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THE DEBUT RELEASE FROM PLANET JUSTICE IS A 2-TRACK EP BY ORESTIZ. MADE WITH A LOT OF LOVE FOR THE BREAKBEAT CULTURE, THE RELEASE EMPHASIZES MELODY AND STORYTELLING. WE'RE VERY PROUD OF THIS ONE.

UP IN THE AIR – THE TITLE SYMBOLIZES THE BEGINNING OF THE LABEL. THE TRACK TAKES YOU THROUGH DIFFERENT PHASES AND TO DIFFERENT PLACES - A FINE EXCHANGE BETWEEN THE UPLIFTING AND THE DARKER SIDE OF THINGS.
PLANETS AND STARS – WE'RE ON AN ADVENTURE OUT THERE, AND YOU NEVER KNOW WHAT WILL HAPPEN ON AN ADVENTURE. FULL OF SURPRISES AND THRILLS, THIS ONE WILL LET YOUR IMAGINATION RUN WILD.

Dafne & the Titans is the name of the brand new project for the debut disc of Dafne Valla.

Revisitation of the 1984’s song of Walter Bassani, this version is produced and arranged by both Andrea and Walter Bassani, the titular “Titans” that stans along the young singer in her first appearance.

Vinyl numdered in limited edition in crystal yellow color.

Since 1982 'Looking Up To You' has become one of the signature tracks of the modern soul world and played out regularly at events to this day. It is co-written by Leon Ware with Zane Grey (of Grey & Hanks) and produced by Webster Lewis, all giants in this music genre. The song has also been much sampled, most notably by Zhane (Hey Mr. DJ), Ortega Cartel (Miami Vice), Yusher (Gorodskie Uzory) and three this year alone by Skule Toyama (To You), Jericho Jackson (Seventeen) and Saint Duck (Bamboo). This 7' version has also become more in demand, as too the B side 'Tell Me Why', both condensed to four minutes. Michael Wycoff was from Los Angeles and worked with Stevie Wonder on 'Songs In The Key of Life' prior to his three albums for RCA

2025 Repress

Demi Riquisimo’s Semi Delicious celebrates its 20th release with a peak-time 4-track EP from Leeds-based production talent, Kepler— another stand out addition to the label’s impressive catalogue, dropping on 29th November.

Opening the Ep is ‘Step Up,’ a sub-bass-driven journey that layers relentless percussive grooves, squelchy acid lines, and proggy chord hooks, encapsulating the quintessential Semi Delicious vibe.

Next up, ‘Swoon’ glides in with a playful FM- bass lead, steering the track’s flow while staccato vocal stabs and soothing pads create a perfectly balanced, dancefloor-ready arrangement.

On the B- side, ‘Acid Flow’ delivers as promised, with classic 303 leads and smooth basstones, set against Kepler’s signature drum palette for a distinct yet timeless feel.

Rounding off the EP, ‘Separation’ brings a swing-infused, stab by house vibe—a nod to classic US house, yet unmistakably stamped with Kepler’s unique UK tech-house sound.

Late-night jams in their new studio sees Jazzbois return to their beat-tape roots on Still Blunted

Having established themselves as one of the leading live bands in Europe grooving in improvised jazz motifs and hip-hop beats, Budapest trio Jazzbois return with their fourth LP Still Blunted that sees them touch base with their beat-tape roots.

Now situated in the heart of Buda at their new studio above a club, the Hungarian trio of Bencze Molnár (Rhodes/synth), Viktor Sági (bass) and Tamás Czirják (drums) take a more considered approach to Still Blunted and offer a snapshot into the jams, sessions, and shows they have played over the past year. The new album comes after performing at the legendary Montreux Jazz Festival this summer and will be followed by a European tour in October.

Inspired by contemporaries Domi and JD Beck, Kiefer, Nala Sinephro, and the sounds of Radio Juicy, Jazzbois have been more critical of their track selection for the sequel to their Goes Blunt albums. They’ve ripped up their playbook of producing records in a matter of days and took their time to approach the record through reworking their favourite tracks recorded over the past year.

“We’re trying to keep the same formula but there was a lot of thought gone into the process of making an improvised jam sound like a song. It has to be good in the moment, and we chose the ones we felt were expressive and resonated the most with us musically. We focus on our feelings in the moment and have trust in our own taste and music visions.”

The trio’s new studio has offered them the space and time to get the best out of their creativity. “This new spot is a Jazzbois headquarters. It’s above this club, sometimes there's a DJ playing outside on the street – everyday there's something on and lots of people coming and going. We hang out for the whole day and just record anything or edit.”

Jazzbois are a part of the rich, underground jam scene in Budapest, and those improvised-led sessions have fed into Still Blunted. One of their late-night jams turned after-parties produced sketches for tracks they selected for the album.

“It was the end of a wild night celebrating getting the album done. We’re having a jam and we looked around while we were recording and there was twenty people smoking and drinking around us – half of them we didn't even know who they are. It turned into an open after-party where people were coming to ours from the club. It was very spontaneous and unexpectedly, we made five or six new songs we ended up using for the album.”

The ethos of those unplanned, open jams is something they carry through into their live shows, as they never rehearse so their music can develop freely. Their trusted fourth ‘live’ member DomBeats joins them on Still Blunted adding saxophone to some of the psychedelic-tinged beats, such as on singles Shangri La and Chrome. After recently digging back into 70s and 80s jazz, discovering more hip-hop sampled tracks, and absorbing the breaks and high-energy of footwork and juke, these influences come through strong across Still Blunted.

The footwork sound is replicated in the shuffling, busy drums of Shangri La, with the echoing guitar twang reminiscent of a sample you may hear on an MF Doom beat. “Shangri La was a catalyst for the new album. It reflects on our trip to America and SXSW. We played at this venue Shangri La. The Texan air and sun are in that track.”

Chrome takes on a much more furious style of playing that allows for the drums to cascade and flow along with the pulsating, chromatic bass line, with the synths and saxophone spiralling into an engrossing frenzy. The liquidy keys and synths glides over the bass on Flute Thang, creating a 70s jazz-funk vibe that stands out from the rest of the album.

With hundreds of thousands of monthly listeners across Spotify and Apple Music, they have become a playlist staple that has earned them millions of streams since their debut release Jazzbois Goes Blunt in 2019. As more live dates are booked for the Hungarian trio, Jazzbois continue to transform the traditional jazz trio sound into deep, groove-led beats on Still Blunted.

Liquid Memory presents their third release, "Pick up the Slack," featuring the deep and dynamic sounds of Terraflow, the night-time alias of renowned Jazz/House producer AJ Edward. With this project, Terraflow delves into the realms of progressive house, crafting a sonic experience that is darker, faster, and undeniably captivating. This release is a key moment for Liquid Memory, as it marks their first single-artist release. The EP also includes a remix by co label head Ori Raz, providing a different take on Terraflow's “Pick up the Slack”.

THE SOUL BROTHERS SIX hailed from Rochester, New York and have played a part on the Northern Soul scene for over 50 years. Their first recording, for 'Lyndell' Records in 1966, is now a 3-figure rarity, but it is their debut disc for Atlantic, I'll Be Loving You', that first graced the decks at the Twisted Wheel, The Pendulum et al and has become a perennial Northern Soul favourite. At the time of release tt was the B-side to Some kind Of Wonderful' which took the disc to No.91 on the R&B charts.
WILLIE TEE has also been a familiar figure on the rare soul scene since the early Mod clubs with his architypal New Orleans mid tempo soul sound. His early recordings on 'Gatur' rank as some of the most collectable 45s to emanate from the Crescent City. Here we feature his club classic from 1964, the anthemic Walkin' Up A One Way Street'.

- For this brand new chapter in the highly acclaimed Wamono series, DJ Chintam goes digging into the vaults of one of the most revered Japanese labels, Trio Records, and unearths some killer drum breaks, dope bass lines and funky horns, for an essential selection of jazz funk fusion and rare groove vibes produced on Trio between 1973 and 1981!

- 180g heavy vinyl pressing, reverse board jacket.

- Fully licensed Trio Records masters.

- Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.

- Signature artwork by Yoxxx.

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After many years working as a buyer for several record stores, DJ Chintam opened his own Blow Up shop in 2018 in Tokyo's Shibuya district. A member of the Dayjam Crew and a specialist of soul, funk, rare groove and disco music, Chintam is also an expert of the home-brewed Wamono grooves. He supervised and wrote the legendary Wamono A to Z records guide book together with DJ Yoshizawa Dynamite.

For this brand new chapter in the highly acclaimed Wamono series, our man Chintam goes digging into the vaults of one of the most revered Japanese labels: Trio Records. Established in 1969 by audio manufacturer Trio Electronics, now known as Kenwood, the label - and its subsidiaries such as Showboat and Trash - released high quality music spanning a large variety of genres including rock, jazz, fusion, soundtracks and popular songs, until its end in 1984. Through the eight tracks selected here, Chintam unearths some dope drum breaks, heavy bass lines and funky horns, for an essential selection of jazz funk fusion and rare groove vibes produced on Trio between 1973 and 1981.

Put the needle on the record, turn up the volume and dig right now into the Wamono sound - the cream of the Japanese jazz, funk, soul, rare groove and boogie music developed throughout the years since the sixties in Japan!

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180GWALP05 - Manufactured and distributed by 180g.

Okain returns to Talman Records with a four-track EP, offering a glimpse into his two-decade journey as a producer. Continuing his legacy of providing DJs with robust dance floor material, this EP stays true to form.

Opening the EP is "Wake Up," a tribute to early 2000s tech house, featuring crisp percussion, sharp stabs, and haunting vocals. Following is "Take Me Up," capturing the essence of UK garage with its thick Reese bassline and distinct vocal hooks.

Turning to the flip side, the EP ventures into darker realms with "Secret Science," blending dub-inspired synths with a weighty sub bass, perfect for late-night atmospheres. Closing the journey is "Swing Theory," a groove-driven track fusing minimal house elements into its infectious rhythm.

This 12-inch vinyl, officially licensed by Sony, features a superb remix by Mike Maurro, who masterfully reworks the stems. On the B side, you'll find the original version. Since its release in 1982, "Looking Up To You" has cemented its status as a modern soul anthem, co-written by Leon Ware and Zane Grey (of Grey & Hanks) and produced by Webster Lewis, all titans in the genre. Heavily sampled since it’s original release, notably by artists like Zhane ("Hey Mr. DJ") and Ortega Cartel ("Miami Vice").

repressed !

ERICA FALLS & VINTAGE SOUL - UP b/w MAKINGS OF LOVE

UP by New Orleans songstress ERICA FALLS is considered by discerning real soul heads to be one of the finest soul tracks from last year.

From the intro and opening line ‘Baby take me for a ride on your magic carpet. 747 glide through the clouds baby, be my pilot….’ you just know UP is going to be special. The incredible soulful vocals ascend in harmony until reaching the apex, and if you don’t want to come down, simply play it again - It’s ‘classic in the making’ tag ensures freshness upon multiple listens!

For the B Side we have dipped back into Erica’s catalogue and hand picked the exquisite MAKINGS OF LOVE from her 2017 Homegrown album.

Real modern day Nola Soul make this an essential 7”.

Straight outta Hoxton, Law & Auder were part of that incredible East London jungle scene. Martin (also of Utomica) and Phil made some absolute classics in their time and are often in ‘The rarest jungle records’ lists that float around online, put together by magazines or websites. But they are both incredibly down to earth and humble.

These two tracks were written in 1995 but never released, sitting on a DAT in Phil’s studio ever since. This is the third release by Law & Auder on Vinyl Fanatiks and we are super proud as ever to be working with them once more. And I think this is possibly the strongest release we have done so far by the band.

Pressed by the mighty Phil ‘The Vinylman’ East on 180g heavyweight vinyl. This release is a bespoke product as no one record is the same. Designed to look like the planet Earth and part of a 4 vinyl Cosmik series.

One small leap for man kind…

Charlie Ingui a veteran blued eyed soul singer who formed the band The Soul Survivors In the 60's is back with a brand new single.

'Wake Up Old World' is a song about making the world a better place.

Charlie explains 'This has always been a theme in our songs inspired very much by our collaboration with Kenny Gamble and Leon Huff of Philadelphia International Records whose songs like "Love Train" and "Love Is The Message" had a positive and spiritually uplifting message.'

In 1967, Charlie Ingui formed the band The Soul Survivors. They scored a #2 record with Gamble and Huff' first major hit with the song "Express Way To Your Heart.' They were a bunch of hoods from The Lower East Side of New York.

They were part of the same scene in NY with The Rascals, Joey Dee and the Starlighters, The Soul Survivors, The Vanilla Fudge, and many other Blue Eyed Soul Bands that paved the way for folks like Hall and Oates.

Originally they were a trio and had a third singer, Kenny Jeramiah, who went on to have success in Atlantic City.

They went on to have several other great records. The first was in 1969 with Muscle Shoals producer. Rick Hall. The Swampers with Duane Allman played on that one. In 1974, Gamble and Huff got a custom CBS label – Philadelphia International Music and signed the Soul Survivors once again. They made a fantastic record with their amazing band, Charlie and Richie Ingui, John "Beedo"Dzubak The amazing Fred Beckmeier on bass. He was a major influence

Wake Up Old World is going to be the first side of a limited edition 7" vinyl to come on LRK Records.

Went straight in at num one in the UK soul breakers

Spun on all the indie soul stations like starpoint, solar etc

Heels & Souls Recordings roll into reissue number eight with a double dose of early '90s UK street soul magic, splitting the sides between two sought-after cuts from Elaine Vassell and 3rd Zone.

Step back to 1993, house music has hit, UK Soul is in full flow and its rawer, DIY street soul sibling is making its mark across the UK’s underground. Fuelled by accessible, affordable production gear and ignited through enthusiasm and an influx of ideas and sounds, two acts drew inspiration from a melting pot of genres they were exposed to, providing their take on soul as they saw it.

Up first, Elaine Vassell - ‘Never Give Up’. A rough breakbeat-driven, mid-tempo groover from a North West London production triple threat, made up of Longsy D, Pinky and Murray. Utilising Pinky’s home studio with its DX7, Juno 106, LinnDrum and 808, they masterminded a track that sits at the intersection between soulful house, hip hop and R&B. Its crunching drum loop, chest-rattling low-end and serene synth lines, lay the foundation for Elaine’s powerful yet emotive voice to take centre stage. ‘Never Give Up’ should have been a future classic, but never quite found its feet.

On the flip side another 1993 gem, as Sansel Ali and twin brothers Mark and Stephen Anglin joined forces to form 3rd Zone. Conceived in Mark’s makeshift bedroom studio, the trio laid down their first foray into recorded music, ‘You Stole My Heart’. Originally promoed as a limited whitelabel in 1991, it officially landed on the group's one and only EP ‘No Real Reason' in '93.

Armed with a handful of synth modules, a drum machine and a Korg M1, Mark, Stephen and Sansel hit with a tough but tender, underground triumph. Part dance, part romance, layering synth strings, chunky breaks and M1 stabs underneath Sansel’s heartstrung vocals and Stephen’s hip house rap interlude, it provides another perfect example of house seen through the street soul prism.

Two timeless tracks that fly the flag for the fact that big studios and big budgets aren't necessary to create songs that really resonate. Each side also contains an alternate version, with the A housing a beatless reprise of ‘Never Give Up’ and the B a tougher, bassier remix of ‘You Stole My Heart’.

Licensed from Pinky Music and 3rd Zone respectively and remastered from the original DATs by Justin Drake.

Lee Burton makes his debut on Up The Stuss with ‘Sinewaves’, a five-track collection of expansive house cuts representing his impactful sound.

With music released via Dorian Paic’s renowned raum…musik through to John Dimas’ Elephant Moon and Berlin’s Taverna Tracks, Greek DJ/producer Lee Burton has been a firm favourite for those in the know, having been embedded within the underground minimal/house scene for the past decade. A constant when it comes to providing ‘secret gems’, with his records in rotation amongst the record bags of leading names across the globe, Burton’s talent as a DJ has also seen him grace legendary parties and institutions from NYC’s ReSolute to Berlin’s Club der Visionaere. Next up, his latest studio voyage brings an impressive label debut on Chris Stussy’s Up The Stuss, opening the imprint’s 2024 schedule in style.

From the acid-electro fusion of opener Sinewaves’ and the breezy tones of ‘Burning’, through to the up-tempo and intoxicating sci-fi sonics of ‘ITICF’ and the modulated, electro-funk of ‘Love Motion’, each track provides a unique slice of Burton’s vast sound palette, crafting an EP that covers all hours of the night. Sprinkle in the digital bonus ‘Oxytocin Overdose’, contrasting squelchy tones and classic chords with that infectious topline, and it’s another must-have record on the imprint.

Dive into the electrifying soundscapes of Wooka's latest EP, "Somethin You Dress Up," as each track becomes a meticulously crafted journey through the realms of electronic house. With his typical beats and rhythms, Wooka takes us on a kaleidoscopic ride through four distinct compositions that embody the very essence of his artistry. From the sun-soaked vibes of "I Hope You Breathe" to the pulsating precision of "People Fucked Up," the EP dances through a spectrum of emotions. "London Somethin" pays homage to '90s UK bass with intricate percussive artistry, while "No dress code", made with Acheel, delves deep into sub-bass syncopation. Hailing from France, Wooka seamlessly blends house, break, and electro, channeling the energy of hip-hop and UK garage. His live performances showcase the dedication to his craft, crafting sonic symphonies that transport audiences to the heart of his musical universe.

Club U Nite Records presents 'Purple Kush': A Captivating Journey through Energetic House and Reggae Dub Fusion

Named after the renowned cannabis strain, 'Purple Kush' exudes a captivating blend of energetic house tracks and relaxing reggae dub elements.

On the A-side, prepare to be enchanted by the groove of 'Let The Spirit Flow.' This track's driving beats, pulsating rhythms, and deep house organ theme create an irresistible dancefloor anthem that will elevate the energy of any party.

Continuing the sonic journey on the A-side, 'La Bahia' takes us back to the roots of old-school house music. With its addictive organ riff and swing beat, this song instantly transports listeners to a nostalgia-laden dancefloor where the vibe is contagious.

Flipping the record to the B-side, 'Make Your Mind Up' keeps the momentum going with its pumping beats and soulful vocal samples. This track demands to be heard on a club's sound system, as it kickstarts an infectious dance atmosphere that will keep party-goers moving until the early hours.

Rounding off the vinyl, 'Purple Kush Theme' takes us on a mellow yet captivating journey. Seamlessly blending house vocal samples with the laid-back vibes of reggae dub, this track presents a refreshing fusion that invites listeners to let loose and unwind.

Most Excellent Unlimited is happy to announce the next release in its series of collaborations with master DJ and editor "Mr. K". Two exceptional deep classic album gems skillfully cut down to a maximum 7" 45rpm format, Luther’s “Funky Music (Is a Part of Me)” and Zulema’s “Giving Up.”

Long before “Never Too Much” and his other solo hits, Luther Vandross was an in-demand backup singer and vocal arranger, working with luminaries like Carly Simon, Bette Midler, and Donna Summer, along with his stand out performances in Change, Bionic Boogie, & so many more. Perhaps his most significant role, however, was backing David Bowie on the 1975 Young Americans album. It was during these sessions that Bowie heard Luther’s song “Funky Music (Is a Part of Me)” and re-tooled it to become the Bowie/Vandross joint composition “Fascination,” which went on to become a successful Bowie single.

For the latest edition of Most Excellent Unlimited’s series of edits, Mr. K has gone back to the original source, credited to the group (not the solo artist) Luther (which also features Christine Wiltshire). Mr. K's technique on this edit is cleverly subtle, in the process giving us the first opportunity to get almost the entire full-length song on compact 7-inch wax, keeping that irresistible building energy that places the track firmly on dancefloor-friendly territory.

“Giving Up” was the opening track on Zulema’s second LP, and given the drama of the intro, with its rolling piano, string ensemble, and piercing guitar, it’s not hard to hear why it was effective in that role. Mr. K’s edit benefits from a crystal clear remastering in which each element of the band is distinct in the soundfield, led by Zulema’s gutsy vocals upfront. Originally a 1964 Gladys Knight tearjerker that crept along at a tango’s pace, Zulema’s 1973 cover gives the song a new, powerfully soulful arrangement, championed by such disparate eras and tastemakers as Nicky Siano at the Gallery in the ’70s and breakbeat hunters the Beatnuts in the ’90s that has easily found favor with a wide variety of listeners and DJs, and this new issue should solidify that position. Never before available on 7-inch, “Giving Up” is a bonafide funk and proto-disco classic —

Two lost Disco classics appearing for the first time on a single 12” featuring soul legend Leon Ware and Jo Ann Harris, a little known backing singer for Bob Dylan throughout the 80s.

Both songs originally appeared on the ‘20 Minute Workout’ Video and LP released in 1983 by Canadian label Ronco, ‘What Does It Take’ providing an uptempo crescendo to the third part of the workout and ‘Never Gonna Give You Up’ the final warm down track. Licensed from producer Ira Newborn, Hollywood soundtrack royalty who composed the scores for an incredible run of films including The Blues Brothers, Ferris Bueller’s Day Off, The Naked Gun trilogy, Weird Science, Ace Ventura and Uncle Buck. Ira’s lawyer persuaded him to get involved in the project for Ronco and it was Ira who hand picked Leon Ware and Jo Ann Harris to add vocals to two tracks to aid the commercial potential of the album.

There are two original versions backed with extended instrumentals sourced from a rare Lazer Disc Version of the album. It feels right to shine a light on one of Leon Ware’s lesser known performances, whilst the Jo Ann Harris cut has a distinct Balearic air featuring sultry keys and sax at a tempo of 98 BPM.

Endplate is back after his excellent Gemini EP from 2020. The andalusian expert gives us four exercises of proper driving techno with an excellent sonic craft.

Unreal opens this slice of plastic with a repetitive and elastic line grooving across the precise beat. The main synth line changes in intensity along the development of the track playing wisely with the percussive elements to create the required feeling.

On PMMM the rhythm goes dirty and pulsating, gummy sequences come along a n intense drum pattern heavily reverberated and processed.

The flip side opens with, No Success Street, starting with a voice-like sound, obsessive and intense with an opaque bass drum as foundation. Sibilant drones add tension to the formula, increasing the adrenaline levels as the track goes into total madness.

Malenia closes the physical edition with echoed drums and loads of reverb. The drums go solo for the first bars, being filtered and processed constantly. A superb tool to add tension to a busy set.

As the first bonus digital track, Animal Noise, dirty and screamy, a dystopic hymn for the proper morning routine at Berghain for example.

To end the digital version, Green Eye, direct and punchy, with the right dose of drum pressure on a 90% rhythmic track, again a tool for those to know how to use them.

Techno with no jokes inside, from the makers to the real players.

repressed !

Sidney Charles welcomes M-High to his leading Heavy House Society imprint and the Dutchman drops a classy four track EP of exceptional high quality laden with groove style and panache.

M-High is known to many within the Minimal and Deep scene through his releases on prominent labels such as Locus, META, Rutilance, Politics of Dancing PIV and more. These releases have been supported by a who’s who including Archie Hamilton, Chris Stussy, Phil Weeks, Jamie Jones, Sam Divine and many others. This support coupled with always fire releases and his highly impressive record selection in his sets has seen him being booked at in demand venues and festivals including Fabric London, BPM Costa Rica, Mint Warehouse Leeds, Thuishaven Amsterdam, Defected Croatia and more, and now Sidney Charles welcomes him to his Heavy House Society imprint and once again the young talented Dutchman does not disappoint.

His ‘Up The Attic EP’ is a luxurious blend of house ranging from the more jackin’ warehouse style of ‘Jackstion’, to the sensuous bassline roller ‘Let J Say’. He then takes you on a powerful deeper journey with ‘That Reminds Me’ and he rounds off the EP with the lofty and effervescent title track ‘Up The Attic’, making this an essential must have for those who like their music, intelligent, understated yet highly danceable and chic.

Repressed!

Highpath Records welcomes London based producer, Nick Gynn (Superlux Records) with his dynamic Pull Up EP.

The A side opens with 'Pull Up - Rough And Ready Acid Mix' that features energy drum machine rhythms and early British acid taste. Next 'Bumpin And Gurnin' switches things up gracefully to some brilliant bass antics and rolling dancefloor flows.

B Side starts with 'Pull Up - Lover Erotica Mix' this version brings dimensional groove and coloured fusion of rave chords. Finally 'Acid Drops' settles up the trips into a minimalist club gem.

EDB’s follow up of his 2021 debut ‘True Stories’ is finally here, and shows once again his skills for all things funky, quircky and some basslines to die for!

There is a whole range of vibes here from the astro funk of the aptly titled ‘Progressions’ to the Detroit echoes of ‘Not A Choice’, the modern twists of ‘Nothing is Wasted’ till the beatless opus ‘Masquerade’.

But make sure not to miss this special collaboration with Kemetic Just’s own Just One on the anthemic ‘The Rhythm Got Me Way Up’.
‘The Long Way Up’ its another testament of EDB’s never stopping brilliance!

Known for creating enriching house music, Italian Canadian DJ and producer Paolo Rocco is in fine form once again as he makes his first outing on Chris Stussy’s up the stuss imprint.

Delivering a selection of silky, classy, deep, and spaced-out trips his “To The Stars And Beyond” EP is an exemplary showcase of his vast talent in the studio.

The package comes reinforced with a stand-out remix courtesy of mandar member and Vigenere boss Malin Genie.

If you’re after a cosmic journey loaded with classic nuances, look no further.

DJ Support:

Enzo Siragusa (FUSE) Very nice release! Thanks

Janeret (Yoyaku) BOMB! Dope ep!

East End Dubs (Eastenderz) Awesome EP.

Reiss (VBX) Malin remix is so so smooth :)

Toman (No Art / Moscow / LOCUS) chi chi boogie! dikkk thanks

Ben Rau (META / Inkal / FUSE)Nice deep cuts from Paolo To The stars and Chi Chi Boogie are cool for me

Locklead (Slapfunk) Up The Stuss does the trick again :) That Chi Chi boogie bass is killing me! Malin Genie remix will do the trick, what a vibe! Big up Paolo for the strong ep

Archie Hamilton (FUSE / Moscow / Moss. Co) Lovely stuff

Joris Voorn Downloaded, thanx.

Laurent Garnier Super cool music

Up The Stuss goes down under as Sydney's Litmus steps for the label's tenth release. A bubbling member of Australia’s house and minimal scene, his productions via No Art, Piv And Dailycid have seen the exciting Aussie emerge onto the global landscape and make some noise.

Continuing in slick fashion, his 'Plus One' EP showcases a wealth of vibrant solo flavours while partnering up with Berlin's Black Loops for a crisp collaborative sprinkling of house delight - all backed by French live act and man of the moment Leo Pol as he delivers a heady, piano-driven remix of the title cut.

After a little stop animae returns with its new limited edition series. Three tracks that reflect our style, a minimal and mental sound for a journey that leads to another dimension.


Played by: Cristi Cons, Priku and Arapu

Adeen Records 009 Make-Up... The Edits comes courtesy of producer and edit maestro Alkalino. The Germany based selector dug deep into his vaults of hard and electro to deliver some of the best sleeper and classic gems.The highlight of side one is easily Breakin' Wind, with other notable bangers such as Bang on it, Stardance and Fly with the wind. One thing about Adeen Records and the Make-Up series is they deliver every time.

Repress

Limited Clear Vinyl Pressing!
We are very happy to present a new series of limited releases in vinyl, called the Pattern Series. This series will consist of translucent pressings with specially designed artwork, and the first number 'Vertigo' will feature three tracks from label boss Oscar Mulero.
On the A side, the main track is 'Epley Manoeuvre', with funky components, solid drums and a repetitive synth workout which is reminiscent of classic Regis-style bleeps. This one is aimed directly for the floor.
On the B side there are two other cuts. First comes 'Gravity' flanged sequences on an hypnotic vein, sharp shaker driven percussions and a subtle but fat kick drum spiced with white noise details and 909 snares.
Closing the B side we find 'Particle Repositioning', which starts with a round kick drum and bleepy one bar sequences that are soon spiced with claps and reverb. A second percussive sequence appears after some bars, starting a rhythmic conversation until the shuffled hats and rides complete the beat.
Three abstract pieces of modern techno but with a solid step into tradition.

An artist at the heart of Berlin’s rich scene, DJ and producer Sota looks set to continue his sharp upwards trajectory as a name to know. Welcoming four intelligent, expansive cuts combining slinking low-end grooves, sci-fi electronics, and sweeping interludes, the Dutchman’s ‘Pelican Club’ EP showcases his take on house music for the early morning hours as he touches down on Up The Stuss for the label’s sixth release.

YOWSAH!!!

It's time to get on up people!! Multi-track guru Moplen has only gone and got his mitts on the 1978 Island classic from Chic legend Kenny Lehman and his side project Roundtree!!

‘Get On Down’ receives another impressive polish from one of the scenes hottest Disco masters that’s beautifully arranged with fresh layers, enhances the original sultry vibe perfectly and puts some sexy bump into this original Disco ride that you thought couldn’t be improved….Essential!!…..and it comes with a bonus dub!!

Phil is welcoming us with a repress of three collectors item tracks by Klovn - the studio partners of Trentemoller & one half of the most successful Danish electronic live act 'Lulu Rouge'.

'Cover Up' is a tough club track which drifts to a subtle, 'less is more' principle, where PF blends the organic sounds into the dreamy electronics but yet qualifies as a very functional opening anthem.

Melvins Beats rounds the release off with it's cinematic & shoe-gaze approach. Yet another, meticulously composed repress from this label with an idealist character, a must have.

We bring Patrik Carrera to our team, starting our relationship with this "Inevitable Decay EP". The Australian born, Berlin based producer, offers four slices of modern techno, balancing aggression with hypnosis along four cuts.

"Standing Fog" uses a mega distorted kick and resonant hypnotic bleeps on top, reminding the old X 102 feeling. No remorse in this track, straight to the point madness.

"Altered Form" relies on a complex groove, with asymmetrical components and is heavily texturized, the main synth line goes on forever while different elements go back and forth. The rhythm grows in intensity on the final moments, adding distortion and dirtiness.

"Liquid Toil" goes hyperspace, abstract sinusoidal sequences float over an opaque groove that is soon filled with shuffled 909 hats and sci-fi textures. Jeff Mills will love this one.

"Influx" puts the eye in old Birmingham tools, with a reverberated repetitive sequence over a shuffled beat, things move just a bit, keeping the pace linear and obsessive making a superb mixing tool.

A diverse EP with a personal approach to intelligent dance territories, music that could be from 10 years after today, from the future.

KUf debuts in our platform and we are more than glad to share his incredible skills in this Ep / Mini Album, four cuts on wax and seven on zeroes and ones.

Rock exactly honours the name, rocking the place with fast BMP, carefully distorted sequences and sharp rhythms in a relentless arrangement.

Feedback Rhythm runs fast as well, with a cleaner approach in the drums, alien and tribal at the same time. The synth lines are dynamic and dirty, appearing randomly until take over the main part, cyber funk at its best.

Spand metalizes the feel, with hard industrial reverberated hit over a continuous sequence, no mercy in this one. Hard Hitting beats

Kvallsloop, turns the balance with subterranean beats, alien sinoidal arpeggios and subtle hats, a perfect epilogue for the physical version.

On the digital offer, three more tracks, Famlar i mo rkret comes first, slowing down the pulse, deepening the approach and going classy and attemporal. A modern vision in Detroit's traditional sound.

No skool brings the bleep to the floor, spiced with old school 909/808 beats.

Parafras closes this extended work, in one of the most original percussive exercises released to date, an absolute floor destroyer for those who know.

Our next release subtil009 is coming from Andrei Catalin Bumbu alias HANSEL

He is also part of the new generation of Dj's and producers from Romania. The 3 Track Combination Sounds good for the Dancefloor with one long a side and 2 tracks back on the
b side!

This record will keep any point of the night!
We are happy to get this Guy to our subtil family and to our roster.

Dark Entries and Honey Soundsystem Records have teamed up again to release another volume of gay porn soundtracks by San Francisco-based musician and producer, Patrick Cowley. Perhaps one of the most revolutionary and influential people in the canon of disco music, Cowley created his own brand of Hi-NRG dance music, ''The San Francisco Sound.'' Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco at the age of 21. He studied at the City College of San Francisco where he founded the Electronic Music Lab. During this time, Patrick, along with his classmates Maurice Tani and Art Adcock, would create radio jingles and electronic pieces using the school's equipment: first a Putney, then an E-MU System, and finally a Serge synthesizer. He would make experimental soundtracks by blending various types of music and adapting them to the synthesizer.

If you are into techno, Svreca needs no introduction. This Spanish DJ and producer has been travelling around the world for a while and his label Semantica has earned its place amongst the best cult labels thanks to their support of the vinyl format and investment on incredible artworks. They also have one of the best artists rosters.

Oscar Mulero has released some tracks on Semantica and now it's time for Semantica's boss to release in Warm up... So we are really excited about this!

This release comes in two versions: a four-track EP and a six-track digital release with two
bonus edits by Oscar Mulero.

'Disorder' opens side A. A bleepy, repetitive exercise, with a solid kick and extra high-
frequency analogue percussions and sweeps.
Oscar Mulero's version follows as track A2, adding more pressure to the rhythm, more
atmospheres and some FM synth details, while preserving the original bleep.

The B side starts with 'Overgang'. Once again, an obsessing high-pitched sequence as the
absolute star, plus Svreca's traditionally insane high frequency noises, a concrete kick and
repetition as a formula.

OM's version of 'Overgang': more complex than the original, with 909 hats, more synth lines,
extra bleeps and a dynamic and constantly changing arrangement.

Closing the vinyl release is OM's version of 'Overgang': more complex than the original, with 909 hats, more synth lines, extra bleeps and a dynamic and constantly changing arrangement.

The digital version is completed with two extra versions of 'Overgang': by Oscar Mulero. The
first one, on a more straight techno vibe and trademark sound. The second one has a more
mental approach.

For our first release Power Up, we've decided not to pull any punches. It features a groovin pair of tunes from Muffin Man, which stand on their own to cover a delectable range of dance music. Making the release even more epic is the appearance of guest chef Charles Webster. Tip!

2026 Repress

It's time for no.7 in the Disco Combine vinyl only series, with two heavy hitters re-worked and re-mixed from the tapes by Dave 'Love' Lee. On the A is 'Not This Time (Baby) (Give Me Some Moore Mix)' a much loved slice of Philly Disco,Aabsolutely bursting with lush orchestral arrangements. This classic jam has been given a noticeably different refresh, with a show-stopping acapella intro and more of the less heard instrumental passages. Speaking of classic, on the B is 'Jammin' Up In Smoke (Ready Steady Eddie Mix)' a Harris Machine, gospel charged chuggerAwhich is given a more groove based mix, which builds up instrumentally before hitting some falsetto vocals half way through, leading to a big hands in the air finale. Stay still if you can!!

Duality makes his debut on Up Ya Archives with a single rooted in the foundations of 90s jungle but shaped distinctly by contemporary sound design, epitomising his unique take on modern junglism. Intricate breakbeats and classic jungle textures are anchored by weighty 808s that guide the flow of the track, while influences from footwork, hardcore and drum & bass sets the track firmly into the space of progressive junglism. When asked on the single, Duality said

“R U Mine is the lead single from my latest project, Brainstorm. It balances luscious pads and playful synth lines with relentless drum breaks and 808s. Topped with ethereal vocals, this is one to open a set with or close out the night”.

A rising star in Bristol’s underground dance scene, Duality is staking a claim within the new wave of jungle.

“‘Brainstorm’ is exactly what the name suggests. A glimpse into the ideas that occur in my brain as a producer. Each track is a different element of my jungle inspirations, from raregroove sample-based production to 4x4 rave stabs. Ready and waiting for the dancefloor!”

Aside from his own productions, he also runs Bristol-based record label and events crew Intaception, which has hosted parties across the UK with iconic figures including Source Direct, Tim Reaper, Double O, and many more. Moving fluidly across production, promotion and musical direction, Duality continues to push the sound and culture of contemporary junglism forward.

The STAMPO quest continues with the fifth release on the label. Heading up the release is Italian hero, DJ Rou, known for his diverse, and vast record collection he lands here with four tracks traversing between multiple moods to make you move. A charming intensity pours out of the tracks in the “Handz Up” EP, as a legend steps up to share his sound. A simple concept, each artist that releases on the label is represented with a stamp on the record, letting the music make its mark.

All Shook Up is the fifth studio album by the American rock band Cheap Trick, originally released in 1980 and produced by legendary producer George Martin, best known for his work with The Beatles.

The album followed the huge success of At Budokan and Dream Police and found the band working with a new producer for the first time in several years. George Martin gave the recordings his own touch, while Cheap Trick remained true to the sound and songwriting that had made them popular. The album features memorable tracks like "Stop This Game", "Just Got Back", "Baby Loves to Rock" and "World’s Greatest Lover". All Shook Up reached number 24 on the Billboard 200 and was certified Gold in the United States. It remains a strong album from an important period in Cheap Trick’s career and a great addition to their classic catalogue.

All Shook Up is available as a limited edition of 2000 individually numbered copies on magenta vinyl and includes an insert.

Emerging from a suspiciously warm corner of the edit underground, this limited white label press sees NYU & NS (or N-You-Up & Nick Studer) quietly tampering with two choice modern soulful cuts from a certain Mr .P, 'Come' and 'Wrong'.

While the originals do quite a lot of the heavy lifting, these two have been given a little more room to misbehave.
The edits keep the soul, swagger and unmistakable DNA of the originals intact, while adding extra groove, punch and just enough dancefloor mischief to cause problems after midnight

Oscar Perry may not be a household name even in soul/blues circles, but this Texan's fine and expansive body of work deserves greater recognition. Throughout his career, he demonstrated multifarious talents as a producer, arranger, singer, songwriter and guitarist. He first cut his teeth in the late 1960s on Don Robey's Duke/Peacock/Backbeat set-up, writing for Bobby Bland amongst others. Once his contract with Robey had lapsed, Oscar signed with the equally colourful character Huey P. Meaux, for whom he recorded a slew of excellent albums on the Crazy Cajun imprint. It is the source of the three self-penned tracks presented here. Echoes of Jerry Butler can be heard on the string-laden emotive ballad "We'll Spend Tomorrow Falling In Love" (co-written with studio engineer Mickey Moody) with its femme support, whilst the piano-led deep beat-ballad "End Of The Road" was subsequently recorded by Bland on his Dreamer LP for ABC-Dunhill in 1974. The strong, mid-paced, bluesy "I Give Up You Win" completes this wonderful EP.

Kenichiro Nishihara made a spectacular debut in 2008 with his first album ”Humming Jazz,” and is one of the most important figures in Japanese jazzy hip-hop, receiving high acclaim in the lo-fi hip-hop scene that continues the lineage of Nujabes.



a A1: Up All Night feat. SIRUP (DJ Mitsu the Beats Remix) feat. SIRUP
[b] B1: Heartless feat. Michael Kaneko (KAZUMI KANEDA Remix) [feat. Michael Kaneko]

[a] A1: Up All Night feat. SIRUP (DJ Mitsu the Beats Remix) [feat. SIRUP]
[b] B1: Heartless feat. Michael Kaneko (KAZUMI KANEDA Remix) [feat. Michael Kaneko]

[a] A1: Up All Night feat. SIRUP (DJ Mitsu the Beats Remix) [feat. SIRUP]
[b] B1: Heartless feat. Michael Kaneko (KAZUMI KANEDA Remix) [feat. Michael Kaneko]

2026 Repress
White label smash of Cassius & Pharrell's album track Go UP.
Exclusively played by Solomun & Butch on the white Isle.
Vinyl Only Release!

Marking their second release for GULF COAST RECORDS, the collection favours raw performance over polish, capturing the chemistry, spontaneity, and fearless musicianship that have defined the group for more than three decades. Fronted by the unmistakable voice of JERRY LANGER and the soulful guitar work of RANDY JACOBS - formerly of Was (Not Was) - the EP embraces honest, acoustic arrangements where every note and breath remains beautifully exposed. Produced by Jacobs, Langer, and JOHN WOOLER, the project reveals a band confident enough to let the songs speak for themselves. Recorded primarily at Kaleidoscope Studios in Berlin, the sessions continued wherever the road allowed, with additional performances captured in U.S. studios and hotel rooms between shows. This wandering spirit gives the EP a sense of movement and lived experience. A remarkable ensemble of collaborators adds depth throughout, including Holly Montgomery, Arthur Thompson, Joe Sublett, Mark Pender, Jon Gilutin, and Oliver Leiber. Across six tracks - bold reinterpretations and originals - the band blends Detroit soul, New Orleans groove, blues, and rock & roll swagger. Pull Up the Roots celebrates authenticity, proving that great songs and genuine soul need no embellishment.

Released on Tip Top Recordings, the album features 10 songs that that brim with melody, wit and understated charm. After years of singing downbeat songs of melancholy & loss, after waving goodbye to a long-term relationship, after working at a care home during the Covid pandemic, after seeing people off from the platform of life in his role as a Funeral Celebrant, Pete Fij has decided to have a reset. Slinging back on the electric guitar, ditching the job, upping the BPMs, and falling in love again has resulted in Pete embracing his fuzzed up dream- pop past but also throwing in elements of pop and electronica.

New on the "WANIA mk" series is a double A-side supersonic 12", with two tracks previously circulating as dubplate only. "Bless Up" by Salik (who co-runs Going Good, and of WANIA fame) is simply a deep and controlled Dubstep-goes-Breakbeat knockout. With a prominently loud cut, it carries classic sonics of atmospheric Jungle/D'n'B while running rhythmicallyreduced towards the mid-side Jungle-styled Breakbeat drop. L.A. 2000 & DJ Sotofett continue their collaboration from WANIA mk1 and mk2 with a Dub Techno Stepper. Here, clinically adjusted delays and short reverb support the ultra-reduced rhythm and harmonically gritty stabs, all with just enough drive to introduce the long-awaited sub-bass as a well-timed surprise. THIS 12" IS CUT WITH LOUD VOLUME FOR EXCELLENT CLUB USE!

The Homesick sind ein abenteuerlustiges niederländisches Trio, das Stile wie Post-Punk, Krautrock, New Wave und experimentellen Pop mit furchtloser Neugier und Hingabe meisterhaft miteinander verschmilzt. Frei von Dogmen und doch rastlos romantisch, haben sich THE HOMESICK über mehrere Alben hinweg immer wieder neu erfunden - vom mitreißenden Debütalbum *Youth Hunt* bis hin zum barock angehauchten Durchbruchsalbum *The Big Exercise*, das bei Sub Pop erschien. Auf ihrem dritten, unabhängig veröffentlichten selbstbetitelten Album - entstanden in der Zeit nach der Pandemie - verschmolz das Trio sein breites Referenzspektrum zu einem schlankeren, pulsierenden Sound. Nun, auf ihrem vierten Album (und dem ersten bei Siluh Records), haben The Homesick in zehn Tracks ihre ganz eigene, höchst einfallsreiche und durchweg unterhaltsame Version von Clubmusik geschmiedet. Dabei schaffen sie einen mitreißenden Fluss zwischen den Stücken und pendeln mühelos zwischen der eingängigen, von City-Pop inspirierten Lead-Single ,Esperanto", dem von 808-Beats getragenen Herzschmerz-Song ,Policelessness" und der märchenhaften Disco-Nummer ,The Bees". Um diese funktionale und zugleich fantastische Tanz-Odyssee zu realisieren, holten sich The Homesick ein viertes Paar Ohren zur Unterstützung ins Boot. Der in Amsterdam ansässige Produzent und Künstler Rimer London - eine Schlüsselfigur sowohl im Mainstream als auch im Underground - verlieh dem Material seine eigene, markante und pop-orientierte Note, nachdem das Trio seine Tüfteleien im Studio abgeschlossen hatte. Dieser frische kreative Schub half der Band, sich an pop-geschukten Vorbildern zu orientieren, etwa beim sinnlichen ,Love off the Leash" oder dem wehmütigen West-Coast-Pop von ,Hey". Indem sie stärker auf clubbige, von den 80ern inspirierte Sounds setzten als auf den disharmonischen Post-Punk früherer Tage, ließ sich das Trio oft von einer Lawine aus Ideen mitreißen - so etwa beim treibenden Electro-Pop von ,Sway the Needy". Letztlich ging es darum, jedem Track einen ganz eigenen klanglichen Charakter zu verleihen: ,Humdrum" wagt die Nähe zu den Talking-Heads-Klassikern, während der hektische Dub von ,Street Cyst" in unwiderstehliche Hyperpop-Anleihen mündet. Ihren Ruf als eigenwillige Scenesters untermauern The Homesick zudem mit dem mitreißenden Synth-Pop-Marsch ,Horse Alone". Und eines ist sicher - es gibt noch weitaus mehr eklektische Grandezza auf "What's Up With All These Shangri-Las" zu entdecken. Lass The Homesick der Soundtrack zu deinen offenen Fragen sein - es lohnt sich wirklich.

The Homesick sind ein abenteuerlustiges niederländisches Trio, das Stile wie Post-Punk, Krautrock, New Wave und experimentellen Pop mit furchtloser Neugier und Hingabe meisterhaft miteinander verschmilzt. Frei von Dogmen und doch rastlos romantisch, haben sich THE HOMESICK über mehrere Alben hinweg immer wieder neu erfunden - vom mitreißenden Debütalbum *Youth Hunt* bis hin zum barock angehauchten Durchbruchsalbum *The Big Exercise*, das bei Sub Pop erschien. Auf ihrem dritten, unabhängig veröffentlichten selbstbetitelten Album - entstanden in der Zeit nach der Pandemie - verschmolz das Trio sein breites Referenzspektrum zu einem schlankeren, pulsierenden Sound. Nun, auf ihrem vierten Album (und dem ersten bei Siluh Records), haben The Homesick in zehn Tracks ihre ganz eigene, höchst einfallsreiche und durchweg unterhaltsame Version von Clubmusik geschmiedet. Dabei schaffen sie einen mitreißenden Fluss zwischen den Stücken und pendeln mühelos zwischen der eingängigen, von City-Pop inspirierten Lead-Single ,Esperanto", dem von 808-Beats getragenen Herzschmerz-Song ,Policelessness" und der märchenhaften Disco-Nummer ,The Bees". Um diese funktionale und zugleich fantastische Tanz-Odyssee zu realisieren, holten sich The Homesick ein viertes Paar Ohren zur Unterstützung ins Boot. Der in Amsterdam ansässige Produzent und Künstler Rimer London - eine Schlüsselfigur sowohl im Mainstream als auch im Underground - verlieh dem Material seine eigene, markante und pop-orientierte Note, nachdem das Trio seine Tüfteleien im Studio abgeschlossen hatte. Dieser frische kreative Schub half der Band, sich an pop-geschukten Vorbildern zu orientieren, etwa beim sinnlichen ,Love off the Leash" oder dem wehmütigen West-Coast-Pop von ,Hey". Indem sie stärker auf clubbige, von den 80ern inspirierte Sounds setzten als auf den disharmonischen Post-Punk früherer Tage, ließ sich das Trio oft von einer Lawine aus Ideen mitreißen - so etwa beim treibenden Electro-Pop von ,Sway the Needy". Letztlich ging es darum, jedem Track einen ganz eigenen klanglichen Charakter zu verleihen: ,Humdrum" wagt die Nähe zu den Talking-Heads-Klassikern, während der hektische Dub von ,Street Cyst" in unwiderstehliche Hyperpop-Anleihen mündet. Ihren Ruf als eigenwillige Scenesters untermauern The Homesick zudem mit dem mitreißenden Synth-Pop-Marsch ,Horse Alone". Und eines ist sicher - es gibt noch weitaus mehr eklektische Grandezza auf "What's Up With All These Shangri-Las" zu entdecken. Lass The Homesick der Soundtrack zu deinen offenen Fragen sein - es lohnt sich wirklich.

Dutch artist Maurits Verwoerd, aka Nachtbraker, makes his first outing on Up The Stuss with ‘Bodu Imchi’, a four-track collection that highlights the breadth and curiosity that have long defined his work. Drawing from a world that stretches from ambient and cinematic music to dub, jazz-inflected electronics and house, the Amsterdam native has developed a sound that can feel both deeply considered and completely instinctive. Releases across Aus Music, Peach Discs, Heist Recordings, Dirt Crew and his own Nachtbraker and Quartet Series labels have established him as one of the more distinctive voices within the Dutch house landscape, with support from artists including Jamie xx, DJ Seinfeld, Raresh, Shanti Celeste and Axel Boman.

Across ‘Bodu Imchi’, those influences come together in a record that feels fluid, slightly strange and constantly alive. Warmth sits alongside subtle unease, hypnotic grooves give way to more playful rhythmic ideas, and intricate melodies drift through low-slung foundations without ever becoming overly polished. There’s a sense of late-night discovery throughout, the kind of music that rewards close attention but still carries enough physicality to move a room and keep packed dancefloors moving with a locked-in approach. Four tracks, one evolving atmosphere, and a meeting of musical worlds that feels right at home on Up The Stuss. It’s a release that finds character in the fine details: unexpectedtextures, subtle rhythm shifts and elements that seem to appear out of nowhere before then disappearing again. It’s an EP that moves between heads-down focus and hazier hours, capturing the curious, nocturnal spirit that runs through his work.

Oliver Baroni, stand-up bassist and Hillbilly Moon Explosion co-vocalist has a new side-project with a flexible group of musicians, under the moniker The Baroni Blow-Up. In keeping with the Englishman"s worldwide rock"n"roll viewpoint from his base in Switzerland, it"s an international affair. The band-members are American, though two were found in London. Guitarist Andy Kandil, a session favourite and veteran of psychobilly legends Mad Sin amongst others, and drummer Tuck Nelson, who also co-engineered recordings in his London Echo Ray Studio. On vocals is Shy But Flyy, the celebrated blues and jazz singer from Long Beach, CA. The A-side song "I Wanna" is an obscure punk song original by Berlin band Hot Boogie Chillun; the flip "Free" is a Shy But Flyy original. The single"s artwork originated in Spain.

Felix Walworth wurde in der Broome Street geboren. Bevor sie zu einer festen Größe in der New Yorker DIY-Szene der 2010er Jahre wurden, bevor sie ihr Markenzeichen - das auf einem Keyboardständer montierte BMSS-Schlagzeug - einführten, bevor sie eindringliche Reflexionen über Identität schrieben, die ihnen eine Kult-Anhängerschaft unter den Kids auf Tumblr einbrachten, waren sie ein Kind, das in den verschiedenen Stadtbezirken aufwuchs und eine Stadt liebgewann, die schließlich bis zur Unkenntlichkeit veränderte. ,What's Up" ist Walworths viertes Album als Told Slant, unter diesem Namen haben sie seit 2012 eindringliche Alben mit weitläufigem, nervenblanken Indie-Rock veröffentlicht. Das ist ihr New-York-Album: eine Sammlung von Songs darüber, wie man zusehen muss, wie sich die Heimatstadt verändert, und wie man spürt, wie sie einen im Gegenzug selbst verändert hat. Es ist ein Album über die Hingabe an ein prekäres Musikleben und all die Schönheit und Demütigungen, die damit einhergehen. Während es auf den ersten drei Told-Slant-Alben um Selbstreflexion und den Versuch ging, als Künstler zu überleben, handelt ,What's Up" davon, was passiert, wenn man sich ,fast schon manisch dem Projekt des Selbstausdrucks und der Subkultur in einer der feindseligsten Umgebungen der Welt" verschrieben hat und sich mit all den Menschen, Orten und Träumen auseinandersetzen muss, die auf diesem Weg verloren gegangen sind. In Songs wie ,Manhattan", ,Draw Blood", ,Three Anchovies" und dem Titeltrack fängt Walworth Trauer, Wut, Hingabe und flüchtige Momente der Verbundenheit ein und zeichnet das Verschwinden geliebter Stadtviertel, DIY-Räume, Freundschaften und Lebensweisen mit gleichermaßen schwerer und humorvoller Hand nach.,What's Up" ist zudem das bisher kollaborativste und abenteuerlichste Album von Told Slant. Es entstand über einen Monat hinweg in einem provisorischen Studio im Upstate New York und wurde größtenteils auf einem Acht-Spur-Spulenband aufgenommen - damit ist es die erste überwiegend analoge Veröffentlichung des Projekts, an der Hannah Pruzinsky, Jonny Baker, Ceci Sturman, Hellen Ballentine, Emily Sprague, Mari Maurice und Elijah Wolf mitgewirkt haben. Die Songs entstanden zum Teil aus Walworths Arbeit als Porträt- und Straßenfotograf während der Pandemie, als er die Straßen, Parks, Veranstaltungsorte und Ladenfronten, die sein Leben geprägt hatten, erneut besuchte - nur um festzustellen, dass viele davon verschwunden waren. Dieses Gefühl des Verlusts zieht sich durch das gesamte Werk, das mit ,Still Water" (2012) begann, sich über ,Going By" (2016) und ,Point the Flashlight and Walk" (2020) fortsetzte und seit langem von schmerzlich ehrlichen Songs über Selbstfindung, Freundschaft, Sterblichkeit und den langsamen Verlust der Verbundenheit mit der Gemeinschaft geprägt ist. Auf ,What's Up" richtet Walworth diesen Blick nach außen und dokumentiert nicht nur ihre eigene Beziehung zu New York, sondern auch die Kosten des Bleibens, des Schaffens und des Glaubens an eine Stadt und eine Musikkultur, die sie mitgeprägt haben.

Limitierte hellgrüne Vinyl-Version! Death-Metal-Sensation mit dem ehemaligen NIHILIST-/ENTOMBED-Mitglied Nicke Andersson am Schlagzeug und an der Gitarre. Die Mitglieder von Death Breath spielen bzw. spielten in Metal-Bands wie Runemagick, Deathwitch, Nihilist, Entombed, Ruthless Mausoleum und Grinderbitch.

Vinyl Only!
250 copies, no repress!

Following on from the instant sell out release we had for our joint 13th release with Pirate Cutz, we’re back with number 14 featuring the +98 stalwart Ease Up George, alongside a remix from our very own L&F.



Don’t sleep on this one !

Der ganz offizielle Soundtrack (sowie Fat Mikes zusätzliche Filmmusik auf CD-Format) zum aktuellen NOFX-Doku-Feature "40 Years Of Fuckin' Up"! Vier Jahrzehnte zählten NOFX zu den lautesten, chaotischsten und am hartnäckigsten unabhängigen Bands der Punkszene. Nun bringen sie ihre ganze Geschichte - jede Fehlentscheidung, jeden großartigen Song und jede unglaubliche Anekdote - mit "40 YEARS OF FUCKIN' UP" in die Kinos. Es ist eine rohe, ungefilterte Dokumentation, die genau so genossen werden sollte, wie es sich gehört: laut, gemeinsam und auf der großen Leinwand (idealerweise im örtlichen Kino). Dies ist keine weichgespülte Rock-Doku, das hier ist das echte Punkrock-Leben. Die Drogen, der Alkohol, die Katastrophen auf und abseits der Bühne - und ja, mindestens eine Geschichte, die eine wahrhaft unglückliche medizinische Situation beinhaltet. Der 15 Songs umfassende Soundtrack enthält die brandneuen, bisher unveröffentlichten Singles "40 Years of Fucking Up" und "We Did It Our Way" (geschrieben als der allerletzte NOFX-Song, der jemals live gespielt werden soll). Des Weiteren sind sechs seltene und unveröffentlichte Tracks enthalten - wie etwa "Secret Society (Demo)", "On The Road (Demo)" und "La Bamba (Cover)" - sowie Live-Versionen der Hit-Singles "Linoleum" und "NOFX". Die zusätzliche Original-Filmmusik besteht aus 11 brandneuen Tracks, welche von Fat Mike komponiert und gemeinsam mit einem Orchester eingespielt wurden. Pinkfarbene Einzel-LP mit Soundtrack sowie CD mit Soundtrack & Filmmusik - das Cover-Artwork wurde von Illustrator Tokyo Hiro entworfen.

Der ganz offizielle Soundtrack (sowie Fat Mikes zusätzliche Filmmusik auf CD-Format) zum aktuellen NOFX-Doku-Feature "40 Years Of Fuckin' Up"! Vier Jahrzehnte zählten NOFX zu den lautesten, chaotischsten und am hartnäckigsten unabhängigen Bands der Punkszene. Nun bringen sie ihre ganze Geschichte - jede Fehlentscheidung, jeden großartigen Song und jede unglaubliche Anekdote - mit "40 YEARS OF FUCKIN' UP" in die Kinos. Es ist eine rohe, ungefilterte Dokumentation, die genau so genossen werden sollte, wie es sich gehört: laut, gemeinsam und auf der großen Leinwand (idealerweise im örtlichen Kino). Dies ist keine weichgespülte Rock-Doku, das hier ist das echte Punkrock-Leben. Die Drogen, der Alkohol, die Katastrophen auf und abseits der Bühne - und ja, mindestens eine Geschichte, die eine wahrhaft unglückliche medizinische Situation beinhaltet. Der 15 Songs umfassende Soundtrack enthält die brandneuen, bisher unveröffentlichten Singles "40 Years of Fucking Up" und "We Did It Our Way" (geschrieben als der allerletzte NOFX-Song, der jemals live gespielt werden soll). Des Weiteren sind sechs seltene und unveröffentlichte Tracks enthalten - wie etwa "Secret Society (Demo)", "On The Road (Demo)" und "La Bamba (Cover)" - sowie Live-Versionen der Hit-Singles "Linoleum" und "NOFX". Die zusätzliche Original-Filmmusik besteht aus 11 brandneuen Tracks, welche von Fat Mike komponiert und gemeinsam mit einem Orchester eingespielt wurden. Pinkfarbene Einzel-LP mit Soundtrack sowie CD mit Soundtrack & Filmmusik - das Cover-Artwork wurde von Illustrator Tokyo Hiro entworfen.