Two decades after its original release, Herbert Boese’s “Charger“ / „Hypnotoad” returns to vinyl.
Originally released as the second record on Jaktronik, the label Herbert Boese ran together with Marc Romboy, the two-tracker captures a very particular moment in German electronic music: stripped back, physical and functional, yet deeply rooted in the sound of Detroit.
At the time Boese was a resident DJ at Düsseldorf’s legendary Harpune club and one of the people shaping the city’s underground electronic music scene. His Jaktronik productions became an extension of that world, music made by a DJ, for the dancefloor.
“Charger” was an immediate standout. Marc Romboy selected the record for his chart at the time, describing its combination of heavy bass and Detroit-influenced strings as a track that made dancefloors scream.
On the flip, “Hypnotoad” goes deeper and more hypnotic: reduced, trippy and relentlessly effective, built around repetition, tension and groove.
Twenty years later, neither track sounds like a museum piece. Quite the opposite. In a time when a new generation is rediscovering the raw, minimal and machine-driven sound of the mid-2000s, “Charger“ / „Hypnotoad” feels remarkably current again.
The original tracks, remastered and finally back on vinyl.
PLEASURE ZONE PRESENTS ANOTHER TREASURE FROM THE PAST: IT'S PETER F. SPIESS - LUNAR SPECIMEN PART1 - ORIGINALLY RELEASED IN 1998 ON ALPHA! BACK IN SOLID BLACK VINYL END OF SEPTEMBER. DON'T MISS!
Who Cares A Lot? The Greatest Hits spotlights some of the biggest tracks released by Faith No More between 1987 and 1997. It includes massive hits such as “Epic”, “Easy”, “Evidence” and their first single “We Care A Lot.”
Presented in chronological order, this collection highlights the journey Faith No More went on, starting with tracks such as “We Care A Lot” and “Introduce Yourself”; tracks sung by original lead singer Chuck Mosley. After his departure in 1988, the band turned to current frontman Mike Patton, who’s first album with the band was the renowned “The Real Thing.”
Faith No More have maintained a cult status, being widely credited for developing alternative metal and having influence on bands such as Limp Bizkit and Slipknot. Founding member and bassist of Nirvana, Krist Novoselic, cites Faith No More as one of the bands who paved the way for Nirvana. This record presents a true celebration of Faith No More’s music and is on gold vinyl for the first time.
The band had previously announced a European tour in 2020, which had to be postponed due to the COVID-19 pandemic. These dates have now been rearranged for dates across the UK and rest of Europe during June and July of 2021, with an Australia and New Zealand tour to follow.
The album was produced by Nick Raskulinecz (Foo Fighters, Rush, Alice In Chains) who became a believer after just a few songs of a ’68 set while the band was touring with Stone Sour last year.
George Otsuka (or Ohtsuka), sadly passed away in March 2020, was one of Japan’s most renowned jazz drummers. ‘Sea Breeze’, released in 1971on the Union label, is his first record in quintet formation and is reissued here on a single LP housed in a gatefold sleeve.
And we can say that George Otsuka knew how to surround himself: Shunzo Ohno is on trumpet and Flugelhorn, Takao Uematsu on tenor sax and soprano, Takashi Mizuhashi on bass and Hideo Ichikawa on electric piano.
If all the tracks on this album are solid, included the astonishing cover of “Fool on the Hill”, it is especially “Sea Breeze”, the eponymous track opening the album that will make an impression. A super and long jazz-funk track where the five musicians, in perfect osmosis, leave each other enough space to express the full extent of their talent.
Recent copies of the original vinyl,which were only released in Japan have sold for £200-300.
La Soupe aux Choux, a movie as famous for its cast as for the main theme of its soundtrack is now available on vinyl!
Discover the mythical electronic folk melody, composed and played by Raymond Lefèvre. Nearly 40 years after its creation, this theme still brings us back to its film and continues to mark the minds and ears.
"Just As I Am" – wer spät seine Karriere startet, kann sich bereits ein ausdrucksvolles Persönlichkeitsprofil erarbeitet haben, auch wenn es so wie bei Bill Withers zunächst nicht von Musik geprägt worden ist. Withers diente viele Jahre in der US-Marine, jobbte als Milchmann und installierte bei einem amerikanischen Flugzeugbauer Toiletten in Jets, während seine selbst gefertigten und fleißig verschickten Demo-Tonbänder bei den Plattenfirmen im Abfluss landeten. 1971 folgte der steile Aufstieg, als der erfolgreiche Producer Booker T. Jones ihn ins Schlepptau nahm und ihm Top-Musiker wie den Gitarristen Stephen Stills, den Drummer Al Jackson und Donald 'Duck' Dunn als Bassmann ins Studio stellte.
In seinem Debüt-Album zeigt Withers seine universellen und ausgereiften Fähigkeiten als Sänger, Komponist und Interpret, die er in späteren Aufnahmen kaum mehr übertraf. "Harlem", ein ungeschönter Milieu-Funk über die die New Yorker Slums, "Grandma’s Hands", der obligatorische Rückblick in die Kindheit und die gemütslastige Ballade "Ain’t No Sunshine" mit ihrem gebetsmühlenartigen im Off-Beat kreisenden »I know, I know …« sind freigelegte musikalische Jahresringe eines erfahrenen Mittdreißigers, der endlich zu Wort kommt. Zu dieser Schallplatte des großen Songwriters mit dem kleinen Repertoire gibt es keine Alternative.
NOAHFINNCE’s ‘STUFF FROM MY BRAIN / MY BRAIN AFTER THERAPY’ is a collection of songs written before and after therapy.
The debut double EP collection features guest vocals from Chris Freeman of Hot Mulligan and builds the world of NOAHFINNCE’s unique, hyperactive brain.
The project tackles issues like depression, anxiety, ADHD, past trauma and the path toward prioritizing mental health.
Deeply personal, but always expressed with a cheeky, quirky, not-so-serious sense of humour, NOAHFINNCE showcases the big personality that has amassed a huge YouTube following and led
him toward being a leading voice in Trans/LGBTQ+ youth issues.
With songs like ‘AFTER THERAPY’ and ‘LIFE'S A
BIT’, NOAHFINNCE is poised to break out as this
year’s new star of the new wave of pop punk.
New pressing on black vinyl (500 units). Following the recently released and highly praised Trees 50th Anniversary box set on Earth Recordings, Trees reissue their debut album ‘The Garden of Jane Delawney’as a standalone release. It’s now over fifty years since Trees’ formation, a band who helped define ‘Acid Folk’, creating a sub-category in the lexicon of record dealers and music critics alike. “When we are talking about psych folk or acid folk, we are really talking about music like this by Trees” Stuart Maconie, BBC6 Music. Trees first album, ‘The Garden of Jane Delawney’ (1970) snuggles nicely into contemporary nu-folkies’ idea of the genre, and shares some of the pastoral-whimsy that characterised The Incredible String Band or Donovan, offset by some stunning interpretations of traditional material and Bias’ own songs. The record includes readings of ‘Lady Margaret’, ‘Glasgerion’, the old standard ‘She Moved Thro’ The Fair’, and the extended fade of the group’s own ‘Road’, presage the explosive instrumental duelling that would come to characterise the follow up album, ‘On The Shore’. // “The music’s arcane power remains intact” Mojo. // “A fantastic band” Record Collector. // “Spectacular” Uncut. // “Sublime” Shindig. // Timeless” Prog. // “It’s these two original albums that stand as pinnacles of form” The Wire. // Track listing: A1. Nothing Special A2. The Great Silkie A3. The Garden of Jane Delawney A4. Lady Margaret B1. Glasgerion B2. She Moved Thro' The Fair B3. Road B4. Epitaph B5. Snail's Lament
The first Jet Set series is back in print and now repressed on colored vinyl. St. Louis producer Bonus Points scores high with Off Topic, an outstanding four-song EP for the Cold Busted label. With previous appearances on Chillhop Records, Sundae Sauuce, Horizon, and others, Bonus Points delivers a dazzling take on boom-bap beats and future funk. Bonus Points is a graphic designer by day and, in turn, his musical compositions reflect attention to color, form, and detail. These beats are visual. The release’s title cut opens things with a spacey intro before delving into some serious sunshine lounge vibes. A cool breeze wafts through these melodies. “Zoned Out” follows with a distant, romantic guitar and a lonesome, pensive feeling that’s perfect for seaside pondering. Next up is the old-timey jazz bop of “Coffee Lounge,” recalling the St. Louis swing of yesteryear over some phat beats. Off Topic closes with “Back And Forth
Dire Straits' arresting self-titled debut arrived in the midst of punk's reign but couldn't have been further removed from the era's slash-and-burn style. Recorded in West London in February 1978, the band's tasteful, jazz-inflected set embraces folk, blues, and pub rock while also tracing a direct line back to the beat-oriented sound of early rock n' roll. Country and roots accents further distinguish the British quartet's stripped-down music from any 1970s peers, as does the transparent production, which has remained revered among audiophiles the world over – and which has never been better than on this meticulous pressing.
Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP version of Dire Straits features natural tonalities, superb balances, you-are-there imaging, deep-black backgrounds, and pristine clarity. Even if you've heard this album hundreds of times before, you've never experienced it with such lifelike sonics and premium richness. This numbered-edition collector's set immerses you within the smoky, laidback atmospherics of every song. This is how all vinyl should sound.
Crucial to every arrangement, Mark Knopfler's winding guitar lines emerge with supreme transparency and multi-hued textural detail. His intricate playing comes across as if it's being transmitted via his 60s-era Fender Vibrolux amplifier placed right before you. The cleanliness, dimensions, and live feel are that good. His bandmates, too, benefit from the extra groove space afforded by this 45RPM edition. Rhythms skate and swirl; percussive effects resonate with crispness and attack; the leading edges of notes naturally decay.
Dire Straits' strong, well-edited batch of original material further enhances the overall enjoyment and makes the record one whose pleasures go far beyond the organic sonics. Just as Knopfler's narratives pour forth with poetic and surrealist texts, the musical settings – an intoxicating combination of easygoing shuffles, back-hall boogies, and pop-honed ballads – mirror the old-fashioned soulfulness inherent in the classic recordings of the late 50s and early 60s. The lyrics are equally captivating.
Drawing from his time as a youth in Newcastle, Leeds, and London, Knopfler invests tunes with an autobiographical slant and emotional connectivity that become obvious the moment he opens his mouth to sing. "Down to the Waterline," "Wild West End," and "Lions" all feature colloquial touches that add to their reach. By extension, "In the Gallery" functions as a tribute to Leeds sculptor Harry Phillips (father of future Knoplfer collaborator, Steve Phillips) while the record's breakout smash, "Sultans of Swing," pays homage to struggling bar bands.
Through it all, Dire Straits performs with a subtle cool and clever poise that no band ever matched. Just how good is the chemistry? Bob Dylan heard the quartet and invited Knopfler and drummer Pick Withers to play on Slow Train Coming. But even Dylan himself didn't hear Dire Straits sound this magnetic back in its original heyday. Now, everyone can.
“Danny Elfman’s musical score was to die for, and
it was incorporated into ‘Wednesday’’s joyfully
bleak coming-of-age story so brilliantly.” -
Double LP on Purple Goth with Smoky Shadow
vinyl, with full colour gatefold sleeve and inner
sleeves.
Composed by four-time Oscar nominee, two-time
Emmy winner Danny Elfman (‘Milk’, ‘Big Fish’,
‘Men in Black’, ‘Good Will Hunting’, ‘Live from
Lincoln Center’, ‘Desperate Housewives’, ‘The
Simpsons’) and three-time Emmy nominee Chris
Bacon (‘The Tick’, ‘Bates Motel’, ‘Smash’,
‘Gnomeo & Juliet’, ‘Sherlock Gnomes’,
‘Immanence’).
Elfman also composed music for Tim Burton’s
‘Beetlejuice’, ‘Batman and Batman Returns’, ‘The
Nightmare Before Christmas’, ‘Mars Attacks!’, ‘Big
Fish’ (for which Elfman earned one of his four
career Oscar nods) and ‘Alice in Wonderland’,
among others.
Chris Bacon is a protege of the great James
Newton Howard, and won an HMMA for ‘Gnomeo
& Juliet’, which he shared with James and Bernie
Taupin (Elton John).
Online - Promoted through all Lakeshore Records social
media.
Genesis' Foxtrot is the band's fourth studio album, released in 1972. Regarded as one of the seminal albums of the progressive rock genre, it marked a significant milestone in Genesis' discography.
AllMusic's Stephen Thomas Erlewine says Foxtrot is where where Genesis began to pull all of its varied inspirations into a cohesive sound. The startling thing about the opening "Watcher of the Skies" is that it's the first time that Genesis attacked like a rock band, playing with a visceral power, he writes, giving the album a 5-star review.
"There's might and majesty here, and it, along with 'Get 'Em Out by Friday,' is the truest sign that Genesis has grown muscle without abandoning the whimsy. Certainly, they've rarely sounded as fantastical or odd as they do on the epic 22-minute closer "Supper's Ready," a nearly side-long suite that remains one of the group's signature moments. It ebbs, flows, teases, and taunts, see-sawing between coiled instrumental attacks and delicate pastoral fairy tales. If Peter Gabriel remained a rather inscrutable lyricist, his gift for imagery is abundant, as there are passages throughout the album that are hauntingly evocative in their precious prose." — AllMusic
This is the rare art-rock album that excels at both the art and the rock, and it's rightly celebrated for its enduring impact on the progressive rock genre, making it an essential listen for Genesis fans.
Analogue Productions has given Foxtrot the deserving full reissue treatment: Mastered directly from the original master tape by Chris Bellman at Bernie Grundman Mastering and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.
Originally released in 1981, La folie is the 6th studio album by English new wave band the Stranglers. Available for National Album Day on 1LP translucent pink vinyl for a limited run.
Djrum's first release since 2019, the Meaning’s Edge EP is an introduction to a whole new world. For the artist also known as Felix Manuel, it was created in the final stretches of six rather traumatic years work. Having carefully honed his techniques and aesthetics, and learned some hard-won emotional lessons over this time, finally he began to work in a quicker, lighter fashion – and to cleanse his palate a little by bringing in a fresh ingredient: his own flute playing. For listeners, though, it will serve as an appetiser, a way into the delights and complexities of this new phase of his creativity.
It’s a serious work in its own right, mind. The use of flutes – including Bansuri, Shakuhatchi, Western Classical, and synthesised all blending and blurring into one another – gives it a coherence and a sense of airiness that unites the five tracks over half an hour, however divergent their beats get. And as in all his music, Felix’s whole life is in here. Ethnomusicology studies, untold hours of DJing everywhere from the gnarliest squat raves to the most rarefied deep house clubs, explorations of his own neurological and emotional makeup, and the technical finesse of someone who is never not creating music or art, all roll into an experience that’s dazzling, delightful and keeps on giving.
Just the opening track ‘Codex’ alone touches on OG dubstep, Aphex Twin-like braindance, post-classical exploration, movie themes and more. The gentle tones and melodies that rise up out of it perfectly conjure Felix’s running theme of a protective bubble that provides a sense of safety and tranquillity even as the beats and acid gurgles and spurts all around it conjure up the slings and arrows of life’s difficulties.
The tone set, the EP moves through ultra-rarefied glass-like percussion in an almost ambient setting, hints of grime’s counterintuitive patterns, and even more hectic patterns influenced by Tanzania’s hyperspeed singeli style of dance music – but always with that perfect balance of chaos and control, unpredictability and protection. It rewards playing and replaying endlessly, it’s a profound and often joyous experience… and it’s only just the beginning. This is the return of a master craftsperson more focused than ever on his vision and vocation and ready to blow your mind all over again.
Mastered and cut on 140g black vinyl by legendary mastering engineer Matt Colton at Metropolis Studios, London. Pressed at optimal media, Germany.
Transparent grünes Vinyl! Wieder lieferbar! Zum ersten Mal überhaupt seit der digital-only Veröffentlichung 2011 erscheint nun der erste "Minecraft"-Soundtrack in physischer Form. Die Vinylversion enthält zwölf Tracks! "Minecraft - Volume Alpha" ist das Werk des deutschen Komponisten und Musikers Daniel Rosenfeld. Unter seinem Künstlernamen C418 erschuf Rosenfeld den weitreichenden Soundtrack und das lebendige Sounddesign, das das auf Voxel aufgebaute Universum von "Minecraft" zum Leben erweckte. Fans und Kritiker waren durch die Bank weg begeistert von seinen beatlosen, ausgewogenen Electro-Stücken. Die bekannte Gaming Seite "Kotaku" führte den Soundtrack unter der "Best Game Music" 2011 und nannte die Musik "beeindruckend beruhigend", während The Guardian die zerbrechlichen Stücke Rosenfelds aus Klavier und minimalistischem Ambient mit den legendären Künstlern ERIK SATIE und BRIAN ENO. In einem Interview destillierte Polygon "Volume Alpha" auf seine Essenz hinuntern: "Der Soundtrack ist nicht gebunden an die Retro-Ästhetik der Minecraft Graphik. Der Soundtrack setzt sich über sie hinweg. Das Album ist ein Versuch, die kombinierte Game/Music Erfahrung in etwas Himmlisches zu übersetzen."
The fifteenth album by Stevie Wonder, originally released in October 1972. As the second of five consecutive albums which made up Stevie's classic period, Talking Book found Wonder at the top of his game, combining tight song writing with warm electronic arrangements and effervescent vocal performances. Released in 1972 and sandwiched between the release of Music of My Mind and Innervisions, Talking Book saw the then 22 year-old Wonder enjoying more artistic freedom from Motown, taking over the production reins and playing most of the instruments himself. As a result, the sound of the album is sharply defined by Wonder's exquisite keyboard work, and his use of the Hohner clavinet model C on Superstition became widely regarded as one of the definitive tracks featuring the instrument. Despite making the majority of Talking Book himself, the album also benefits from the talents of guest guitarists Jeff Beck, Buzzy Feton and Ray Parker, Jr who featured on Maybe Your Baby and Lookin' For Another Pure Love.
KRK Rap Atak 2.0 is a limited-edition compilation that unites Kraków's old and new school hip-hop talent. Mastered by DJ Eprom and featuring artwork by Maciej Wroblewski, this album showcases the city's vibrant rap culture. Each vinyl copy is hand-numbered, making it a true collector's item. With exceptional production and a unique artistic identity, KRK Rap Atak 2.0 celebrates the evolution of Kraków’s hip-hop scene.
Tomu DJ’s debut on CST Imprint shares ten atmospheric wistful ruminations on being, living, and the spiritual undercurrents that alchemize these experiences into song. Hazy memories recalled through glitchy lush lullabies, moving through whispered skittery percussive states into warm melodic vocal confessions. Playful yet exacting productions ebb and flow between pensive indietronica pop interspersed with blissful club tracks that swing from ambient, drum and bass, breaks and house for the dancers. A sanguine daydream, to be free.
Her fourth album since 2021 but first on vinyl, Tomu’s deceptively simple compositions bely complex emotions. Minimal, every element just so, nothing unnecessary. Her ability to create ideal environments for collaboration on full display.
Released in 1982, Upstairs at Eric's is the groundbreaking debut album by Yazoo. It features the international hits ‘Don’t Go’ and ‘Only You’, alongside fan favorites ‘Goodbye 70s’ and ‘Midnight’ plus the haunting ballad “Winter Kills.” Produced by Eric Radcliffe and Yazoo, the album is a masterclass in electronic pop, blending Vince Clarke’s innovative synth work with Alison Moyet’s idiosyncratic vocals. Pressed on limited edition Crystal Clear Vinyl.
Hot on the heels of the double vinyl release comes this stylish boutique piece of merchandise using the classic Nas/Doom face design logo. Comes in multiple sizes and some very cool colours just in time for the years summer festival season!
This limited-edition remix of popular Hong Kong singer KENDY SUEN, featuring exotic breakbeats by top producer K.U.D.O, of Major Force
Productions, which relaunched in 2025, is now available in clear vinyl and special packaging!
This 7" remix of popular Hong Kong singer KENDY SUEN, by top producer K.U.D.O, of Major Force Productions, which relaunched in 2025,
is now available in a special edition!
KENDY's exotic vocals evoke danceable breakbeats over a dreamy sound reminiscent of the jungles of South Asia. A must-have limited edition
for all DJs from this club music legend! Mastered by Bernie Grundman Mastering
DJ Himitsu is a Tokyo-born, London-based producer and DJ, known for his understated approach and deep knowledge of Japanese vinyl and book culture. Following a debut EP of acid house on Australian imprint Lunatic Music in 2023, 'Exotic Animals' marks a new waypoint in Himitsu's artistic evolution.
On this debut full length, driving 303 basslines and kickdrums are traded in for obscure recordings and convoluted samples, which spiral and fuse to form shuffling, heady new compositions. Like shattered pottery reassembled into top-heavy sculptures with golden glue, 'Exotic Animals' shapes and juxtaposes opposing forms and fragments, with lolloping aplomb.
When not producing, DJ Himistu runs Caravan - a vintage Japanese record, ceramics and bookshop in London. It's with the same warmth, care and curiosity that he arranges his findings in the plunderous grotto of 'Exotic Animals'. In this way, stepping inside this work is like entering a remote trading post of instruments, memoirs and other sonic curios - as Himitsu stands patiently at the counter.
Recommended for fans of Jon Hassell, Giovanni Venosta, Discrepant.
RANDY'S 50th ANNIVERSARY CHAPTER ONE / VARIOUS - First time on vinyl for Chapter Two second part of the acclaimed previously CD only set that was released to celebrate the 50th Anniversary of Randy's Records. From Augustus Pablo's groundbreaking 'Java' to Carl Malcolm's UK pop crossover hit 'Fattie Bum Bum' Chapter Two showcase classic after classic from a all-star line up of the 70's reggae music greats including Black Uhuru, Horace Andy, Dennis Brown, Gregory Isaacs, The Heptones & Big Youth. Beautifully packaged with inner sleeves featuring rare photos and liner notes by reggae historian, Dennis Katz.
Nous'klaer Audio presents Nikos: A central figure and driving force of the Rotterdam nightlife, behind the scenes as well as on stage with powerful, ever-evolving live performances. Four tracks to make your body move, cut loud and going deep. The release marks the start of a new series on the label dubbed Spine. Supporting the head, connecting the brain to the body, a base for movement. The Spine series will focus on flow, while remaining energetic and driving. The sound design is bending and twisting, the solid sub bass will keep you grounded. The release comes in a special sleeve designed by Alice Vink aka Dirtydms.
Jasper James is back on CHIWAX with his 3rd release.
WAX TRAX VOL. 1 is the start of a new series from the Glasgow based artist.
High Energy House on vinyl - don't sleep on this!
Joe Fujinoki centered the compositions of his latest album Glass Torso round the idea of the fragility of the human body. Fujinoki described the narrative thread of the album as that of “holding the shape of a human body as if it might shatter like glass”. The precariousness of the body, the essence of the body as defined by Fujinoki as the torso, and the object relations between the boundaries of dialectical exercises pack themselves into his creative process.
Fujinoki recorded Glass Torso exclusively with analog synthesizers, stumbling in and out of structural loops to find space for accidental discoveries. The ten pieces of recorded material feel somewhere on the edge of typified form, feeling like a vascular system pumping in and out its undulating liquidities. Maybe this is the hollowed space held together by Fujinoki’s notion of the torso where you hear a microscopic world, dubby and generative. Fujinoki is adept at organizing this realm of subtle sound sources, giving proper considerations of shared tonal space. Seemingly, this handling of the precarity of sonic material elucidates Fujinoki’s mature attention to detail.
Ambient music genre tropes often affirm the listeners vessel for escape and dissociation. It provides an intoxicating allure by respite from an overwhelming exterior reality far outside the listeners controls. Here this space becomes apolitical, or its protest vocabulary softer and subtle. Fujinoki does not aim to tackle hyperobject topics on how to course correct the world, but he does something increasingly rarer to come across. On Glass Torso an alternative space is created not as shelter, but as a meditation on negotiation and compromise. This twenty eight minutes of audio lays down a foundation for imagination, for imagining how to negotiate the fragility of the self. Zoomed out, the implications of his negotiative sonics can be a playground for broader reflections on distributive care and attention.
Fujinoki says he feels “alert” to his physicality and placement in the world amidst vast digital cultures creating impositions on him and his surroundings. On Glass Torso he creates a concretized space on a vinyl record, where the virtual and the tangible antagonize one another that create the spectacle of the listening experience. This spectacle is a soft one, a considered one, and an utmost enjoyable one. Fujinoki juggles opposing forces brilliantly, and formulates an exquisite palette of soft passing music so he can also help the listener with the exquisite burden of their own Glass Torso.”
Parra for Cuva returns in 2026 with a new LP – Nacar – and world tour, marking the next step in his ongoing artistic evolution. Known for creating immersive electronic soundscapes that combine organic instruments with detailed, emotive production, he now extends his vision with a renewed visual language and live experience that deepen the connection between sound and space.
"US funky drummer Les DeMerle who is one of the representations of rare groove scenes. hisA1st album which was released in 1968 is finally reissued as vinyl for the first time!AMany killer tracks for diggers are included, such as ""A Day In The Life"" which is also known as sampling material of HIP HOP classic OC ""Time's Up"" and the US No.1 hit great funk numberA ""Aquarius"" by Fifth Dimension.A
In addition, great musicians were joinedAfor this great funk album such as Frank Foster, Lew Tabackin,AArnie Lawrence, Charles Sullivan etc...you can find how young Les DeMerle was a talented drummer even though he was just around 20 years old at that time!"
Hiroshi Sato's masterpiece “Awakening” has been reissued for the fourth time in a new color “Pastel Blue Vinyl”. The album was cut by world-renowned engineer Bernie Grundman based on high-spec sound data digitally converted to 96KHz/24bit from the original master tapes. The pressing was done at Sony Music's factory in Japan. This is Hiroshi Sato's fourth original album released in June 1982 after his career in Los Angeles, and his first album for Alpha Records. Featuring Canadian female vocalist Wendy Matthews and using the most advanced drum machine at the time, “LinnDrum,” this mellow and soulful album is a perfect fusion of Sato's sound sense and the atmosphere of American West Coast, and has transcended generations, continues to influence many musicians. Guest guitarists include Tatsuro Yamashita, Tsunehide Matsuki, and Yuji Toriyama! Limited edition.
Podcast platform and event promoter based in Milan since 2019, Clausura now launches its label imprint with a vinyl-only four-track VA. The release features contributions from the label’s founders, Brolpi and THEOREM, alongside guest artists who embody the project’s musical vision.
This first record sets the tone for the label’s future direction, shaped by its community, a spirit of musical exploration, and a strong focus on the dancefloor.
Indie shops only. Limited red vinyl rerelease. 500 for the World (just 80 copies for the UK) After falling out with Sir Coxsone, the legendary head of the Kingston label Studio One, Lee Perry first founded his own band and then, in 1973, set up his own studio in his backyard. What was born out of necessity developed into a unique success story. With both the Upsetters and the Black Ark, Perry made music history - most notably with the 1976 release of the album Super Ape, on which he made the genre of dub bubble and boil from the mixing desk in previously unheard ways. For Perry, the studio is like a living organism. Whether he truly experiences it that way or simply lets too much ganja go up in smoke, for Perry the equipment is organic, empathetic, and intelligent. The catch is that the results sound exactly like that as well. Long before sampling was invented, he layered tracks of deep basslines, echoes, and reverb with various self-recorded sound sequences – often played in reverse - on top of, into, and beneath each other. In other words, Perry was the first producer who made the music instead of the band. Among other things, this earned him the title ‘Salvador Dali of Dub.’
Trumpet player Freddie Hubbard's fusion jazz on Red Clay is something that the younger generations within jazz and hip hop admire and aspire to. The title track "Red Clay" was sampled by both A Tribe Called Quest on "Jazz (We've Got)" and Freestyle Fellowship in "Parkbench People", only to be covered by today's new vocal jazz singer José James.
It would take half a day to explain the intricacies of a song like "The Intrepid Fox". Red Clay seamlessly blends bop with soul jazz and fusion in a way that will remain unsurpassed for a long time. Red Clay was Hubbard's first album on CTI Records, after his long stint with Blue Note Records. Accompanying Freddie on this album are Joe Henderson (sax), Herbie Hancock (piano), Ron Carter (bass) and Lenny White (drums). The album was produced by Creed Taylor and recorded and engineered by Rudy Van Gelder in his legendary studio in Englewood Cliffs, New Jersey.
Mutant, in partnership with Universal Pictures, and Back Lot Music, are proud to present the premiere physical media release of 3x Academy Award®-Winning composer Ludwig Göransson's original soundtrack to Christopher Nolan's forthcoming motion picture The Odyssey.
The Odyssey, is a mythic action epic shot across the world using brand new IMAX® film technology. The film brings Homer’s foundational saga to IMAX® film screens for the first time and opens in theatres everywhere on July 17, 2026.
The Original Motion Picture Soundtrack from The Odyssey is available to order on 3x 140gm Black vinyl and 2x CD set.
Breakbeat Paradise Recordings returns with another heavy dose of raw funk and breakbeat pressure in the ever-growing Toxic Funk series – this time bringing together two seasoned groove specialists: The Fritz & Funkanizer. On Toxic Funk Vol. 21 the duo delivers two party-starting cuts packed with vintage breaks, heavyweight basslines and undeniable dancefloor energy.
Opening the A-side, Big Crush rolls in with chunky drums, infectious funk guitars and a soulful groove that feels tailor-made for packed club floors and sweaty late-night sessions. Flipping over to the B-side, Respect 900 turns up the heat with crisp breaks, old-school attitude and a driving funk workout loaded with signature Toxic Funk flavor. Both tracks blend classic funk roots with modern breakbeat production, perfectly capturing the spirit of the series.
With Toxic Funk Vol. 21, The Fritz & Funkanizer continue the tradition of delivering timeless DJ weapons for funk heads, breakbeat lovers and vinyl collectors alike. Another essential 7-inch release from Breakbeat Paradise Recordings, guaranteed to keep the grooves spinning and the dancefloor moving.
Ediciones Espectro Oculto returns with EOD003, its third release and the opening instalment of a new Split Series — a side each for two artists who deal in the shadows: Mick Wills & Blackmoon77.
Mick Wills handles the A-side in familiar territory, mining the margins of European DIY synth culture for cuts & edits. A1, “Six Six Six Sex”, resurrects a forgotten wave track laid down in 1983 by Venlo duo Carin & Henk, Carin Kollenbrander’s conspicuous, sexed-up vocals carrying the unmistakable spirit of the early-’80s minimal synth underground. A2 cuts “New York” by MCL a new beat staple first issued on German’s Boy Records, tightened into a playful, dancefloor-ready tool. Closing the side, Mick Wills turns to Folkvett’s “Kommando Kamprad” — originally out on Pater Noster Ltd. in 2012 — an ethereal, out-of-body drift that pulls the mood inward.
On the flip, Blackmoon77 doubles down on their signature across three originals: dark, raw and hypnotic wave built for bold & audacious DJs and fierce dancers.
All tracks mastered by Alden Tyrell.
As always, this is a one-time pressing of 250 copies — no repress, and no digital until the vinyl is gone.
Richard Sen debuts on Phantasy with ‘Space 1999 / Bergen Light Rail’, the first transmission from the illustrious DJ and producer since his vinyl-only solo LP, 2024’s ‘India Man’.
Deeply invested in electronic music for over thirty years, first at the intersection of London’s acid house and graffiti art scenes, evolving in cult duos Padded Cell and Bronx Dogs, and now generously sharing his formidable knowledge of club culture on London’s Do!! You!!! Radio, Sen is known to take listeners anywhere. On this occasion, he locks into two distinct influences from his winding creative journey, with ecstatic results.
The title of ‘Space 1999’ mirrors Sen’s own hand-painted accompanying artwork, yet its sonic influence sits much closer to our own orbit; A tribute to a slice of London nightlife history, Space at Bar Rhumba was a midweek party led by residents Luke Solomon and Kenny Hawes, whose selections helped sculpt the deep house scene at the turn of the millennium. ‘Space 1999’ transports contemporary dancers back there in no less than ten minutes, led by a deep bassline and swinging drums, while an intergalactic melody slowly takes hold, resulting in pure satisfaction.
‘Bergen Light Rail’ embraces a different kind of kosmische, looking to the northern light of space disco and following the tram route of its namesake to the Norwegian city’s beloved Club Ostre, riding a rhythm of pogoing toms and crashing drums. Conjuring a dreamy tête-à-tête between ever-expanding, heavenly synths and tightly-wound arpeggiators, Sen’s transmission to the stars is a deeply human call to dance.
Compiled onto one vinyl album for the first time, Landlocked (Numbers, 2026) presents Hallucinator’s 1999 debut album originally released under Mark Ernestus and Moritz von Oswald’s label Chain Reaction. Writing much surrounding the culture of what would be later considered ‘Dub Techno’ and its’ primary distribution center, Hard Wax, leads one down roads of shifting primary sources and decades old overheard smoke break recollections. Maybe brevity primes the listener to the paralinguistic to approach the sound on its terms; focusing on how things are uttered and not what.
This theory will remain unconfirmed. Hallucinator original press release left us with three or so gestures to consider over the years since:
“A new act on CHAIN REACTION”s distinct productional thesis. HALLUCINATOR are 3 people from he UK/London and this their first release ever- that’s all what the artists want to let us know…. This record is dedidacted to the memory of Stephen Lawrence!”
The first gesture is one of personnel. Since ’99, we’ve gotten to learn a bit more about the artists behind the Hallucinator project. All London-based, all writers, composers, and sound-designers— Anna Piva, Edward George, Trevor Mathison. These three seem to flow between parameters as aesthetic tactic and tacit structure to the work itself. For example, other collaborative shapes have come from this lineup including Flow Motion (Piva, George and Mathison) as well as the now defunct Black Audio Film Collective of which George and Mathison are founding members.
The second gesture is in the second line of the previous press release, “distinct productional thesis.” Much of Landlocked’s affect and sequencing seems to suggest an emotional study of entropy at the level of sediment. Rhythms play with space and capacity through polyvalence. The production chose subtractive vertigo, often switching and bringing back in elements that vanished from the track 6 minutes ago. Dubbing out so much of a track, one begins to associate sound akin to memories held in the experience of running your hand across a concrete block as a child. Felt (re)memberance in lieu of narrative tale. Using textures that flicker between colour and percussion, Hallucinator’s 12-tracker of loudspeaker perception music might be a mediation on the psychic wake of the Cold War. Intermittent strata of ambience and groove convects an active margin rifting event underneath a scorched geology of power in Western Europe. Again, this is all grapevine hearsay.
But it’s silence that voices the third gesture. The album’s sparse application of the written word touches on the ennui paradox of being landlocked on an island. Stuck. Trapped in the psychosis of occidental hypercentricism. A looping silence of Black British tragedy: “to the memory of Stephen Lawrence”. 18 year-old Lawrence was stabbed to death at a bus stop in southeast London by six white men in 1993. The rift of grief and implicit reiteration of modern subordination left by this hate act went legally silent for almost two decades until Lawrence’s killers were ultimately sentenced to virtually life in jail in 2012. Only six years removed at the time of Hallucinator’s initial invocation of rememory, the mind-numbing accretion of what Black Studies Professor Denise Ferreira da Silva might call “unpayable debt”, finds demonic ground across Landlocked, forming an aural sense of what continues to be refused.
The album ventures through spaces of overactive non-happenings: ‘Red Angel’’s factory floor dub flashes between smokestack and jungle visions, or the halfway mark’s stilted breath of ‘Dusk’ lending its mood to the sort of sedated dreams built from daily life under colony rule for instance. That linked rhythm links us back to our linked fates across Black and Brown folk is real, thus the syncopated signals through this work behave on the level of transnational radiotelegraphy, sounding out its windswept tension of a body negotiating a meat-grinder schema of linear production and wage for others to know that unspeakable thing can be broadcast in every drum tongue.
As the silence continues to reverb, we return to the sort of meaning-making that cannot be told but felt. Soothing to some, disturbing to others. Landlocked, a Rorschach test for a crumbled empire.
Raw Disco Traxx Vol. 001 is the second release on Complejo Records and the label’s first Various Artists compilation, born directly from Raw Disco, our series of parties in Bogotá. Five tracks bringing to vinyl the music played at these nights and the sound we have built on the dancefloor.
From the melancholy of Darkwave to the energy of Acid and Techno, from the roots of Post Punk to futuristic EBM, the compilation brings together Delectro feat. D TRON X, Alpha Sect, CIERŃ remixed by Neu-Romancer, Delectro & Munsinger, and Asymetric80.
Presenting this limited edition 300 picture disc vinyl on Warehouse Manifesto from label boss GAMADON with the original track TERMINATION and five amazing remixes. Each remix is a collaboration between two different artists. The original tracks is a mind-bending, hard-edged electro stomper, shaped with harsh, distorted industrial beats, warped synths and hypnotic bleeps that will make you bounce! Power & X-Tuder's menacing remix growls throughout and drenches you in dystopian dread. Nasty Boxes & Robodrum's cyber-punk banger is filled with cinematic soundscapes and 80's synth-lines, that invite you on an epic electro journey. Code Rising & Geon bring some Miami Bass to the table and provide us with a brutal, percussion heavy, monster. ADJ & Errorbeauty's remix is a metallic, blisteringly harsh journey across a desolate electro wasteland. EXM & Kim Cosmik end the proceedings with an experimental, IDM, glitchy, anthem.
12th Isle return to familiar downtempo, club-adjacent ambient and analogue house stylings with eight tracks from Japan’s sprawling metropolis. After a series of split releases and dancefloor focused EPs over the last decade, Tokyo based producer Igaxx lands on the label with their debut full length album to close out the year.
Influenced by leftfield electronic music from the 1990s such as releases on Elektrolux and Rising High, Igaxx (Shota Ikawa) works with multi-tracked hardware synthesizers manufactured throughout the 1990s and 2000s, embracing subtle variations and unexpected moments that emerge through performance. Allowing chance and unpredictability to become an integral part of the music, Ikawa’s process and sound design also speaks to the lighter side of vintage UK labels such as Irdial and Radioactive Lamb or the psychedelia-infused touch of the West Coast scene in the states. New Lights exists somewhere between the dancefloor and music for focused listening, carrying a sense of weightlessness and a quiet sense of humour, balancing immersive sonic environments and moments of sly unexpected detail and improvisation.
“To date, I have released several EPs on my own label in Japan as well as on labels across Europe. I am truly happy to finally present my work in the form of a full-length album. It has allowed me to express and unify a broader musical world than was possible within the format of an EP, and that, to me, is one of the album’s greatest meanings.”
Als Post Animal ihr neues Album IRON aufnahmen, waren zum ersten Mal seit fast einem Jahrzehnt alle sechs Originalmitglieder wieder zusammen im Studio. Das Ergebnis ist die Verkörperung von 30 Tagen voller Kameradschaft und grenzenloser musikalischer Entdeckungsreise – ihre erneuerte Verbundenheit ist unerschütterlich. Das Album nutzt die neue Schärfe, um Genregrenzen zu überwinden und erweitern, von Synthpop über Folk und Vintage-Radiorock bis zu spannungsgeladener Psychedelia. IRON versetzt den Hörer direkt in den Raum der Band – freizügig und experimentell, aber dennoch präzise gespielt. "Das Zusammentreffen all dieser kreativen Kräfte war wie geschärftes Eisen," sagt Sänger/Bassist Dalton Allison. "Wenn wir nah beieinander sind, machen wir uns gegenseitig besser."
Der dämonisch großartige Soundtrack zum erfolgreichen Action-Roguelite-X-Base-Management-Game CULT OF THE LAMB von River Boy (Narayana Johnson). 42 speziell für Vinyl gemasterte Tracks erscheinen auf 180g rot-schwarzem Splatter-Doppelvinyl im Deluxe-Gatefold, verziert mit Kunstwerken des Illustrators Carles Dalmau.
Revered worldwide for their love-fueled, technically adventurous all-vinyl b2b DJ sets, Maya Bouldry-Morrison (Octo Octa) and Eris Drew conceived Alchemical Sisters as a vehicle for creating music together. Alchemical Sisters describe themselves as "psychedelic chaos, acid rollers, and big beat, channeled through hardware instruments and animated by love, touch, rhythm, and spiritual fire." Their self-titled debut double album is forthcoming on Interdimensional Transmissions this October, just in time for Samhain XXVI. Alchemical Sisters was recorded in the forests of New Hampshire by Maya and Eris and mixed by BMG in Detroit in the Interdimensional Laboratory on high end hardware for ecstatically euphonic results. In the cold winter months, Maya and Eris emptied the master bedroom of their forest cabin and sealed it as an alchemical retort--a hermetic vessel in which a higher form could emerge. For a year they slept on the studio floor while, in white nightgowns and under the spell of mushrooms, they brought dulcimers and ancestral instruments into communion with turntables, twentieth-century machines, and new technologies. Alchemical Sisters is the substance crystallized within that vessel by their secret fire. They then brought their music to BMG in Detroit to meticulously mix their vision through hardware, in a high end studio environment. For two weeks at the height of winter, we shut out the world and focused on fusing their sonic vision within the Interdimensional Laboratory. Setting up their computer and sound card, BMG processed their tracking sessions through a high end mixing console, using transformers and tubes and the special properties of many machines to create a solid visceral sound out of a dream, to create a powerful euphonic ecstatic experience from their highly personal highly evolved music, whose sources could be both carnal and celestial. It was important to have their music connect before thought, to feel both the power and the gentleness of their sound, to have the texture and presence of their myriad influences unconsciously affect you. Watching them work together, the patience, the focus, the rigorous thought and discipline, the love, the space and the dedication afforded to each other was a genuinely inspiring thing to witness. They truly are Alchemical Sisters, and we are extremely proud to share their debut album on IT, and their debut performance at IT's Samhain XXVI. It truly is a loop point in time, a full circle moment.
here is a direct and enduring connection between the roots of Italian electronic music and the underground club culture of today.
Boldly pulling that thread are Marta Paradise, the duo from Martina Franca (Puglia, Italy), who have established themselves as a go-to name for anyone craving an elegant, refined sound that remains unapologetic.
For their latest release, they team up once again with a true legend: Fred Ventura. As one of the most iconic artists of early Italo Disco, Ventura brings an unmistakable vocal timbre that turns every track into an instant classic.
The result of this cross-generational collaboration is Call In The Night, a track that bridges authentic Italian heritage with the sharpest edges of modern Indie Dance. It delivers everything discerning clubbers live for: shimmering synths cutting through the dark, an octave-driven bassline that locks you to the dancefloor and a nocturnal, dreamy, relentlessly catchy vocal line.
Elevating the package even further is a stellar remix package featuring some of the hottest names on the current circuit, including Mystery Friend, Day Ventura, the unmistakable touch of the legendary Flemming Dalum, and Slow Motion label boss Franz Scala.
Far from a simple nostalgia exercise, Call In The Night is a forward-looking journey with a vintage soul that never falls into cheap clichés. Past and present merge to set the world’s most visionary DJ booths ablaze.
Written by GIANLUCA SERVETTI
HEY CABRERA
Owner of the Magazine “rockerilla”
Presenting the 5th edition of the legendary West-Coast House label, Pacific Coast House reissue series. Here we bring The Coastal Commission / Boing – The Conversation / Currency back onto one 12” for the first time on limited Orange Vinyl.
This is the reissue of original 1993 Rephlex double vinyl album, completely remastered from DATs by Beau Thomas, with the original artwork, and photography by Richard James. µ-Ziq's Tango N'Vectif was released in 1993, a classic year for auteurist electronic music that didn't always fit on the dancefloor. Written by Mike Paradinas in his late teens with some help from Frank Naughton, it still stands up really well today and its influence on electronic music in the decades since is obvious. Across an expanse of ideas, taking influences from early Aphex, Detroit Techno and UK Hardcore, Mike created this spirited, funky, jerry-rigged, lo-fi version of rave; with crunchy drums and a knack for melody that fell somewhere between John Barry and classic TV themes. Without owning a computer, Mike had been writing techno, house and industrial tracks on and off since 1990, playing live keys alongside drum machine rhythms on his 4-track recorder. µ-Ziq started when Mike linked up with Frank who was also writing dance-influenced music, and importantly owned an Atari 1040ST computer with Cubeat software. They pooled their equipment and Mike would travel up to Frank's house a couple of miles away in Wimbledon to record together. By 1992, and after a false start when a proposed EP for Mark Pritchard and Tom Middleton's Evolution label got shelved, Mike had started at Kingston University where he deejayed and met like-minded people including a couple of guys who knew Aphex Twin who was also a student at Kingston too, and they passed Aphex a demo of Mike's material. A few days later Mike got a message from his mum to 'call Aphex Twin' and he gave Mike some advice, and seemed interested in releasing something. So when Frank and his family went on holiday that summer Mike borrowed his Atari and synths and wrote the majority of the Tango N'Vectif album during that 2 weeks. By the end of 1992 a release with Aphex Twin and Grant Wilson Claridge's Rephlex label had been agreed - Aphex had moved to the house in Clissold Crescent where he recorded a lot of his early classic albums and Mike went over to collect his advance, in the form of his very own Atari computer.
Drop the needle on this latest dispatch from the tape vaults, and we are back in Chicago at The Curtom Studios in 1977. For instalment number five in the "Hutson Sevens" series, Home of The Good Groove Records are so very honoured to deliver this previously unreleased cut from Leroy Hutson—a true titan of soul music and an absolute master of his craft.
"Betting On My Love" carries that signature smooth orchestration we have come to expect from Hutson’s finest hours. It moves with a wonderful, breezy optimism. Hutson’s joyful, velvet lead tones skip effortlessly across the groove, wrapped in lush backing harmonies that instantly evoke the feel of the Hutson II
classic, "I Think I’m Falling in Love".
Now, a brief confession of pure, crate-digging indulgence: if tailored strictly for the dancefloor, the track arguably hits its logical peak and fade just past the three-minute mark. But to cut it there would strip away the raw human magic of the session. If you let the wax ride to the very end, the arrangement dissolves into a wonderful, lingering instrumental outro, culminating in the studio players purposely "clattering" their instruments in a moment of pure creative release. It is a brilliant, candid studio artifact that was fortunately preserved on the original master recording. Essential listening for the global soul family—do not sleep on this debut pressing.
For the flip we present Leroy Hutson’s 1979 cut “ So Nice”, a masterclass in late-70s soul music. A stand out track from the “Unforgettable” album and a vital reminder of Hutson’s unmatched ability to inject sophisticated romanticism into the bleeding edge of that disco era.
Slightly edited for the 7-inch pressing, up steps our remastering and editing maestro Mr Phil Ward. Phil always has the utmost respect when remastering and editing original content, ensuring that every second of the groove is fully respected and preserved. His stellar work here includes the studio recording of the three-count drum intro, never heard before now, leading into that meditative smooth groove layout.
It is an exquisite arrangement of simmering electric keys, nimble basslines courtesy of the legendary Keni Burke, and subtle bongo accents that collectively deliver a timeless masterpiece. Now available on 7-inch vinyl for the first time.
For its second release, the Parisian vinyl-only imprint Mustard & Pickles takes a bold step into the V/A format, a challenging one where balancing diverse styles is key—here, the gamble paid off. The EP kicks off with a stellar deep house cut from Berlin based Hustache, using a hypnotic vocal to lure us straight into 'That Beautiful Place'. Over on the A2, things get bouncy yet mysterious, featuring an addictive vocal loop that keeps you hooked. Flip the record, and M&P label head Tom Cler serves up a tailor-made break-to-4/4 weapon, packed with deep leads and the VA's signature : insane vocal lines. Closing out the wax, Numero 6 drops a gorgeous deep house gem. With its lush pads, quirky textures, and enchanting vocals, it feels like he’s casting a spell on the dancefloor—and we’re totally here for it.
If you don't know 'Clouds' then, quite naturally, you'd have to be living underground. The work of Venetian composer Gigi Masin went mostly ignored until Music From Memory's early-2010s reissue campaign pulled him and his ingenious ambient works out of the murk, among which many salvages include his now calling-card, 'Clouds'. Re-pressed astonishingly through P-Vine of all labels, this soul-quelling masterwork - first recorded in 1989 for a split release with Charles Hayward and mostly forgotten until said reissue - appears here at two various RPM speeds. The tune really does invite speeding up and slowing down at your leisure, especially if you're a dance music DJ's DJ who wants to prelude a set with a moment's iconic lushness.
Die Legenden der elektronischen Musik, Soft Cell, bestehend aus Sänger & Frontmann Marc Almond und Multiinstrumentalist & Produzent Dave Ball, veröffentlichen mit "Danceteria" ihr sechstes und letztes Studioalbum - zugleich ein Liebesbrief an das New York der frühen 80er Jahre, wo Soft Cell ihre ersten drei Alben aufnahmen. "Danceteria" ist ein großartiger, stilvoller und verspielter Abschied von 47 Jahren gemeinsamer Musikgeschichte von Marc & Dave als Soft Cell und präsentiert Darbietungen, die für die Karriere dieser Electro-Pop-Legenden prägend sind. Mit Anklängen an Sparks und die Pet Shop Boys sowie Texten, für die Lady Gaga töten würde, nimmt das Album den Hörer mit auf eine lebendige Reise durch einen Tag im New York der frühen 80er Jahre – eine Reise, die rund um die Uhr von der Nacht über den verschwommenen Tagesanbruch bis zum direkten Wiedereintritt in den Club führt.
"Danceteria" ist gleichermaßen eine Hommage an den verstorbenen, großartigen Dave Ball. Dieses letzte Album gehört zu den letzten Werken, an denen Ball als Co-Autor und Produzent mitwirkte, bevor er am 22. Oktober 2025 auf tragische Weise viel zu früh verstarb. Marc Almond führte die Reihe der Nachrufe an und bezeichnete Dave als "geniales musikalisches Genie". Die weltweiten Medien und Musikstars wie Neil Tennant & Chris Lowe (Pet Shop Boys), Daniel Miller (Mute Records), Cabaret Voltaire sowie Richard Norris aus Daves Techno-Duo The Grid würdigten ihn voller Anerkennung und Wehmut als Pionier der elektronischen Musik. Dave stellte "Danceteria" zwei Tage vor seinem Tod fertig, und ganz in seinem Sinne wurde die Veröffentlichung des Albums wie geplant durchgeführt. Auch aufgrund von Daves Tod muss "Danceteria" zwangsläufig das letzte Soft Cell-Album sein, wie Marc erklärt: "Ohne Dave kann es keine weiteren Aufnahmen von Soft Cell geben; das wäre schlichtweg unmöglich. Die traurige Realität ist, dass Dave Ball die eine Hälfte von Soft Cell war, und abgesehen von Live-Auftritten kann ich ohne ihn keine Soft-Cell-Songs schreiben."
r.hitect opens a new chapter with a refined vinyl release that signals both evolution and intention. Exploring subtle textures, intricate rhythms, and a deeper, more introspective sound, this record marks a shift toward a more personal sonic identity.
The release also introduces Croquis, a new label concept focused on capturing music in its purest form — raw, spontaneous, and essential. More than just a label, Croquis is a space for stripped-back expression and meaningful sound.
This vinyl sets the tone for what’s to come: minimal, emotional, and deeply authentic.
Originally released via the Leipzig-based underground label Minor in 2017 the two tracks on this super limited 7" vinyl release see the Japanese producer providing a glimpse into the deeper, more intriciate and surely more intimate side of his work throughout his now 25 years spanning career. Both tracks on this release are based on fragile, fluttering, sparse yet playful rhythmatic signatures evoking memories of late 90s / early 2000s Electronica x IDM releases and backed by most beautiful, icy and glistening atmospheres reminiscent of autumnal morning dew or calm iridescent glacial reflections caused by a rising sun in absolutely unscathed wilderness.
Never officially distributed before and only known and recognized by a few well informed selectors out there this is the first time ever this unrecognized gem is available to a wider audience, albeit in highly limited quantities.
Limited pressing of 100 single copies on white marbled vinyl.
The Original Mix was first released in 1996 on a single sided 12", the 4th release on the B.I.T. Productions label and became a club anthem in the North of England. In 1997, a single sided white label was released that had a Pumped Up remix by Maximum Project and in 1999, a remix by Da Fool, which incorporated the bell sound from "Meet Him At The Blue Oyster Bar" with a new melody was also released. Since then, it has become an 'Old Skool' piano anthem across the UK. In 2021, a 25th Anniversary double pack was released with 8 mixes including 5 New Remixes by Sarasota, The Crowdpleasers, Miguel Sanchez/Carlos Garcia and Pianohead. This 30th Anniversary Edition includes the Original 1996 Mix and Maximum Project 1997 Remix plus the Da Fool 1999 Remix and the Pianohead 2021 Remix on Gold Vinyl.
2026 Repress
Sun Electric - the legendary Berlin duo of Tom Thiel and Max Loderbauer - returns with Episodes, an enticing new album. While the pair has been active and creating over the years (remember their track 'Every Now And Then' on the 10 Years De:tuned compilation in 2019), Episodes marks their first album of original material in nearly 20 years. Now, with a renewed way of working together, they present fresh and captivating music on the Belgian De:tuned label, built from recordings made with the vintage 1960s Subharchord Synthesizer. Across 6 tracks, Sun Electric takes listeners on a strange yet wonderful journey through shifting moods and sonic textures, capturing their unmistakable sense of exploration and atmosphere. With kind support of the Studio for Electroacoustic Music of the Akademie der Kunste. Stay tuned!
The wonderful Ian Anderson at The Designers Republic created all the graphic work. Mastered by Mike Grinser at Manmade Mastering. Available on 180g vinyl and CD, with a separate digital release through all the usual online stores.
2026 Repress
Sun Electric - the legendary Berlin duo of Tom Thiel and Max Loderbauer - returns with Episodes, an enticing new album. While the pair has been active and creating over the years (remember their track 'Every Now And Then' on the 10 Years De:tuned compilation in 2019), Episodes marks their first album of original material in nearly 20 years. Now, with a renewed way of working together, they present fresh and captivating music on the Belgian De:tuned label, built from recordings made with the vintage 1960s Subharchord Synthesizer. Across 6 tracks, Sun Electric takes listeners on a strange yet wonderful journey through shifting moods and sonic textures, capturing their unmistakable sense of exploration and atmosphere. With kind support of the Studio for Electroacoustic Music of the Akademie der Kunste. Stay tuned!
The wonderful Ian Anderson at The Designers Republic created all the graphic work. Mastered by Mike Grinser at Manmade Mastering. Available on 180g vinyl and CD, with a separate digital release through all the usual online stores.
‘I Feel 4 U’ was written by Rui Maia in collaboration with Kyle Quest and marks a new chapter in the journey of Mirror People, the alter ego of the musician, producer, and DJ. The track further deepens the collaborative spirit and connection to dance music that have defined the project since its inception.
Recorded last year, the song blends elements of disco, funk, and electronic music in a composition shaped by rhythmic fluidity and Kyle Quest’s melodic vocal approach. João Cabrita contributes saxophone and backing vocals, reinforcing the track’s organic and collective character.
The 7″ only vinyl-exclusive B-side, “Gordon Glu,” is a journey through the warm and melodious trademark sound of Mirror People, drawing on classy synth-pop, Balearic influences, and organic, jazz-funk-inspired grooves.
Fall Collection pulls from the vaults. Four tracks, some long out of print, one never
before pressed, all of them worth the dig.
The A-side opens with Ty Tek’s Dirty Fusion, originally released on Gourmet Recordings
in 2005 alongside the Audio Soul Project remix two years later. Both have been
fetching serious money on the secondary market for a reason. This is tech house from
when that phrase still meant something, the walloping cadence, the sci-fi pads, the
seismic synths rolling underneath. You hear it once and it stays with you.
Departed by Wasted Chicago Youth follows. Justin Aulis Long and Mazi Namvar
started from a remix brief and promptly ignored it, building something new from scratch
in a single session. Organs, wailing lead, disco break, 808 subs, a plastic bass line
threading through all of it. Somewhere between an angry Metro Area and a more
psychedelic Jitwam, but really it’s just WCY doing what they do.
Love Thy Enemy by Wasted Chicago Youth appeared on the Chase The Devil EP back
in 2009. The bubbles, shuffles, and wobbling chords hold up, and the vocal samples hit
differently now than they did then.
ASP’s Cloud Dub closes the record. It appeared on Dubs Vol. 2 as a digital release in
2022 and has never been on vinyl, and that’s where the subsonic acid bass line and
the layered string, piano, pad, and organ groove finally get room to breathe. Deep
house the way Chicago made it in the early nineties. Bare, musical, and raw.
Track A1 written by Ty Tek. Remixed by Audio Soul Project
Track A2 written by Justin Aulis Long and Maziar Namvar
Track B1 written by Justin Aulis Long and Mazi Namvar
Track B2 written by Audio Soul Project.
Copyright Control
Fresh Meat Records 2026
It’s one thing to edit a song; extending sections, taking parts out, even adding a kick. Karizma uses his Knevrm!nd moniker to completely re-imagine tracks, producing completely new music and re-arranging vocals to create something completely different.
After building up a substantial catalogue of these in demand cuts we thought it was time to make some available on vinyl for the first time.
Knevrm!nd Vol.1 comes blasting out of the gate with four essential jams from the vault.
DJ Support Mark Knight, Dj Spen, Brian Tappert, David Penn, The Shapeshifters and many others.
Serge Funk’s "You Treat Me Right" EP on Groove Culture is a definitive masterclass in modern disco-house that belongs on every DJ and collector’s turntable. Impeccably curated by the Italian imprint Groove Culture, this four-track 12" vinyl balances future funk playfulness with crisp, contemporary production. It delivers high-octane dancefloor energy that rewards listeners both in a packed club and on a high-fidelity home setup.
HUMAN is a vinyl-only electronic music label based in Manchester, focused on music, art, fashion, and culture. We press records we believe in with no shortcuts.
HUM001 is the label's debut release, featuring E-Funk / Twisty by Scarper.
Scarper is a London-based producer and DJ known for blending melodic electronica, broken rhythms and left-field club ideas into a sound that’s entirely his own. Over the past decade, a deep catalogue of albums, EPs and remixes has taken shape, alongside work in advertising, gaming, TV and short film.
‘E-Funk’ is a hybrid club weapon - part 2-step, part house, part breaks, all energy. A certified floor starter that lives in the bag and lands every time, especially when the room hits its stride.
‘Twisty’ is probably the most dancefloor-ready cut, but the solid broken grooves dancing around acid bass lines and bleeps on each of these nine thumping tracks could work any room at the right moment.
Originally released in 2024 on KOWBOI, Klint’s Cheetah now arrives on vinyl for the first time. A raw and driving EP built for the dancefloor, bringing together groove, tension and hypnotic energy across the full record.
Fanzine Records presents Xuntanza Vol. VIII, the eighth instalment of our series For this new chapter, Promising/Youngster, Featherstone, Jauzas The Shining, Noamm and Kafkactrl come together for a five-track release that continues the spirit of Xuntanza: bringing together different artists and perspectives around a shared passion for Electro. Xuntanza Vol. VIII will be released on October 3, 2026 Pressed on vinyl and released by Fanzine Records. Five artists. Five visions. One Xuntanza.
Fanzine TR presents AUMATRA Vol. IV, the fourth instalment of our series For this new chapter, Marc Faenger, Lidvall, Ungar, Milo Raad and Hugo Rolan come together for a five-track release that continues the spirit of AUMATRA: bringing together different artists and perspectives around a shared vision of Techno. AUMATRA Vol. IV will be released on October 3, 2026, Pressed on vinyl and released by Fanzine TR. Five artists. Five visions. One AUMATRA.
Original, Oliver Lieb, M.I.K.E. Push, Moon Project, DJ Taucher remix
The iconic electronic music masterpiece “The House Of House” by Cherrymoon Trax is set to make an electrifying return to the scene. Originally introduced in 1994, this timeless classic, helmed by the talented trio Axel Stephenson, Yves Deruyter, and Franky Kloeck, has been revitalized in a new remastered wax format.
The eagerly awaited 2 x 12" double vinyl features mixes that have never graced vinyl before, alongside the cherished original and other mixes that have left an indelible mark over the years. As an added treat, collectors will also find the inclusion of the original tracks “Let There Be House” and “Conflictation.”
This exclusive edition is strictly limited to just 500 copies worldwide and features a unique Inside Out cut, pressed on stunning Starlight vinyl — a distinctive black colour with vibrant coloured speckles. The striking vinyl perfectly complements the sleeve, making this a truly special collector’s edition.
But this release marks more than just a return to the past. “The House Of House” also introduces a new upcoming single featuring the return of Axel Stephenson, bringing a legendary name from the original Cherrymoon Trax era back into the spotlight.
Brace yourselves for the resurgence of a true electronic music masterpiece — and the beginning of an exciting new chapter. Only 500 copies available — once they’re gone, they’re gone.
Mit der „TECHNO CLUB CLASSIX VOL. 1 - VINYL EDITION“ erscheint erstmals eine Vinyl-Ausgabe der beliebten Technoclub Classix-Reihe. Welche Tracks auf die farbige Doppel-LP kommen, haben die Technoclub-Fans selbst
entschieden: In einer Umfrage konnten sie für ihre Favoriten abstimmen. Das Ergebnis sind 13 Trance-Klassiker aus einer Zeit, die den Sound des Technoclubs bis heute prägt.
Mit dabei sind Chicane mit „Saltwater“, Nikolai mit „Ready To Flow“, The Thrillseekers mit „Synaesthesia“ und Veracocha mit „Carte Blanche“. Dazu kommen weitere bekannte TranceTracks in ausgewählten Maxi-Versionen und Remixen, unter anderem von Talla 2XLC, DJ Quicksilver und Rank 1. „TECHNO CLUB CLASSIX VOL. 1 - VINYL EDITION“ bringt die von den Fans gewählten Technoclub-Favoriten gemeinsam auf Doppel-Vinyl - für alle, die diese Trance-Klassiker damals gefeiert haben und heute noch feiern
Harvey McKay’s “Table for One” returns to Systematic Recordings for a special and deeply meaningful vinyl edition. Originally released digitally on Systematic, the EP captures the unmistakable sound of the Glasgow producer: powerful, hypnotic and uncompromising techno, driven by raw energy while always retaining the musicality and soul that defined Harvey’s work. Following Harvey’s passing in Spring 2026, this release inevitably carries a different weight. For Systematic and Marc Romboy, it is first and foremost a celebration of
his music and the lasting impression he left behind.
For the first time, “Table for One” will be available on vinyl, presented as a strictly limited 12” picture disc pressing of only 500 copies. The original version takes the A-side, while Marc Romboy’s remix opens the Bside, offering his own interpretation of Harvey’s distinctive sound. The release is completed by “Mycelium”, another powerful example of McKay’s ability to combine hypnotic repetition, precision and sheer dancefloor energy. More than a vinyl edition of an outstanding Systematic release, this record has become a tribute to an
artist whose music will continue to live on through clubs, DJs and dancefloors around the world.
FROM THE HEART OF STAR TREK – 60 YEARS
From the Archives – Vol. 2 Vinyl Box
60 Jahre Star Trek – die Jubiläumsreise geht weiter! Vol. 2 der zweiteiligen Vinyl-Box-Edition widmet sich der großen Kinofilm-Ära von Star Trek: The Next Generation. Enthalten sind die Soundtracks zu Star Trek: Generations, Star Trek: First Contact und Star Trek: Insurrection – drei prägende Klangwelten zwischen Jahrhunderten, Kino-Geschichte(n) und Emotionen.
Ergänzt wird die Box durch TV Series Soundtracks, eine Compilation mit musikalischen Höhepunkten aus dem StarTrek-Serienkosmos.
Enthaltene Vinyls:
· Star Trek: Generations
· Star Trek: First Contact
· Star Trek: Insurrection
· Star Trek – TV Series Soundtracks (Doppel-Vinyl)
From the Archives – Vol. 2 ist eine besondere Jubiläumsedition für Vinyl-Liebhaber, Soundtrack-Sammler und Trekkies – ein weiteres Stück Star-Trek-Geschichte zum Auflegen.
Der legendäre Dance-Klassiker „Bla Bla Bla“ von Gigi D‘Agostino erscheint jetzt als hochwertige 12“ Picture Vinyl – ein echtes Highlight für Sammler und Fans elektronischer Musik.
Diese exklusive Edition vereint insgesamt fünf verschiedene Versionen des weltbekannten Club-Hits, der mit seinem unverwechselbaren Sound und Kultstatus bis heute die Tanzflächen begeistert. Das aufwendig gestaltete
Picture Vinyl macht diese Veröffentlichung nicht nur zu einem musikalischen, sondern auch zu einem optischen Sammlerstück.
Ob als Erinnerung an die goldene Zeit der Dance-Musik oder als besondere Ergänzung jeder Vinyl-Sammlung – „Bla Bla Bla“ auf 12“ Picture Vinyl ist ein Muss für alle Fans von Gigi D‘Agostino und zeitlosen Club-Klassikern
,Bands Like It When You Yell `YAR!' At Them" war ursprünglich eine Promo-EP von Minus the Bear, die 2002 als Vorgeschmack auf das Debütalbum ,Highly Refined Pirates" erschien. Was als einfache Werbe-CD begann, entwickelte sich schnell zu einem Fan-Favoriten und erscheint 2026 erstmals offiziell auf Vinyl. Die Veröffentlichung zeigt die Band in ihrer frühen Hochphase und vereint ihren charakteristischen Mix aus Indie-Rock, Math Rock, Funk, verspielten Gitarrenfiguren und elektronischen Elementen. Neben frühen Albumtiteln enthält die EP mit ,Drop It Like It's Hot" auch einen exklusiven Song, der die kreative Experimentierfreude der Band eindrucksvoll dokumentiert. Heute gilt ,YAR!" als wichtiges Zeitdokument der Anfangsjahre von Minus the Bear und als perfekte Ergänzung zu ,Highly Refined Pirates", einem der prägendsten Indie-Rock-Alben der frühen 2000er-Jahre. Von Bernie Grundman für Vinyl remastert und mit bei 45 U/min geschnittenen Lackplatten trägt diese limitierte Auflage von 1.000 Exemplaren auf "San Juan Sands" Vinyl dazu bei, die aufregenden Anfangsjahre einer der beliebtesten Bands des amerikanischen Indie-Rock zu dokumentieren und zu bewahren.
