Cerca:this that

Straight from the Hyper Records vaults - we have DJ Flashback with this killer jungle workout that was originally released in 1995.

1. Watermelon Man
This track version actually came from an improvisation that Allesandro IIona (Keys) made on a live show at RonnieScott's at the start of the year. I think we were were having some issues with one of the monitors on stage and it juststarted making this beeping sound. Then I remember Alleh just came in with that piano riffat the start and the rest was history. This one of thefirst tracks we recorded for the EP and I'm super pleased with how this one turned out. Afterseeing Herbie Hancock live for thefirst time the year before, this felt like the perfect tribute to him!

2. Mandible
The majority of the writing on this album was done at my studio space in Hither Green, where I am every tuesday! I usethis space to record but mainly a space to develop my art. So this EP all came from a few sessions there. We all haveour own creative things going on so it was really great to collaborate as a band and trash out some ideas we had.Mandible is one of my favourite tracks on the EP. It's very simple but leaves us a lot of space to explore some more freeimprovisation. I think in some of my previous recorded music I was more focused on creating well crafted music withgreat melodies and harmony. Whereas here there's a bit more focus on playing as a group and being more explorative inimprovisation. We also didn't have a melody for this track until a week before the recording! Sometimes it just takes awhile tofind that melody or it might just pop into your head one day.

3. Slum
This is a tune that was actually written by myself in 2017/18. Round about that time, I had been playing at a jam night ata warehouse unit in Limehouse called Unit 31. The night was ran by Pianist Raffy Bushman and Drummer Sam Michnikand was focused on hiphop and Jazz fusion. We would usually play a set of instrumental music before it opened up forvocalists and other instrumentalists to come and jam. It was a great place to try out new ideas, so I wrote this tune for itbut we never recorded it. It was really nice to revisit this tune and get it recorded properly at 'That SoundStudios' (Seven Sisters). This track is all about dynamics and a slow build throughout. Descending to more chaos at theend!

4. Red Pistachio
For thefirst two sessions we wrote with a different bass player to Edmondo Cicchetti who is on the recordings. A greatbass player and friend of mine Tom Driessler. This track started kinda exactly how it starts on the record, with that basshook. I'm very influenced by Christian Scott Atunde Adjuah and his melodic writing. Particularly on his album 'StretchMusic'. So this felt really inspired by that album. The chords don't really move around too much until the solo sectionwhere it becomes more like a blues. Then Allesandro get's a bit more loose at the end with the descending sequence.

5. Jerome arrived Late
Quite simply we started writing this tune before Jerome (Drums) arrived late. In the recording session we were a bitundecided about what to do in the solo section. We tried out a few different options before we eventually landed onfeaturing Gabriele Pribetti on Sax. I'm really into his solo on this as it's rhythmically and dynamically really exciting. As Imixed the record it was also a great solo to mess with and run through lots of different plug-ins. There's some weirddelays and phasing going on that and I added some octaves too in places.

Last May, Hard Times captivated us with The Lost D.A.T.S (Part One)—a remarkable collection of unreleased and freshly unearthed gems from the vaults of NYC legend DJ Romain. But the story didn’t end there. To our surprise and delight, Romain had delivered an even larger treasure trove of beats—too many to reveal all at once.

Now, Hard Times is proud to present the next chapter: DJ Romain – The Lost D.A.T.S (Part Two).

"1996-97? Yeah, that’s when New York was still NEW YORK!

That was around the time we really started to get hold of exotic herbs. Copper Haze, hydroponic! The vibes in the studio were always lovely. I had hair at the time! Dread-Locs down to my shoulders... I was still rockin’ the Wallabees, or British Walkers as we called them - representing for Brooklyn and my West Indian roots!

There was no social media, no supervision, nobody all up in our business… It was classic "mind your own business" NYC Vibes! I was DJing at a lot of the hot clubs and THE hottest afterhours in the city. There were nights when I saw Micheal Douglas roll into the afters with Grace Jones - they were there to party and unwind and I was there dropping the dope tracks for the people.

When it was studio time, with my homie Matt Echols...I was probably setting things off with some quality herbage, a big ass bag of Funyuns and my trusty SP-1200, lol. I had picked up some tips and tricks from Todd Terry and by '96-'97 I was a Shaolin with it myself! This was around the time tracks like "Flowers" and "Only Love Can Break Your Heart (Dub)" were tearing up the clubs. I wanted to be able to get my ideas out with no problem, and by then I had a lot of confidence...

Being able to Dj in some of the hottest NY hot spots at the time, I was able to really see what worked and what didn't on the dancefloor. The best House Dancers from around the world and around the Tri-State area would be at my jams. I'm talking Ejoe, Voodoo Ray, maybe kids from the Mop-Top Crew... I was definitely taking note of the kind of rhythms and sounds that would make them go crazy on the dancefloor!

And that's how we went about it - I laid down the rhythms that made it happen in my sets and translated the vibes I was picking up from NYC itself. Matt threw down musically and we were just being as creative and inventive as possible! But we always kept in mind that our job was to make the people on the dancefloor jump!

A lot of the jams from those days got signed to various record labels, we dropped a lot of them on our own label...and some of them ended up in the archives - until now!"

Marshall McLuhan said:
"Knowledge gets in the way. It is only the very ignorant person who can get past that problem because he is not fogged over by knowledge. When you're looking for new answers to new questions, it is knowledge itself that blocks progress. It is knowledge that creates rear currents just as wealth creates poverty. Knowledge creates ignorance."


We are very happy to announce the second instalment in our collaboration with SMEM. Dorian Concept spent 10 days at the Swiss Museum for Electronic Music Instruments to record Music From A Room Full of Synths. Even though he doesn't consider himself a "gear-guy," his unique approach led to a record defined by its playful curiosity and free-form arrangements. The entire album was recorded live, with no sequencing or programming involved. Thus, capturing the rawness of the moment, while celebrating the quirks and imperfections of older electronic-music gear, became the core of this project.


Dorian Concept is a highly respected electronic musician who has been releasing music for close to two decades. As a cross-genre "synthesizer virtuoso," he mixes experimental electronic sounds with jazz, ambient, and club music. Due to his unmistakable sound and singular live show, he has become a sought-after performer. Over the course of his career, he has collaborated with musicians and producers such as Flying Lotus, Thundercat, and Kenny Beats.

Valerio Vaudano joins the roster of Cinthie’s 803 Crystal Grooves sub-label Collective Cuts with his ‘Lose My Mind’ EP.
Valerio Vaudano ‘: ’I'm a fan of Cinthie and feel honoured to release these tracks on 803 Crystal Grooves! This is the kind of sound I mostly love to play and produce at this time: house sound that blend energy, groove and 90s nostalgic melodies with Detroit, Chicago and Italo flavours. this new EP represents me best and explains better than words. The entire EP was produced using a 90s sampler without using a computer, I'm very proud of
the result! I hope you enjoy it!’’ Title-cut ‘Lose My Mind’ leads, laying down crisp saturated drums, crunchy stab sequences, choppy vocal hooks and bright strings all dynamically evolving throughout for ultimate dance floor impact. ‘Sunday Remedy’ follows with bumpy breaks, a weighty kick
and amalgamation of vocal samples in combination with gritty bass stabs and classic piano chords to perfectly encapsulate the essence of house.
Opening the flip-side is ‘Down The Street’, diving deeper with airy chords, breathy vocal chants and bouncy bass stabs intertwined with a more raw, reduced rhythm section. The aptly titled ‘Smooth As Butter’ then rounds out the release with a nod to the Detroit House sound, fusing shimmering keys with jazzy drums, twinkling chime melodies and lowpitched vocals across its near five minute duration.

Welcome to the kickoff of DemoDc's 5-EP series, where he reflects on the complexities of our times. Coining "Meiosistosis" from mitosis and meiosis, DemoDc creates a unique vocabulary to express his deep perspective. Released through Heart Heart Records, the music follows a non-linear, cyclic journey, with each track standing independently, guiding listeners through an evolving experience.

"A1 - Awake" opens the series, celebrating those brave enough to face their flaws in a world of false promises. With introspective melodies and harmonies, the track encourages self-discovery and reflection, urging listeners to seek their own truths.

"A2 - Not From Around Here" embraces individuality, using its ethereal tones to highlight the strength found in being different and celebrating the alien within us all.

"B1 - Glimpsed (Original Mix)" offers a brief taste of the profound mysteries of the present, reminding us that truth is personal and elusive.

"B2 - Glimpsed (Metapattern Mix)" the remix by Berlin's Metapattern transforms the original track into a deep, pulsating techno piece perfect for DJs, adding a powerful twist to this captivating musical journey.

90’s House Nostalgik duo “ No Hype DJ’s ” formed by DJ Stenn and DJ Stanic is coming back with new dancefloors heavy weapons, this time in ghetto house style like they used to make those Dance Maniacs bad Boyz .
Pure tribute to the Chicago House Pioneers Paul Johnson, DJ Deeon or Robert Armani and all the devoted.

Written, Mixed and Produced by ‪St. David‬ at TOW Records Studio in collaboration with No Hype Studios and Wildbox.

Back in stock due to popular demand, the 33rd release in our signature Brazil 45’s series. A spellbinding pairing of Marcio Lott’s rarer than hen’s teeth, sun-soaked groover ‘Tema de Baby’ and the samba-rock fusion flavours of Silvio Cesar ‘A Festa’.

Marcio Lott’s ‘Tema de Baby’ is a REALLY rare one. We spent a long time trying to license this and were delighted to be able to release it as part of this series. Laid back sunshine samba-rock/funk/MPB, laced with Ramsey Lewis-esque piano and wah-wah guitars and lovely vocals top it off. Originally released on 7” by Tapecar in 1974.

Silvio Cesar’s ‘A Festa’ was brought to our attention - like many others in this series - by the almighty duo Brazilian Beats Brooklyn. A firm favourite here with everyone at Mr Bongo it’s a certified stormer from the opening beat. Jazzy, samba-rock fusion that touches on disco when the hi-hats open up. Floating synth lines, tough drums and crowd noise throughout add to the scintillating vibe. Taken from his LP ‘Som E Palavras’ released in 1977, as also featured on our Brazilian Beats Brooklyn compilation.

In the third release for 2024, we arrive with a vinyl that only in four tracks represents our sound.

We firmly believe in cheerful rhythms for the dance floor, and also in musicals to listen to and enjoy in any environment.

On the A side, bs as deep shows his roots as a lover of Afro beats and his Latin influences.

For the B side, we have a collaborative work with an incredible musician who travels the world showing his skills on the keys. Lucio de Rosa participates with us for the first time, and in a forceful way.

Without a doubt, this duo will contribute a lot to contemporary music.

In 2002, before Madlib and MF DOOM finished Madvillainy, the first demo sequence of the album leaked online – early vocal cuts from DOOM, recorded then quickly mixed in LA at Madlib’s Bomb Shelter studio. The leak spread around the world, and while the tracks may have been unfinished, it was clear that this was a hip-hop album unlike any other…

In celebration of the 20th anniversary of Madvillainy, 'The Demos' is being released on vinyl for the first time, mastered by Dave Cooley, and with a new cover photo and insert of photographer Eric Coleman's contact sheets from the original album shoot. Vinyl mastering by Phil Rodriguez.

Occult Vision; a new LP based imprint, offers a space for artists to share a more complete body of their work. We create windows into the deeper, alternative and often more authentic sounds of carefully selected artists. It's rare a producer in the underground house and techno scene has this type of platform and Occult Vision aims to fill the void. Our first album is from one of Frankfurt's finest producers, Frank Heinrich. Known to most as Reboot and sharing what will be his first solo LP since 2016, we have here an intricately crafted collection of music that was brought to life during the lockdown phase of the pandemic. This unique time had a resounding impact on Franks creativity in the studio, leading to a sound that strongly represents his emotions throughout that period. The tracks we have helped to curate for this release are often melancholic, yet hopeful with carefully placed textures and rhythms carrying a stripped back yet emotive energy throughout. This isn't your typical club music; it's more personal and meant as a listening experience. "On A Grind" presents the harshness and rawness of that period for so many of us and whilst you will hear Reboots style weaved into these tracks, Frank hopes that you will feel the passion and emotions put into this record accompanying you in your own moments of reflection.

The fifth release on Les Enfants Records showcases a captivating EP from Felipe Bravo.

This record features four tracks that skillfully explore diverse sonic landscapes while keeping Felipe's distinctive touch. Side A opens with "Adapt Or Die", an energetic statement track brimming with hypnotic grooves, followed by "High Volatility," a refined piece that blends intricate rhythms with deep, melodic undertones.

Flipping to Side B, "Love That Keys (Priku Remix)" delivers a fresh reinterpretation infused with Priku's unmistakable minimalistic charm. The EP closes with the original "Love That Keys," a vibrant and soulful journey that ties the record together seamlessly.

This vibrant musical compilation captures the ideal balance of groove and depth, showcasing the creative energies of Andrey Djackonda, Etzu Mahkayah, and TooRare. Radiating joy and positivity, this release is filled with intricate sounds designed to create a feeling of uplift.

Boasting diversity, each track has a character of its own, yet aligns and contributes to the overarching narrative of the compilation—a voyage through emotive rhythms and audible expressions that ignite the soul. With its infectious grooves and immersive depth, the record radiates a refreshing energy and stands as a celebration of music’s power to connect and uplift.

Perfect for welcoming 2025 in style and with spirits high, Say Сheeze is more than just a collection of tracks. It delivers a resonant message of positivity and energy, making it a must-have for anyone on the hunt for tunes that inspire movement and joy.

Panna Cotta Music, a division of MixCult Records.

Poor Man’s Friend Records is proud to present a brand new 7” featuring the legendary Cornell Campbell. This 45 delivers a powerful message from The Gorgon, a prolific artist whose recording career spans over 60 years. First recording for the venerable Coxone Dodd at Studio one, Mr Campbell has built a cult following with his trademark Falsetto voice. Equally adept at writing beautiful love songs as he is deep spiritual roots cuts, It's fair to say many of his works have become Iconic milestones in the evolution of the genre. In the year 2025 Cornell Campbell warns us of the pitfalls of living our life in an egotistical way, “ Just try sweeping up your backyard, before you find fault with people's yard.” A searing condemnation of those that judge others based on their wealth, this mid seventies style roots production was cut by the Poor Man’s Friend Rhythm section at their studio in Bristol. The B side dub was masterfully orchestrated by label stalwart Yakka, whilst the horns were played by Cornerstone Horn section.



This one is super limited, only 300 copies have been printed.

Little John is one of the most loved and prolific 80s dancehall artists. He started as a child artist in 1979 and by the mid 1980s had recorded for every major producer. In 1984 at age 14 he already knew the ropes of the business and started to produce 45s on his own Romantic label, which he continued sporadically releasing tunes on up until 1993. For us this is one of the coolest looking labels of the latter 1980s, and has a handful of hard to find killer 45s, mostly obscure and mostly slept on. So naturally we needed to corral these for another all killer no filler compilation. True to his own roots, Little John’s label mostly features fresh youthman artists, though a handful of veterans, like Frankie Paul and Early B who are both featured here, also recorded for him. The ten songs on this comp are our favorites from the label, featuring a selection of killer rhythms spanning the heavy mid 80s style, the proper late 80s digital style, and the more uptempo early 90s style. Hardcore DKR heads take note - this features three cuts on that most hallowed 1987 digi rhythm.

We are overjoyed to present this album, another one from our bucket list and another one to set the record straight and illuminate the history of another much loved, but until now mysterious group. The Invaders made some of our all time favorite records - back in 2013 we issued five 45’s of their brilliant, sometimes plaintive, sometimes hopeful and sweet early roots music. Their sound touches folk and gospel in lovely subtle ways that elevate them above the many harmony groups of the early roots reggae era. Since the start of DKR we were striving to learn more about the group - and despite being able to license a portion of their output for reissue, and get anecdotes about them here and there, we were never able to connect with the group themselves. But we never gave up asking about them, and finally in 2024 we were able to link with Delroy “Bongo Pat” Forde, the surviving member of the group. Unfortunately other Invader, Lloyd “Paddy” Campbell passed on several years back. To hear and learn their full story, you need to check out this album and read the liner notes. This 13 song LP corrals much of their output - some of the tracks we previously issued but have been long out of press, some more never before reissued, and some great related solo works by the duo. And to cap it all off we’ve added two new voicings on a couple of our favorite vintage rhythms, by Invader Bongo Pat himself, live in 2024, singing two Invaders songs written way back in the early 1970s but never recorded back then. All together this is a long overdue document of one of the 1970’s finest groups and one dear to our heart.

- Channel Tres releases his debut album Head Rush via RCA Records.

The album, which features the previously-released singles "Berghain" featuring Barney Bones and "Cactus Water" is the culmination of Channel's steady ascent since he first broke through to public consciousness with his cult-classic debut single "Controller." Head Rush features all of the sounds that have come to be hallmarks of Channel Tres songs, but finds him incorporating musical influences not heard in his prior catalog, as evidenced by "Berghain" and other songs from the album including the Ty Dolla $ign-featuring “Holy Moly,” a visualizer for which is out now. The album arrives on the heels of two recent head-turning Channel Tres collaborations as well -- his contribution to KAYTRANADA's "Drip Sweat" and Jay Worthy, DāM FunK & ATrak's "105 West" alongside fellow LA legends Ty Dolla $ignand DJ Quik exemplify his versatility. Head Rush is a richly layered record, but one that feels totally intuitive, without a trace of doubt or self-consciousness.

The way “I’m Him” shimmers is balanced by the Estelle-featuring “We Hungry,” which nearly growls; the spare, percussion-forward Ravyn Lenaeduet “Need U 2 Know” (the stylization of its title a nod to Prince, one of Tres’s major influences) at delightful odds with the easy ride of “Gold Daytonas.” Head Rush shows the staggering array of styles Channel Tres can evoke. But that versatility is not the point in and of itself—the point is that all these component parts can be reassembled into something that feels uniquely personal, and honest. Through his career, Tres has blended recognizable genres, textures, and points of view into a truly singular form all his own. Longtime listeners will recognize in Head Rush the hallmarks of a Channel Tres record: a mastery of rhythm, the rare ability to make songs sinister and fluorescent at once.

But this LP also opens a new sonic world, one rife with unexpected terrain and hairpin turns—see the way “Type” takes what sounds at first to be a simple romantic boundary and stretches it out into an alien landscape. Or take “Berghain,” a song that nods to the kinetic live shows that became must-see events—a crescendo of interest that included his momentous Coachella 2022 performance and culminated, at least symbolically, with his early 2023 set at Berghain, the legendary Berlin club that has long been a musical hub of the Western world. “Berghain” is delirious but thumps almost impossibly hard, in line with the album as a whole—always molting, always ready to turn from the claustrophobic to the communal, as the pivot on “Joyful Noise” accomplishes so seamlessly. Head Rush also features some of Tres’s most deeply felt vocals to date, like the veritable bloodletting on “Two Ways.” And so the record, which also features Ty Dolla $ign, Thundercat, Teezo Touchdown, Watr, Barney Bones and Toro y Moi, marks a new era for Channel Tres, personally as well as artistically. “I’m older now, and the things that I’ve accomplished tell me I’m ready to do this,” he says. “You’ve worked your whole life for this, you’ve been able to do these shows and walk into these rooms and make these songs. There’s no reason you have to live by the same insecurity that you had to use in years past.” Shedding that baggage accomplished exactly what it was meant to—lightening the load so we’re free to get heavier than ever

Livy Ekemezie’s Friday Night is widely recognised by DJs and afro-funk aficionados as a UFO (Unidentified Flying Object) grail record. It is one of those rare dance music albums that sounds like a record of its’ time but also has a timeless quality that makes each listen an immensely rewarding experience.

Fueled by teen spirit, every track slaps leaving little or no opportunity to skip. The song concepts circle around sweaty, afropolitan nightly excursions into the nightclubs of Aba, Port Harcourt and Lagos. But they could easily have been the soundtrack to Basquiat and Grace Jones grooving to DJ Larry Levan at Studio 54.

Digital Multitrack Sound Production combined with 80s synths and keyboards ushered in a new era. But what made this different is the bombastic but never overbearing "mélange" of slapping, funky bass lines, choppy synths, crazy, carefree vocals contributing to an intense dance-driven musical experience.

Livy and his friend Franklin Izuora teamed up with Jules Elong a seasoned keyboardist to create the LP in 1982, Franklin was a student in the US and already the experience of producing an album (Be Nice To The People, 1977, EMI) with the soundmaster, Odion Iruoje in the teenage afro-rock band, Question Mark. This gave Livy the confidence to leave most of the creative direction to him.

Livy had completed his secondary school cursus and was waiting to attend college. Jules Elong’s role was to make the record sound professional. The Quincy Jones influence created a reference point, Goddy Oku’s studio, Godiac was the mother ship for this 80s dance music masterpiece.

After the success of the previous three chapters, Cristian Cosignani, also known as 5UNIVERSOS, presents a compelling fourth volume, a richly layered album infused with rhythmic elements that are perfect for the dance floor. With a distinctive blend of sophisticated house and minimalist dub, the Mantra EP is crafted to immerse the listener in the elevated vibrations of its four tracks, each serving as a meticulously designed groove instrument.

The journey begins with "Mantra," featuring a sequence of syncopated bass lines and deep vocals laid over a strict, minimalist drum pattern. "Thastha" follows with a funky bass progression, complemented by a sensual female chorus and a retro drumbeat, evoking a sunrise at sea.

On the B-side, "Greet" delivers a dry, rhythmic punch with a bassline that aims to make listeners smile with their eyes closed, as the filter opens and closes.

The EP concludes with "Tolerance," which introduces a Balearic string arrangement, adding a deeply spiritual and introspective layer to the overall experience.

This album is undeniably a pure expression of rhythm and the club atmosphere - an essential addition to any collection.

Chileans Are Playing

Master by Claudio Solis

Unearthed Records label & party event based in Austin, Texas is proud to debut its first vinyl release, "UERVA002", a fiery compilation featuring emerging talents from Italy and Argentina. Side A brings the dark, hypnotic energy of Italy's underground scene, with moody, experimental grooves that set the dancefloor ablaze. On Side B, Argentina’s rising stars deliver intense tracks full of atmospheric depth and raw power.

Supported by Quest, who has already included several tracks in his sets, this release is quickly making waves in the underground circuit.

Pressed on vinyl, "UERVA002" marks a bold start for Unearthed Records—grab your copy of this limited edition release before it’s gone!

Tearra’s “Just Loving You” on it’s original U.S Midtown label due to its quality and desirability continues to regularly achieve four figure sale prices on the rare occasion that a copy comes on to the open market. Soul Junction through a licensing deal with Emandolynn Music first reissued this modern soul anthem back in 2017 as part of a dual 45 package that included the previously unissued Delights track “Listen To Me Girl” with the limited 500 copy pressing run selling out in a matter of days. Since then, copies of that Soul Junction release have regularly sold for circa £60 a copy with sales enquiries still being received for either side of this 45 to this day. Therefore, we at Soul Junction have decided to fulfill this continued demand by reissuing “Just Loving You” for the second this time paired with Teeah-Louise’s “You Happened To Me” as the featured flipside (reissued for the first time).

Tearra, real name Teeah-Louise a native of Mobile, Alabama was offered a recording contract by Philadelphian Record Producer/Label Owner Manny Campbell Jr during 1980. Campbell himself had relocated his Emandolynn Music operations from the city of Brotherly Love to Atlanta, Georgia some two years earlier. Campbell had planned to record a whole album on Teeah-Louise under the working title of “Great Love”. He firstly released a lead 45 single, the mid-tempo “You Happened To Me/Got To Keep You Mine” on his Coastal label logo with the artist credited as Teeah-Louise. Teeah’s fiancé didn’t share his future wife’s ambitions of a recording career and her prospective album project faltered and was never completed. Although as a further two tracks had been recorded this allowed a for second 45 release to follow “Ooh Let This Feeling (Last A Long, Long Time)” backed with the desirable “Just Loving You” these were released on the Midtown label, with Midtown by then being Coastal Records main record distributor. This second release was credited under the artist name of Tearra, due to Teah-Louise by now not wishing to use her real name. Both the Coastal and Midtown releases were only ever pressed in 500 promotional copies runs. Teeah-Louise left the recording business for good soon after her marriage.

In addition, a later 12” Coastal Records single issued on the group ‘Tomorrows Wish’ featuring the song “My Love For You” which shares the same backing track as Tearra’s “Just Loving You”. All four of Teeah-Louise’s songs were wrote by Manny Campbell, with Manny sharing the songwriting credits on “Ooh Let This Feeling (Last A Long, Long Time)” with his cousin, Keith “Toppie” Hill notably a former group member of the aforementioned ‘Delights’.

2025 Repress

DJ Quik is a giant of West Coast hip-hop. With 1995’s Safe + Sound, he scaled new levels of musical magnificence with his signature new age P-Funk/laconic G-Funk. A quintessential, sun-scorched LA album, this is pretty much essential. Typical for mid-90s albums the original vinyl copies are now rare so here’s the Be With re-issue, complete with “Tanqueray”, the hidden track from the original CD release.

A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.

By the time of his third album DJ Quik was a household name on the West Coast - California’s premier rapper/producer not named Andre Young. Released on Profile in 1995, Safe + Sound was certified gold. Less reliant on samples and more focused on live instruments, it elevated him from producer to fully-fledged composer. This sound — the quick, winding basslines, tinny high hats, smooth instrumental solos, soulful pipes, and Roger Troutman’s talkbox — defined him. This is an album of full-blown masterpieces. Rich soundscapes and masterfully arranged orchestrations with dense layers of sounds, intricate rhythms, and well-balanced songwriting.

The first track proper, “Get At Me” samples Cameo whilst Quik takes aim at the Judases in his life, the horn-laced chorus providing a triumphant feel. On the horizontal “Diggin’ U Out”, the soulful electric piano of Warryn Campbell lays a relaxed groove for Quik to talk over about one of his favourite topics: sex. Title track “Safe + Sound” chronicles Quik’s formative years over a slick instrumental. The moody bass locks a laidback infectious groove, the hook is catchy and Quik’s delivery is in fine form. On the uber-chilled “Somethin’ 4 Tha Mood”, Quik cooks up a breezy, feel good track of sparkly keyboards, syncopated claps, shuffling hi-hats, woozy synths and a floating two-minute flute solo courtesy of Robert “Fonksta” Bacon. Analysing the highs and lows of an average day in the hood, it echoes Cube’s “It Was a Good Day”.

“It’z Your Fantasy” is a silky smooth soundtrack to Quik’s detailed retelling of a sexcapade with a young lady and whilst “Tha Ho In You” is musically perfect for that midsummer family BBQ, its lyrical content is unsurprisingly decidedly less family-friendly. A real highlight, the infamous “Dollaz + Sense” is one of the most ruthless diss tracks of all time. The brutal lyrics ride a laidback West Coast beat, flipping a sample from Young & Company’s “I Like (What You’re Doing To Me)” as Quik fires lyrical shots at his arch Compton nemesis, MC Eiht. On the loping, hazy “Let You Havit”, Quik is again in gangsta mode, with more bars of barbs aimed at Eiht, rhyming over sun-kissed synthy-rollerskate funk.

Some of the finest tracks on Safe + Sound are those designed to de-stress. The evocative “Summer Breeze” is a classic warm-weather jam, anchored by a twangy funk guitar, breezy string arrangement, and a soulful hook delivered by Dionne Knighton. Quik’s nostalgic lyrics are not far from DJ Jazzy Jeff & The Fresh Prince’s “Summertime”, reminiscing over barbecues at the park, young love, and the brevity of halcyon youth. The relaxed and jazzy “Quik’s Groove III” is another highlight, as bass, guitar, piano and flute combine to create a smooth, soulful instrumental.

The swaggering “Shack Up”-sampling “Sucka Free” features a cameo from Playa Hamm, all funky braggadocio and over much too quikly (pun thoroughly intended). The jazz-flavoured “Keep Tha ‘P’ In It”, again featuring Playa Hamm but this time extending the cameo invitations to Hi-C, 2nd II None and Kam, is pure laidback P-Funk. The deep bass and industrial drums make sure the groove hits hard.

“Tanqueray” was originally a hidden track on the CD version of the album, but it’s too good to hide. This wild party samples Brass Construction’s gigantic “Get Up To Get Down” and soars in its drunk-ebullience. An apt way to close this party-driven set.

This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Safe + Sound was originally pressed as a double, so all that was missing was the CD’s hidden bonus track “Tanqueray”, so we’ve fixed that. The original vinyl release never got a picture sleeve, so we’ve recreated the original’s promo-style silver-sticker and plain black jacket. A subtle cover for a wonderfully unsubtle record.

Introducing What I Love by Orlando Voorn + Han Litz - A 4-Track EP Get ready to dive into the rich fusion of soulful beats and sophisticated grooves with What I Love, the latest 4-track EP by electronic music pioneer Orlando Voorn and jazz flautist Han Litz. This release perfectly captures Voorn's innovative mastery in electronic music paired with Litz's exquisite melodic touch. What I Love is a sonic journey, mixing the best of house, jazz, and electronic fusion with a unique, timeless vibe that fans of both artists have come to adore. Each track on this EP is crafted to captivate and elevate - from soulful harmonies and intricate rhythms to Litz's mesmerizing flute lines that add an organic, uplifting energy to Voorn's powerful beats. Whether you're a DJ, a long-time fan of house music, or new to the genre, What I Love offers a fresh take on sophisticated soundscapes. Don't miss your chance to experience this extraordinary collaboration. What I Love is out now, so bring it to your collection and let the groove take over!

Damian Lazarus uncovers ‘SPIRITS VII’, the seventh chapter of Crosstown Rebels’ visionary annual compilation series. The eight-track package sees the Crosstown Rebels founder curate another stellar lineup of emerging and established talent for the latest instalment of the ongoing highly acclaimed series.

Since its debut in 2017, Damian Lazarus’ SPIRITS series has become a definitive platform for rising stars and established talent pushing cutting-edge sounds, consistently setting the tone for the year ahead. With the release of ‘SPIRITS VII’ this February, Crosstown Rebels continues its tradition of curating groundbreaking talent, delivering an impressive collection of tracks from both new and returning names. Building on the momentum of previous volumes, the eight-tracker offers an expertly crafted selection of deep grooves, hypnotic rhythms, and forward-thinking productions - providing a glimpse into the future of house and techno while staying true to the genre’s roots.

Opening the release, US-based duo Lisbona Sisters present ‘OK GURL’, a trippy and warping track with their original vocals that sets an otherworldly tone. Next, Netherlands-based SHARE follows releases on Mobilee and Abracadabra with ‘Oh Please…’, an acid-led cut with hooky vocals from Def Eff that leave a lasting impression. Next, Bonafique, part of the Maccabi House family, infuse ‘Desperadio’ with signature Middle Eastern influences and organic, rhythmic drums, while Dino Lenny delivers ‘I Have Sampled Father’, a playful yet off-kilter cut loaded with a kaleidoscope of diverse elements balanced by captivating grooves.

The journey continues with Upercent’s ‘Where Are You’, a dynamic composition characterised by soaring synths, sharp drums, and heavy bass licks. Collaborating on ‘Le Tourbillon’, Timo Maas & Inámo craft a hypnotic blend of grooves and sweeping melodies, perfect for late-hour moments. Recorded in his Ibiza studio, John Monkman energises the collection with ‘Colours’, a track brimming with intricate synth work, standout vocals, and dynamic sound design, before Enamour closes with ‘Jackpot’, a dreamy and hazy masterpiece featuring colourful sonics and enchanting soundscapes.

With its distinct ability to uncover hidden gems and elevate them to global recognition, Crosstown Rebels remains a leading force, and this latest edition of SPIRITS proves precisely why it remains at the forefront of the global electronic scene as one of its most vital imprints.

ATFs first release for 2025 is a 3-track vinyl from A n d r o m e d a.

A1 / Andromeda ft. Cole - Cybserspace (170bpm, 45rpm)
This high-energy track at 170bpm blends driving rhythms with haunting dystopian samples, creating a gripping sense of urgency. The bold, evocative melodies take centre stage, offering a captivating contrast to the intensity of its high pace. Itll be alright, I promise.

B1 / Andromeda - Waveride (140bpm, 33rpm).
Coming back down to earth we relax a little for this chilled trancer at 140bpm. Weaving lush melodies with delicate percussion, creating an atmosphere of serene energy. Its laid-back vibe
invites listeners to lose themselves in its smooth, considered progression. Hardcore rave fans will doubtless pitch this up to 45rpm and include it in their rave sessions..

B2 / Andromeda - Time (170bpm, 33rpm)
The final track of the EP brings an uplifting end, pairing more vibrant melodies with the enduring vocal hook that gives the track its name. Balancing emotional resonance and renewed energy, it
leaves listeners on a high while closing the project down.

TENO - Debut Vinyl Release from Aum Recordings.

Marking a significant milestone, TENO's debut vinyl features four powerful tracks that are sure to captivate techno enthusiasts.

Each track embodies a unique yet straightforward approach, with intricately crafted and delicately nuanced sound design that immerses listeners in a rich sonic narrative.

Elevating the release even further, Japan's renowned DJ Wata Igarashi joins as a remixer, adding depth and refinement to the original compositions.
These story-driven tracks, combined with meticulously detailed soundscapes, unleash their full potential on the dancefloor.

This release is not only a bold new challenge for TENO but also a pivotal step forward for Aum Recordings, signaling its evolution into new realms.

20th May, 2016 marks forty years to the day that David Bowie's first ever best-of compilation, including songs from 1969 to 1976, CHANGESONEBOWIE was released. To mark this anniversary the album is being reissued on 180g heavyweight vinyl, cd and digital formats. Half of the limited vinyl will be pressed on black vinyl whilst the other half will be pressed on clear vinyl, this will not be mentioned on the sleeve so it will be completely random as to which one you receive.

For the fourth release we called on another Italian talent, Giuseppe takes us back to the sounds of the late 80s, warm sounds and powerful grooves influence every track, Italo house, post punk, techno, synth pop are some of the nuances that characterise this record.

hardware : Yamaha DX7 - Yamaha TG 500 - Korg monologue - Jomox xbase 999 - Alesis SR 16 - Behringer crave - RME Fireface 800 - Alesis 3630 - lexicon mx200 - Mackie 32.8

World-renowned DJs and producers Marco Faraone and Deetron finally release their highly anticipated single,
“The Answer”, from the iconic party Pyramid, happening weekly at Ibiza superclub, Amnesia. “The Answer” is an
exquisite fusion of two techno powerhouses that is already making waves on dance floors worldwide.
Including an amazing remix from the man himself Paul Woolford, who delivers a hot dub remix for this first release of We Are Pyramid.

After a string of celebrated releases for labels like Eglo, Neroli, and Sounds Familiar, Patrick Gibin unveils his debut album on his own Mother Tongue imprint, showcasing his signature dedication to all things deep and soulful.


Standout collaborations include tracks with Kaidi Tatham, such as “Gear Up Rudi!” and “Let It Go,” with Kaidi also delivering a rare vocal performance on the title track. Patrick’s early house and acid influences shine on “No Matter What” and “Joint Purpose (Alternative Mix),” while his notorious love for boogie is on full display in “Team Spirit” and the Sandra St. Victor collaboration, “Come Mornin’.”


Sandra, best known as the powerhouse voice of The Family Stand, brings her unmistakable vocal brilliance to the album, enhancing its emotional depth and soulful energy. The album closes with the mellow outro “In This Together,” another title that shows the mindframe and ethic behind Mother Tongue in all its endeavours. This collective spirit is further reflected in the contributions of Italian talents Edoardo della Bitta and Alberto Lincetto, whose musical artistry added a vital dimension to the album’s rich and soulful sound.
It’s all about Strength in Numbers!

Lescale Recordings continues to establish itself as a prominent label in contemporary techno music.

Available exclusively on vinyl, the EP opens with "Quartette", where Hendriks Toth (BODY PARTS) blends a jazzy flow of harmonic percussions that intertwine brilliantly.

Following this, label founder Ramona Yacef collaborates with Floog (PREMIESKU) to expand the soundscape with "Sintetica," delivering a range of deep industrial beats.

Next up, Federico Grazzini (TENAX) and F.T.G (FUCK THE GOVERNMENT) work their magic on "Scrambled Bells", incorporating 90's rhythms with analog drums and progressive synths.

On the flip side, Late Nite Guy (HOWL RECORDS) takes on "Rave Eart Stab", lowering the tempo to create a laid-back, dub-inspired track featuring rough stabs and lush pads. To close the set, Rayo (ALL IN RECORDS) pushes the limits with "Doloni", serving up spacey breaks and steady beats in a magical atmospheric setting.

Embark on a timeless musical journey: "Overture", one of the most iconic works from the golden era of progressive trance, is making a grand return.

Released in 1999, this Dutch masterpiece quickly established itself as a quintessential classic, starting in Belgium before taking dance floors across the globe by storm. A resounding success, played not only by club and trance DJs but also by those with a broader musical range, "Overture" is a track with a unique aura. Over 25 years after its release, it continues to electrify retro parties and remains an elegant, timeless standard.

To celebrate this legendary track, we are proud to present a special reissue, elevated by an exceptional remix from the talented Maxim Lany, the mind behind the iconic hit "Renaissance". The Belgian DJ and producer, renowned for reimagining classics with his modern touch, delivers a 2025 version that will resonate with both nostalgic fans and a new generation of listeners.

Maxim Lany shares:

"Reworking this epic classic has been an exciting creative journey. Inspired by the depth of the vocals and the power of the original strings, I set out to transform this track into a version worthy of 2025's dance floors while staying true to its timeless essence."

This exclusive vinyl release is a must-have for collectors, progressive trance enthusiasts, and DJs seeking a centerpiece for their collection. And as always, the Serious Beats touch ensures the original has been fully remastered to deliver an incredible sound, especially for vinyl purists.

Don't miss this chance to relive history while looking to the future. Act fast before it's too late!

Italian magic man Walter Del Vecchio aka Quiroga is back on Hell Yeah. After the success of his Acid Dropout EP here last year, this time he offers up a varied package of tasteful and timeless house music with a deep and Balearic twist.

Naples artist Del Vecchio is a Hell Yeah mainstay who has also released a fantastic LP here, Passages, and always takes inspiration from the Mediterranean energy of his hometown whether making late-night jams or house anthems.

The heartfelt 'French Kiss' opens this one with super smooth and classic deep house drums topped with a sweet female vocal and jazzy chord work. It oozes romance while the Baia Club Ambient Version is a blissed-out post-club comedown with soft acid lines, ambient pads, flutes and chords straight from a '90s afterparty.

'Ask Coppede' is another breezy and soulful house jam with live-sounding drums and percussion and golden chords that keep the good vibes flowing. Balearic bass gem 'Cala Ventosa' shuts down with gentle cosmic leads and glowing pads drifting through the night sky over supple electro rhythms.

Studio, the influential project of Swedish musicians Dan Lissvik and Rasmus Hägg, presents their legendary 2006 debut in remastered form, in partnership with Ghostly International. Available in limited edition "Fog Machine Vinyl", CD, and cassette. "One of the finest pieces of electronic music you'll hear this year.” - The Guardian (2006). Included in year-end best-of write-ups by Pitchfork, FACT Magazine, and Rough Trade. Physical copies have long been out of print for West Coast, and the album has also been notably absent from most streaming services until now.

“Somehow, I knew I wanted to make a conceptual record that, although only imaginary at that point, could represent or define how our city sounded,” says Lissvik of Gothenburg's influence on West Coast. Some called Studio, the project of Swedish musicians Dan Lissvik and Rasmus Hägg, “the missing link between The Cure and Lindstrøm,” Pitchfork heard Durutti Column and Can, as the duo’s story became swept up in a loosely developing scene — adjacent first to the label Service (Jens Lekman, The Whitest Boy Alive) and later Sincerely Yours (The Tough Alliance, jj) — and a precursor to the 2010s boom at the axis of electronic and psychedelic music guided by indie greats like Caribou, Four Tet, and Darkside.

West Coast, their seminal 2006 debut, captured a faraway romanticism of Balearic brushed up against Krautrock, disco, dub, and afrobeat, with pop lyricism lifted from new wave, all made modern by two art school grads in Gothenburg. First pressed in a small vinyl-only run via their own Information label, the album has been notably absent from most streaming services, and the internet’s record of its initial impact is all but fossilized from a bygone blog era, while its sound is simply untraceable to any one moment in music.

Outside of three 7” releases, they’d keep the music to themselves for several more years. In 2005, Hägg remembers, “We got our degrees and were kicked out of our studio spaces so all these recordings were just piled up. A year later we dusted them off and started to deconstruct and assemble them in a more drawn-out fashion.” In the same breadth, they cite DJ Screw, J Dilla, and Joy Division, along with early ‘80s European live DJ sets from the likes of Beppe Loda, Dj Mozart, and Baldelli as reference points.

“The anything-goes mentality was very encouraging and was a big cornerstone to the Studio sound,” says Hägg. “But there’s so much more to the picture, we were not that young then and had lots of musical baggage in our suitcases, the new thing was that we finally let it all come through, not bound by any borders that was often the case with music identity in Sweden during the 90s.” In the afterglow of the record’s 2007 reception, Studio receded from view, clouded behind a mountain of remix requests (including one for Kylie Minogue that saw release) and label bureaucracy. “It’s easy to wish we would have done some proper recordings of our own instead,” Hägg reflects. But both artists, now well into respective careers beyond Studio, have come to peace with West Coast as their most enduring effort together. Lissvik adds, “It serves as a good reminder for me to keep to that decision and promise and to continue exploring and growing

‘One of the finest jazz guitarists of her generation, Halvorson is possessed of a questing, restless spirit.’ – Jazzwise

‘With an album of string quartet music as strong as this one, she is worthy of as much renown in the classical field as she holds in the jazz community.’ – New York Times

‘One of America’s finest guitarists. Halvorson’s musicianship is open-minded, demanding and richly engaging.’ – Uncut

Nonesuch Records releases Cloudward by Brooklyn-based guitarist, composer, and MacArthur fellow Mary Halvorson on January 19. The album features eight new compositions by Halvorson, performed with her sextet Amaryllis, the improvisatory band that performed on her critically praised 2022 albums Amaryllis and Belladonna comprising Halvorson, Patricia Brennan (vibraphone), Nick Dunston (bass), Tomas Fujiwara (drums), Jacob Garchik (trombone), and Adam O’Farrill (trumpet). Labelmate Laurie Anderson also is featured on the album track ‘Incarnadine’. Halvorson and Amaryllis will tour internationally following the release of the new album, including January dates in Europe, as well as at the Big Ears Festival as part of Nonesuch’s 60th anniversary celebration.

Halvorson says, “All of the music on Amaryllis was written in 2020, during the thick of the pandemic, in one of the more bizarre time periods I’ve experienced in my life. While composing for Amaryllis, I expanded upon certain musical concepts I’d developed in my life up until that point—the ones that felt fruitful—and left others behind, hitting the reset button and attempting to build from scratch. Two years later, after the release of the first album, I was still writing music for Amaryllis.

“All the music on Cloudward was written in 2022, mostly in the fall and winter, when things started moving forward. Life felt like a creaky machine starting up again,” she continues. “Air travel, however chaotic, had resumed, and we were once again cloudward. Performances and tours and recordings were happening after a long hiatus and with a renewed sense of gratitude. This band, for me, was quite simply working, both musically and personally, and the main thing I felt while writing the music was optimism.”

The Guardian said Halvorson’s 2022 double release “shows how far this single-minded original has come, and affords a glimpse of how far she may go. Both sessions confirm how years of jaggedly lyrical solo and ensemble improvising and a quirkily subversive affection for mainstream music have now nurtured a composer of unpredictable but warmly expressive character… These are new landmarks in Halvorson’s already inimitable discography.” Pitchfork said, “Amaryllis and Belladonna are distinct statements; one could hear either album on its own without a sense that something is missing. But they are most powerful when taken together, like a landscape and its reflection in rippling water.”

Halvorson has released a series of critically acclaimed albums, from Dragon’s Head (2008), her trio debut featuring bassist John Hébert and drummer Ches Smith, expanding to a quintet with trumpeter Jonathan Finlayson and alto saxophonist Jon Irabagon on Saturn Sings (2010) and Bending Bridges (2012), a septet with tenor saxophonist Ingrid Laubrock and trombonist Jacob Garchik on Illusionary Sea (2014), and finally an octet with pedal steel guitarist Susan Alcorn on Away With You (2016). She also released the solo recording Meltframe (2015), and most recently debuted Code Girl (2018, 2020), a new ensemble featuring vocalist Amirtha Kidambi (singing Halvorson’s own lyrics), trumpeter Adam O’Farrill, saxophonist and vocalist María Grand, bassist Michael Formanek, and drummer Tomas Fujiwara.

One of New York City’s most in-demand guitarists, over the past decade Halvorson has worked with such diverse musicians as Tim Berne, Anthony Braxton, Taylor Ho Bynum, John Dieterich, Trevor Dunn, Bill Frisell, Ingrid Laubrock, Jason Moran, Joe Morris, Tom Rainey, Jessica Pavone, Tomeka Reid, Marc Ribot, and John Zorn. She is also part of several collaborative projects, most notably the longstanding trio Thumbscrew with Michael Formanek on bass and Tomas Fujiwara on drums.

DJ Support: Dr. Banana, Secretsundaze, Heels & Souls, Velasco

For their third release, Moonworks look to Italy with a reissue of a hyper-rare underground earworm by Urban Heads, originally from 1998.

Urban Heads’ ‘The Wind’ is a lost Italian gem produced by Federico Scavo which has remained a secret weapon in the bag of a select few tastemaker DJs until fairly recently, with original copies practically impossible to come by. Since producing this record, Federico has gone on to become one of Italy’s best known DJ/Producers, with multiple chart-topping hits under his belt gathering millions of plays.

‘The Wind’ offers two floor-filling mixes of quirky, boisterous, distinctly European house music. Whether you’re playing the disco-infused Cosmic Version or the dancefloor weapon that is the Space Mix Version, we have no doubt that this record’s signature vocoder riff and captivating basslines will remain permanently embedded in the mind of everyone in attendance.

Moonworks have once again worked closely with the original artists to restore and remaster these tracks from the original DAT tapes, as well as revamping the original artwork in their own style.

The next release from The Comfort comes from one of Italy’s most enduring dance music producers, the ever-evolving and influential Paolo Alberto Lodde, with this tracks that were produced before he started his career as Dusty Kid.

This is no ordinary record, either. Under his New Ordinament alias, he delivers a tour de force of Italo disco meets electroclash, with a record produced two decades ago that is finally repressed in late 2024.

lunch Money Flips Vol. 1: Espresso Con Panna b/w Pain Au Chocolat by | Galaxy Sound Company — GSC45-045, @galaxy_sound_company is reknowned for its always on-point, cop-on-site 45 edit series but over the last few years has also turned plenty of heads with their instrumental hip-hop interludes with label regular Michigan’s @strictlybutters who hails from the same small place that gave us Lyman Woodard & now gifts us with a super sweet pair of beatstrumentals. I’m fortunate to get a limited test pressing to share with you all to preview what the skateboarder, runner, sneaker-head & bedroom b-boy beat maker has in store.

For those that follow him, Strictlybutters frequently shares his lunchbreak/dollar bin finds that he has flipped & spun into juicy, head-nodding gold. With this release, no. 45 in the GSC45 series, we get that on wax live & direct.

Side A’s “Espresso Con Panna” flips the gospel, soul-funk gem “Love Light II” by Salt Of The Earth, from the 1984 LP “He Will Deliver”. SB delivers that thumping bass, hip-hop flip that keeps you going until he tops you off with a jazzy-sax outro to smooth things out just right. On the flipside, “Pain Au Chocolat” hits you in the gut with what feels almost like an alternate Detroit-style beat that ATCQ might have dug into & felt right at home with. & like the A-side, he gives us an “extra butter bonus beat” outro with a funky bass line you will hit the back button to replay more than a few times. & the subtle extra buttered sauce of unique samples with more Axelrod groovy flares & flourishes to tickle your fancy.L