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Regarded as one of London's "leading disco labels" The Disco Express is one of the most consistent and influential forces in the modern nu-disco scene.

A record label, international event series and DJ collective, TDE is dedicated to original, soul-infused house and disco music. With a global family of artists, the label blends vintage warmth with modern energy to honour the past whilst envisioning the future.

TDE100 is a 15 track compilation that distills the label's essence. Packed with fresh originals and hand-picked gems, the compilation blends funk, soul, nu-disco, house, and electronica. Crafted to move seamlessly from peak-time dance floors to laid-back Sunday listening, it's both timeless and forward-thinking.

Pressed across 2 X LP’s in a Gatefold Sleeve featuring John Morales / Derrick Carter & Inaya day.

This is original house & disco for 21st century dance floors and this train ain't slowing down anytime soon…

Part 3 of 3 opens with an absolute weapon of a track from Medlar, ‘Hardly Workin’ is a peak time track of the highest order fusing straight up House with a UK baseline to rattle any system. Next up is Texan Father Sheed (full EP from him coming very soon) with a jack track to get the body moving.

Over on the B-side Kenny Blacksmith takes us in a deeper direction with ‘Church’ full of lush pads and warming baselines. To close out the record Dim City takes it up a notch with an end of the night rave anthem.

Georgian artist and FACTION co-founder Uvall debuts on Conundrum Records with the Vertigo EP - a tightly crafted collection of four techno cuts built for the club.

With previous releases on WSNWG, FLOAT, INGUMA, OECUS, and CANTICLE, Uvall brings deep low-end pressure, precise percussion, and atmospheric tension across a versatile set. From driving grooves to slower, chugging rhythms, Vertigo delivers a dynamic snapshot of his evolving sound.

Pink Concrete's upcoming EP, Jazz Sultan HNT003, is dedicated to Frederick Bruce Thomas (1872-1928), often called the Jazz Sultan. Born in Mississippi, Thomas overcame the hardships of the post-slavery U.S. and personal tragedy to build an extraordinary life through jazz-from France to Moscow, where he became the first Black Russian citizen, and later to Istanbul, earning his legendary title. The EP honors both his triumphs and struggles-celebrating his role as a pioneer who bridged cultures and left a lasting mark on the European music scene of his era.

Berlin’s Limited White Label presents the vinyl debut of New York City-based composer, producer, and drummer Zachary Berns. A fixture of NYC’s jazz and underground scenes, Berns has built a reputation through boundary-crossing projects (notably “zbeeez” and jazz/hip-hop collective “poetic thrust”), collaborations with rising artists across R&B, jazz, and electronic music, and acclaimed appearances at parties such as “Soul in the Horn”. With LTDWLBL011, he steps forward under his full name for the first time, delivering a statement that bridges his dual lineage in jazz and house/electronic/club music.

Terence Fixmer Reissues Two Cult Techno Anthems on Red 10 inch Vinyl

Techno pioneer Terence Fixmer re-releases two of his most iconic tracks - Electrostatic and Electric Vision - now remastered for a more contemporary and powerful sound, and pressed on a limited edition 10 inch red vinyl.

Originally released on Gigolo Records in the late 90s and early 2000s, both tracks quickly became underground anthems. Played by legendary DJs such as Dave Clarke, Sven Vath, and many others, they were also named Tracks of the Year by renowned techno publications like Groove magazine.

With these two groundbreaking cuts, Terence Fixmer helped open a bold new chapter in the history of techno - giving birth to Techno Body Music (TBM), a genre blending the raw, industrial force of EBM with the driving energy of techno. Electrostatic, in particular, is considered a foundational track of this hybrid style.

Now regarded as true techno classics, Electrostatic and Electric Vision have stood the test of time and are still played regularly by DJs worldwide, continuing to energize dancefloors decades after their release.


This is the first official repress in over 20 years, and the first time these two cult tracks appear together on one record - sharper, louder, and more essential than ever.

Remastered by Endrik Schroeder

Steve Moore reprises his beloved Lovelock guise by presenting his unique riff on the library breaks genre. Business And Pleasure contains grimy groove and sleazy, funk-laden lounge music.

This vinyl release is hyper-limited, with just 500 pressed for the world.

The LP is ushered in by the spacey synth-funk of the sleazy, woozy title track. This is that serious slo-mo cosmic-balearic head-nod shit. Laidback bass, heavy funk with dreamy synth and electric guitars. An outstanding opener. Up next, the dynamic, swaggering "Last Call" is a sophisticated, elegant stroll - sweeping, mellow strings, a smooth bassline and gorgeous percussion with urgent keys and swelling synths.

"Slinky Strut" is another spaced-out, sleazy funk groove with jazz rock by way of a heavy, heavy guitar riff, mellotron and bass breakdowns which build to brass crescendos. Gigantic. "First Class" closes out the side, and, like classic Hawkshaw / Bennett noir, it's got that mysterious and murky stretched out sleuth / detective soul with a great bassline and percussive elements, with swelling strings, ace synths and smooth Rhodes piano melodies entering the mix halfway through. Dramatic guitars and groovy percussion add extra intrigue. It's 7 minutes of funk!

Side B opens with the stretched-out psychedelic funk and jazz groove of "Stank 49". It takes its sweet time to unfurl, creating enormous - almost sensual - anticipation for the ensuing beauty but, as it does, we're left beguiled and straight-up hypnotised. Heaven-sent synth flourishes and a laidback bassline over smooth drums cement its simple, vivacious grace. "Dangerous Man" is that creeping crime funk we all love; heavy bass and fuzzy guitar riffs, mellow strings and sumptuous piano/synths. It's irresistible, it's ominous and it's pretty gargantuan. It's basically like an El-P hip-hop instrumental. We need to get some rappers over this stuff, stat!

"Stinkbug" is a dazzling and funky groove-fuelled jazz-rock workout with fizzing synth riffs joined by full percussion and drum breaks, building with strings to a strong swagger. Vigour! To close out this remarkable set, the breezy "Win Or Lose" is laidback soul-inflected funk, utilising urgent, skipping drums and galloping basslines. Just stunning.

This collection was written and recorded in Spring and Summer of ’24. Everything was tracked at Steve's home studio in Albany, NY except the drums and percussion, which were recorded by Jeff Gretz at his space in NYC. The whole collection is basically a rhythm section feature, so Steve's Rickenbacker 4003 and Fender Jazz Bass play very prominently. The bass guitar serves as lead instrument in a lot of these tracks. Also, lots of Rhodes and stringers (Solina, Logan etc) and guitar (Strat and Les Paul). He even dusted off my sax for this one, which he doesn’t do as often as he’d like!

This type of groove-oriented library music has been a steady part of Steve's diet since the late 90’s. In heavy rotation while writing this collection were the following classics: “Time Signals” by Klaus Weiss, “Tilsley Orchestral No. 10” by Reg Tilsley, and “Heavy Truckin’” by Simon Haseley. “Voyage” by Brian Bennett was also a big one.

Lovelock started as a dedicated Italo-disco project, but over the years Steve expanded it to include anything directly informed by the commercial/pop side of the music of his childhood (70s/80s). Writing and recording this album was, like a lot of Steve's music these days, basically a test to see whether or not he could do it.

The song titles, like the music, are meant to be evocative yet vague. But there is a bit of a travel theme. Steve imagined this record being the soundtrack to a sleazy salesman’s business trip. The kind of guy who, when asked if he’s traveling for business or pleasure, responds “both.” Beyond the traveling salesman comparison, the title directly relates to the creation of this album. This was something he wanted to do just for his own enjoyment. Yet, like our sleazy salesman, he still found a way to get paid.

The album’s cover was designed by Chris Stevenson, with no little direction from Steve. He knew that he wanted to go with something photography-based for this cover so, in true DIY/cheapskate spirit, Steve started by looking through his own photos. He found the cover image on his phone, taken through an almost empty bottle of beer, and it clicked. The whole album has a very boozy vibe (especially with titles like “Last Call”) so this shot seemed appropriate. We, hic, agree.

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.

The kick drums leave scars and the high end cuts through the heart. Precise geometry. This is P.E.A.R.L.'s techno in the year 2025. A club record. A confrontation.

Music From Memory are thrilled to announce the forthcoming release of ‘Pastoral Blend,’ a new album from the duo of N Kramer and Magnus Bang Olsen (The Zenmenn).

Recorded in Berlin between August 2023 and March 2024, ‘Pastoral Blend’ combines Kramer's improvisational process and mastery of contemporary production techniques with Bang Olsen’s emotive pedal steel guitar playing. The creative process was anchored in capturing various phrases and patterns from the instrument, which were then reshaped, reversed, and layered intricately. This meticulous approach allowed a foundational track to emerge, upon which further arrangements and developments were sculpted. This process, which builds on Kramer's earlier work as Habitat (with J. Foerster, released on Leaving Records), gives the music a gentle asynchronous flow that feels uniquely live and organic.

Merging the warmth and intimacy of instrumental Americana with the glitchy, textural processing reminiscent of early 2000s Max/MSP and influential artists such as Fennesz and Alva Noto, ‘Pastoral Blend’ is a textured drift between analog warmth and digital fragmentation, a delicate equilibrium that duo navigate with remarkable finesse and an air of effortless charm. With titles like ‘Harvest', ‘Agrarian Dawn’, ‘Grasslands’, and ‘Weathered’, Kramer and Bang Olsen evoke a musical vocabulary steeped in themes of landscape, memory, and tradition; a vocabulary that gently alludes to the more familiar and traditional musical structures lying beneath the rich layers of sound. Herein lies the essence of the 'Pastoral Blend’.

Sleeve art and design by Michael Willis.

Rico Friebe's earworm sequel to last year's single „So Many Hints“ and deep take on narcism and manipulative behaviour.

'Transplant Rejection’ is the work of Estonian artist and IDA Radio co-founder Robert Nikolajev, this collection of seven ‘almost’ dark ambient tracks embody the melancholy of autumn whilst hinting at the forthcoming eternal winter. A man with many hats, Nikolajev operates on the fringes of the leftfield house underground for labels such as Incienso, Collect-Call and Sad Fun as well as being one half of the sporadic DIMA DISK act with Ragnar Rahouja. Eschewing the more rhythmic side of his productions for this Muscut tape, Nikolajev taps into the fictional soundtrack atmospheres the label is known for and brings his own brand of wistful, introspective world-building by way of machine harmony to the now Tallinn based imprint.

There’s a lo-fi, grainy quality running throughout the collection, a kind of sepia-toned nostalgia that envelops the listener and disorientates any perception of time or place. Buried vocal fragments sit in the mix on ‘Stifled’ alongside decaying synthesiser drones whilst ‘DDM’ channels an edgy post-rock dirge with its use of sagged bass guitar. Overall, an inspired look into the more ‘at home’ side of this increasingly prolific Estonian artist.

Uncertainty about and confidence in the future, melancholia and euphoria, tears and hope: The 5th Mollono.Bass album resonates with a zeitgeist that is a complex, highly divergent, sometimes even opposing state of thoughts and emotions. Deep and heady groove structures create compelling drive, emotive human voices add introspective fragility, free flowing harmonies unfurl as intense collective ecstasy. Vocals reflect pensively on issues like falling apart, yet the tracks themselves are magnificent examples of what happens when creative minds come together. MAZ’N contributed to several titles on Tear & Hope, in one of them we also hear the voice of Margret. The song-oriented approach of these tunes is another very contemporary aspect – one that will find expression in a special live show this year. Andy’s Echo adds to the signature vibe of friendship and co-creation on this Mollono.Bass album with a mutual production, as well. With many different expressions of its main theme, Tears & Hope has everything it takes to make a powerful, electrifying impact - on major dancefloors and in intimate listening settings alike.

Providing more prolific dance floor energy this winter are Italian house pushers Black Box Records, a carefully curated VA of feel good vibe from producers Ruff Stuff, Floska, label founder Vito Fattore, and the eclectic sounds of, DJ GLC. Available on vinyl this Oktober.

Kicking off proceedings is Berlin based Italian, Ruff Stuff. A killer cut, with ice cold drum arrangement which becomes one with the playful chords which propel the energy of the ‘Son Of Will’ track, the female vocal sample sprinkled in for some added pleasure. Young Italian trio Floska deliver ‘Get Up & Dance’ dreamy and mellow sounds on a lo-fi tip, almost seven minutes of pure bliss.

The brain behind Black Box,Vito Fattore, steps up for the B1 as any leader should. Clinical dance floor moods, laced with emotion. Magical pads and synths work their way around the funk laden body of the track, explosive summer time feelings. Switching things up for the closing track is DJ GLC, with a deeper and darker energy than the other three track. Aptly entitled ’Suspense’ mechanical whirrs carry the track, as broken drums burst through the seams of the record. A trip through murky waters that compliments the EP in great fashion.

Another display of zestful house music from a blossoming label, sure to be a winner with tastemakers and groove explorers alike. One to watch out for in the coming periods as Black Box Records continue to supply you with what you need.

Picnic return after a summer hiatus with a dance floor ready 4 tracker from UK artist HenryG. The debut EP from the Manchester based producer delicately transitions between house and electro, while touching on some progressive elements in between.



A1 comes in heavy with tastefully written synths and glitchy electro sounds drawing the listener into a dance floor trance. The A2 of the record, aptly named Serpent, slithers through progressive arpeggiators and a has a particularly distinctive, raw bassline, giving the immersive synths the power to carry the track.


On the flip side, B1 explores a deeper approach to HenryG’s studio output and resonates strongly with early dub techno cuts. The vocal really personifies the track and brings it to life. B2 does it exactly what it says on tin, it’s tough. Although the structure somewhat resembles a more electro tip, it finds the perfect balance in between the electro realm and underground house.

Dave Huismans (ex_libris, A Made Up Sound) presents In Transit, a self-titled LP of arresting downtempo vignettes, with origins dating back to over a decade ago.

Renowned for some of this century’s most notorious rhythmic advances, the work of Dave Huismans (fka A Made Up Sound and 2562) continues to provide a blueprint for new generations of innovation-obsessives. After a long hiatus from releasing original material, he returned in 2025 with two beloved EP’s as ex_libris. Now he returns to FELT as In Transit, following up on his remix of Civilistjävel! from 2023.

Borrowing its name from the closing dialogue of a novel by Dutch author Hella S. Haasse, In Transit was written in just two weeks in the summer of 2013 on a Korg ESX sampler. Since then, he has patiently refined its constituent parts.

Over the course of 38 minutes across six tracks, In Transit maps out an absorbing vista. The music shimmers with a celestial quality, underpinned by rhythmic stamina and creeping intensity. Tangential to Huismans’ previous work, the beats here are decentred and further scattered, acting as buoys to the constantly evolving and intricate narratives of layered textures.

In Transit marks a fascinating new addition to Huismans’ sprawling catalogue, a truly remarkable racket to be crafted with such humble means, finding a suitable context within FELT’s continued venture into parallel sounds.

Written, produced and mixed by Dave Huismans

Mastered by Miles Whittaker

Photos by Dave Huismans

El AMBIE—TÓN is back. The reference #002 is an exercise of Memory (Memoria), it is a place where the water blooms on the earth and the wind in the mountains. It is jungle and city. Mountain and noise. Imbalance and harmony. It is a lake in the sky, a forest between seas. A still cloud in la cordillera, a name that floats. This collaboration between Colombian Drone Mafia and Gibrana Cervantes is the beginning and end of a fragile geography, like the magic and mafia of our platanal.

But who is behind this new combo and bridge between South and Central America? CDM is the new alias of Nyksan, a Bogota-born techno-affiliated deejay and sound artist who is also one of the co-founders of TraTraTrax. From the other side, Mexican composer and violinist Gibrana Cervantes is one of the most outstanding string voices in the daring electronic music landscape in recent times. The duo's cabalistic work creates intricate and dark ambient, all woven around gut-moving sonorities. Colombian Drone Mafia dissolves the boundaries between synthesis and field recordings, crafting experimental yet primitive textures that infect listeners through the layered melodic spaces that Gibrana masters.

We cordially invite you to listen to this journey of immersive drones through vegetation and concrete jungle, music that is at times contemplative and at other times violent. Music framed between deep listening and deep boredom. A glimpse of the sound of the end.

By the time of their second album, 1989’s ‘Unfinished Business’, EPMD were firmly cemented in the rap stratosphere. With one certified classic album under their belts, they proved they were no one-hit wonders, with the sequel possibly even better. A concise 12 tracker once again produced by the artists themselves, it saw them adhering to the ‘if it ain’t broke, don’t fix it’ maxim, while going somewhat ‘bigger’.
In other words, guests started to appear – not just on the records, but in the videos – and marketing budgets were higher. None of which watered down their sound. In fact, this is the ultimate EPMD record: a beat that’s simple but perfect, and two top-of-their-game MC’s going back and forth. But the appearance of NWA in the video for ‘The Big Payback’ hints at their reputation at the time – and at the cordial relations between coasts before the deadly beef that was to come.

‘Payback’ takes both its title and core sample from James Brown’s ‘The Payback’ from 1973, and then weaves two more JB elements with it, including the addictive stabs from ‘Baby, Here I Come’. It’s a golden track from the golden age.

The B-side is another gem from the same album, and only released before on 7” in a very rare, limited pressing. ‘So Wat Cha Sayin’ was the album’s lead single, and shows EPMD’s wide sampling palette. There’s bits of BT Express, a whole lot of Funkadelic and, brilliantly, some drums lifted from Soul II Soul’s gem from just the year before, ‘Fairplay’. Lyrically, it’s just all about threats to sucker’s MC’s – what else do you want from EPMD?


• A certified Hip Hop classic.

• Samples James Brown’s ‘The Payback’ from 1973.

Volume 26 of the 12" series Attack The Dancefloor features four chart topping no.1 singles available on Vinyl for the first time, WOW. First up it's the meeting of giants as we are treated to the huge version from Michael Gray of 'What About My Love' who bumps the tempo and takes the source parts into HOUSE territory, priming it for the peak time & finally satisfying the 'when's it out on vinyl' crowd. Up next the floor filling, gospel tinged "(You Gotta) Give It Up" by Z Factor, still doing damage on the dancefloors since it's recent digital release. On the flip we have the 3rd & current chart topper 'Down Down Down' by Raw Essence aka Dave Lee, his latest dose of Discotheque dopamine. Feeling both familiar yet fresh, it's all about classic good times here backed up with ravishing Moog Wizardy and irresistible vocals. To round of this essential slab of wax is Opolopo's standout 'Bebeccie's Theme' which delivers muso boogie of the highest order. Full of discreet chords and sophisticated string turnarounds, backed up with deft synth touches from the keyboard magician.

Otoboke Beaver return with a new album Super Champon
It follows the critically revered Itekoma Hits of 2019. Champon is a Japanese
noun meaning a mixture or jumble of things of different type. Recorded, mixed
and mastered by Ippei Suda in between lockdowns at Osaka's legendary LM
Studio.Across 18 songs, chief singer- songwriter Acco expands the band's
possibilities and pushes their musical skills to the limit. Acco has remarked
previously that she is more influenced by 'manzai', a traditional style of comedy in
Japanese culture comparable to double act comedy or stand- up comedy
exemplified by its use of slang puns and wordplay, speedy back- and- forth
dialogue and impeccable timing in delivering a punchline, characteristics of which
Otoboke Beaver's music shares in droves.

In the heart of a post-apocalyptic city, Spacelunch was making his way through the ruins, wearing a heavy armour of metal plates and flickering circuitry. Cat settled on his shoulder, listening intently to every sound. This time, they weren't just looking for an artefact — their target was the Singularity Echo, a mysterious device created right before the catastrophe. Legend had it that the scientists of the past, sensing the impending collapse, had put all their accumulated experience and knowledge together to create it. It was said that one day “Echo” would awaken and allow descendants to touch the wisdom of the ancients, learn the secrets of forgotten technologies and, perhaps, avoid the fatal mistakes of the past.

— We’ve been wandering around for how long? — muttered Cat, looking around warily. — And nothing.

— Sitting up there complaining, aren’t you? — Spacelunch grinned, deftly bypassing the debris and intertwined roots that poked out from under the asphalt.



Suddenly, a glow flashed before them, gradually taking the form of a palm-sized transparent crystal. It floated in the air, surrounded by silver lining that wove into intricate patterns, like a network of ancient runes. The symbols on its facets, flickering, cast soft reflections on the debris around them. As the professor slowly reached out his hand, the crystal shone brighter, and the low whisper of distant voices cut through the silence. Their minds were enveloped by the echoes of past events, filling their minds with images of the vanished world.

The friends froze for a moment, overwhelmed by shock and a sense of profound change.

— Well, — said Cat, not hiding his surprise. — It seems we've gotten a little smarter.

— A little? Now we have what has been lost for an era.

— So, we have a new adventure ahead of us. Where do we start?

The ghost town, once seemingly lifeless, now seemed to come to life: every collapsed building and every corner sparked with traces and clues as if the world itself was holding its breath, waiting for a sign.

Scoville Records keeps the temperature rising with it's third release, this time welcoming in Melbourne's own Dashiell. Coming in hot with a 4 track EP that channels classic old-school tech house essence with a tribal progressive touch. This one is sure to bring extra spice to your record bag, handle responsibly.

During this summer’s European tour with Junior Dell & The D-Lites, we were honoured to share the stage at This Is Ska Festival in Germany with none other than The Pioneers.

After the show, fate had me driving Jackie and George back to the hotel. On the way, we got to reminiscing about our last collaboration — Jump Up!, released on Original Gravity Records in December 2023. Mid-conversation, Jackie casually said: “Hey Neil, I’m in England all of July, we could record something.”

I dropped the guys off, said goodnight, but as soon as my head hit the pillow, an idea sparked: wouldn’t it be cool to have them record Jackie Edwards’ northern soul classic I Feel So Bad — but reimagined in an early reggae style?

So in July, we set up a session at Farm Factory Studios in Welwyn Garden City. George and Jackie came down, and it was nothing short of magical to hear these legends harmonising together once again in the booth. The result captures that late-60s moment when soul and reggae collided on dancefloors, raw and full of energy.

To add another dimension, we also created a version as if it had traveled from Kingston to London. The “Boss” version imagines the raw Jamaican master — while the A-side reflects how Trojan Records might have “sweetened it up” with horns and strings for the UK pop market.

Two sides, one timeless tune — a tribute to both the grit and the gloss of reggae’s golden era.

The Weeknd's sophomore studio album Beauty Behind The Madness was released in 2015 and features the #1 hits "Can't Feel My Face" and "The Hills." 10th Anniversary Edition 2 LP set is pressed on standard weight transparent vinyl.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

When Radial Gaze meets Nicola Kubebe, the result is Iron Pinky Toad — a title that sounds either like a secret kung-fu move or a lost cartoon book. But don’t be fooled — this one hits hard.

The long-awaited collab brings three original tracks — Phantom Limb, Lights of Phoenix and the title cut Iron Pinky Toad — that effortlessly bridge the gap between slow-burning tribal techno and the raw pulse of new beat nested into an early techno nutshell. Imagine dancing barefoot in a ritual under a disco eclipse — you’re getting close.

To seal the record, Playground Records boss Martin Noise steps in alongside rising sensation Anastasia Zems, pushing the release into full-blown dancefloor sorcery. The groove is deep, the bass is sweaty, and the toad… well, the toad is on fire !

Dropping Friday, July 18, 2025, via THISBE Recordings — available on vinyl and digital. Spin it, stream it, or whisper its name into the smoke at 3AM — either way, the dancefloor won’t know what hit it.

Let the amphibian groove begin.

Artwork by Christoffer Budtz

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

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

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

Celestial Echo is here with one of the all time holy grail soul double siders. When we tell you a record will never leave your bag after buying it, this is exactly the record it applies to.

Originally released in 1970 and written, produced and arranged by the great Van McCoy, Washington D.C.’s Bobby Reed stepped up and delivered “The Time Is Right For Love” an incredible loved up stepper, and then “If I Don’t Love You”, a perfect compliment, another… loved up stepper.

This one isn’t a fresh find, or a new discovery - Just an essential, officially licensed reissue of an incredible slice of soul.

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

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

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

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

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

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

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

2025 Repress

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

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

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

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

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

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

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

KEY POINTS:

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

• Pressed on DJ friendly double black vinyl

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

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

• Lacquer cut by Beau Thomas at Ten Eight Seven Mastering

Following the debut album Only Skies Stay Eternal, the Remixes EP takes a bold step forward. These reinterpretations reshape Fille’s introspective sound into more club-oriented territories, signalling a new phase in her sonic evolution.

Rico Casazza opens the release with a standout electro remix - fluid rhythms, a wavy bassline, and catchy vocal hooks push Fille’s sound into elevated, high-energy territory. Alienata follows with a deep, broken-beat techno version that’s both shadowy and hypnotic, crafted for dark rooms and powerful systems.

Sestrica delivers a rolling breakbeat interpretation with a pulsing low end - engineered to move peak-time floors with force and precision. Closing the release, Clouzer’s remix of Thistles blends dreamy textures, trancy momentum, and broken rhythms, adding emotional depth to the club experience.

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

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

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

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

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

Eden Burns releasing his debut Album titled „Eden Burns & The Makebelievers“. The dance musics prophet, notorious for his ingenious string of club tracks (if you don’t follow —> check the „Big Beat Manifesto“), is gifting the world with yet another, cult creating musical
adventure. Ecstatic beats, melodies that cast a spell on you, if there ever was something to truly, blindly believe in: it’s the power of music? Be Free, set foot into the garden of Eden. All apples are to be bitten, the snakes venom is mildly hallucinogenic. Get your eyes opened for everything that is true enough and beyond. Bless.

Originally released only on CD in 1995 and long out of print, Scraping Tokyo ’95 captures the raw, visceral energy of Belgian industrial legend Dive during a powerful live performance in Tokyo. This intense set features a selection of classic Dive tracks alongside three cover versions by Joy Division, Suicide and The Klinik—all reimagined in Dive’s signature minimalist and abrasive style.

Available for the first time on vinyl, this limited edition of 350 copies is pressed on white vinyl and comes packaged with an insert featuring archival photos and Japanese-style OBI strip.