhouse Dance Company, later known as the Nikolais Dance Theater, and began his aesthetic orientation toward dance as a study of motion. By the 1950s, he had ceased creating literal dances and began his explorations and eventual milieu as an abstractionist.
Sound became an important part of his abstract theatre. For his first dances, which involved his new thinking of dance as both a visual and kinetic art, he used live percussion scores in which he directed his dancers to play instruments of all nature. There was a combination of children’s toy instruments as well as harsh and resonant automobile brake drums, and other pitched auto parts which he also used to accompany classes. Once he installed his own tape recording machines, he quickly used the limited range these instruments provided in a new way, slowing and increasing speed and reversing sound. He also made the sounds adhere to the choreographic structure (not the other way around), thereby giving the dance its independence from the musical phrasing. But the real need remained: the search for new sound. Nik made a sound library, recording noises and percussion and vocal sounds, which the French aptly called musique concrète. Needless to say, he became a master at splicing bits and pieces.
From 1956 to 1962 Nikolais composed eleven major scores for his theatre pieces using such techniques. In 1963, James Seawright, who at the time was assisting Nik in his productions and also working at the Columbia-Princeton Center for Electronic Music, recorded a sound bank for the production Imago (1963). With this material, Nikolais created his first synthesizer score. Imago won the Paris Grand Prix in 1968 and launched the Nikolais Dance Theatre towards its national and primarily international acclaim.
During the same period, Seawright came to Nik and told him of a young man who had invented and constructed a simplified synthesizer and insisted that Nik visit the electronic fair currently being held in New York. Nik did so and met Robert Moog. He was completely taken by the new machine and after making some suggestions to Moog, (which Moog made), Nik bought the inventor’s first machine with the aid of a Guggenheim Fellowship. Moog himself was astonished by what his machine could produce for Nik. This machine was later acquired by the Museum of Musical Instruments at the University of Michigan at Ann Arbor as the first Moog synthesizer. The Synclavier was Nik’s next source of sound and since the mid-1970s remained the major instrument in the Nikolais soundroom.
Alwin Nikolais has been honored and awarded throughout the world. He has received the French Legion of Honor, the Kennedy Center Honors, National Medal of the Arts, two Guggenheim Fellowships, as well as Mellon, Ford, and Rockefeller grants. He has been a recipient of NEA grants since 1966, been awarded five honorary doctorates, all for his remarkable achievements in Dance Theater. His genius has influenced several generations of artists."
—Murray Louis
HYPER PEARL'S ICONIC TRANCE ANTHEM "CAN YOU FEEL THE PAIN" RETURNS WITH NEW REMIXES BY BIESMANS AND ZZINO.
First released in the mid-1990s, Hyper Pearl's cult classic Can You Feel The Pain is set to make a powerful return. Released via Serious Beats Classics, the new package features brand-new remixes from Biesmans and Zzino, alongside remastered versions of the original mixes.
Biesmans: "I grew up with the Serious Beats compilations and started buying my first vinyls around the time "Can You Feel The Pain" got released. Remixing this project really felt like a full circle moment for me."
Joining the release is a brand-new remix from Zzino, one of the pioneers of the Belgian techno movement and a key figure behind Hyper Pearl. His version reconnects directly with the track's roots while bringing fresh energy and perspective.
Together, these remixes celebrate the enduring legacy of "Can You Feel The Pain" while introducing the track to a new generation of listeners. The release highlights the lasting influence of Belgian electronic music and demonstrates how truly great records continue to evolve across decades.
About Biesmans:
Biesmans is a Belgian producer residing in Berlin, composer, and DJ known for his cinematic approach to electronic music. Blending elements of house, techno, synth-pop, and ambient music, his work has earned support from tastemakers and audiences across Europe and beyond.
About Zzino:
Zzino is widely regarded as one of the founding figuresof Belgium's techno scene. As a DJ, producer, label owner, and creative force behind numerous influential projects, he has played a pivotal role in shaping the country's electronic music landscape for more than three decades.
