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Cover of a song made famous by Hot Butter, which reached the Top 10 in the United States in 1971 and the Billboard Hot 100 as well as being a hit in Europe, Australia and other countries. This 12″ version reworked in perfect contemporary house style is pressed on a beautiful orange vinyl.

Following its release in 1997, ‘Remember Me’ was cemented as an international dance hit, peaking at #8 in the UK singles charts, as well as #2 in the American Dance Chart. Instantly recognizable for the iconic Marlena Shaw vocal samples and down-tempo chugging bassline, ‘Remember Me’ has gained cult status throughout the world as a dance-floor classic. Releasing the original over 20 years ago, the incomparable track has only received one previous official remix with Dutch producer and DJ, Franky Rizardo now injecting new life into an already seminal track also

The Dutch imprint has now asked non-other than David Penn to add his magic to this sure-fire repeat player!

Madrid based David Penn get to grips with the Blue Boy classic and the results are spectacular! Some of you may have already heard it on David’s recent Live lockdown streams all over social media?! Now you have been hand-picked to help break this house anthems!

Legendary Dutch producer Stefan Robbers returns to De:tuned with his first new Terrace album in almost 15 years entitled 'Branches'. In the early 90s, the well-respected Eevo Lute originator built a firm connection with the first wave of Detroit producers and since then he has put the city of Eindhoven on the worldwide techno map. This new 10-track album represents the trademark Terrace sound, expertly produced throughout extensive hardware studio sessions and completely mesmerizing from start to finish. A classic yet innovative exploration of Motor City techno with a unique Dutch twist.

Al White and Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

RECORD STORE DAY EXCLUSIVE!

Late 70s Westcoast Yachtpop you can almost dance to!

Man nannte sie nicht umsonst die - Me Me Me Generation'. Die sehr von sich überzeugten bärtigen Musiker (und die Musikerinnen in wabernden Kleidern), die Mitte/Ende der 70er in L.A.'s Strassen rum hingen und sich selbst feierten. Der geschmackvolle Teil der Musik-Welt hätte diese Musikrichtung noch vor einigen Monaten nicht mit der Zange angefasst. Zu sanft, zu übertrieben, zu luxuriös, zu offen hedonistisch, zu ausladend. Zu unecht, zu gekünstelt, nicht authentisch, und dann noch diese unfassbaren Akkordwechsel...Aber ' Too Slow To Disco - vol. 1' hält sich nicht auf mit solchen alten Geschichten und Klischees. Wir alle wissen, sobald Musikgenres alt werden, scheinen die wichtigen, relevanten Teile auf einmal durch und diese Zusammenstellung versteht sich als Dokument eines fast vergessenen Teils der West Coast Musikwelt Mitte bis Ende der 70er Jahre.Es hat ein Jahr gedauert, die von uns ausgewählten, meist unbekannteren Songs aufzutreiben. Songs von Musikern, die damals gerade ihre ersten, oft wenig erfolgreichen Schritte unternahmen, bevor sie Jahre später mal eben eine Handvoll Welthits aus dem Ärmel schüttelten und die - grosse Welle' der Musik der kalifonischen Küste surften. Also, willkommen zu Volume 1 unseres sogenannten PRM (Personal Rediscovery Movement).

The cultured creative minds of James Simonson and Blair French reunite for this new Realities Remix EP on MotorCity Wine which was, in original form, recorded by Simonson in hotel rooms across Europe and the Americas while touring with soul legend Bettye LaVette. As such it takes in myriad global influences as well as evocative field recordings which get reworked in style. Blair French adds his touch with three remixes, firstly the anthemic 'Realities (Projector Remix),' then the more dance-driven 'Elektronolux Overture (Sunday Remix)' and the lush and downtempo 'Hannah (Remix)' featuring violinist Sonia Lee. Two originals 'Realities' and 'Elektronolux Overture' also appear on vinyl for the first time and sound superb.

2025 Repress!

The Godfather of Hardcore, Marc Acardipane, needs no introduction. His outstanding releases over the past 30 years speak for themselves. He has been instrumental in helping to create electronic music history, with countless well-known productions which have been unsurpassed by any other artist of this calibre. His timeless masterpieces have been and always will be heard at hardcore raves spanning the circumference of the Planet. With "9 Is A Classic", "Slaves To The Rave", "Pitch-Hiker", "Stereo Murder" and "We Have Arrived", just to name a few, he clearly proves who's the boss. "The Most Famous Unknown" is a well compiled collection of Marc's music, which showcases a mere portion of what he has composed and produced since the early nineties! The vinyl and digital selection of "The Most Famous Unknown" features remixes by Body Sushi a.k.a. VTSS & Randomer, Dasha Rush, Gabber Eleganza feat. Delirio, Jasss, Kilbourne, Minimum Syndicat, Nina Kraviz, Perc, Solid Blake, Stranger, Umwelt and VTSS, which all deliver excellent interpretations of tracks they have chosen to revamp. All original tracks have been re-mastered to the highest possible standard of quality.

REPRESSED !!

Minimal Wave presents the 2017 Repress of the full length LP by French duo Deux. Gérard Pelletier and Cati Tete formed Deux after meeting in Lyon in 1981. Their music can be described as minimal synth with stripped down rhythm compositions and suitably cold duets. Their influences are a perfect blend of Kraftwerk and French synthpop. Between 1983 and 1992, they released a cassette and several rare singles : Felicita / Game & Performance and Europe / Paris / Orly. They also appeared on the V/A BIPP LP (2006) and most recently on V/A The Minimal Wave Tapes: Vol 1 LP. The album features newly remastered demo tracks as well as their best studio recordings. Check out their Felicita video here. This LP is a hand numbered limited second edition, pressed on 180 gram vinyl, housed in a heavy matte jacket and accompanied by an insert. R.I.P. Gérard Pelletier (1952-2013)..

Eko, or Eko Roosevelt, is a Cameroonian composer, pianist & vocalist. He was born in Kribi in 1946, the son of a local Tribal Chief. Eko developed his love for music at church, later pursuing his growing passionwith music studies abroad, first in Dakar and then in Paris. After concluding his studies in France he went on to a recording career and between 1975 - 1982 released a number of full-length LPs, 7" singles and albums on cassette, before returning to Kribi to take over the role of Tribal Chief from his father, a role he holds to this day.

While the name "Eko" may not be immediately familiar to all, his music will be well known to many, from the DJs to the dancers, the heads to the home listeners. Evergreen classics like “Kilimandjaro My Home”, have remained a mainstay in the record bags & USB crates of disco jocks since its release in the late 70s, while numerous of his other crossover Afro-disco gems have been bootlegged, edited and remixed by a seemingly endless number of both greater & lesser-known producers who have all paid tribute to his work. Eko Roosevelt’s position in the ranks of Cameroon’s great musicians cannot be overstated. As a composer, songwriter, pianist and singer he has influenced generations of musicians both in Cameroon and France and further abroad, while he has written & arranged for many of the Cameroonian musical community.

Here Canopy, with the benediction of Eko himself, officially reissues two of his works that have not been rereleased since their first outings. Stylistically the two songs straddle the line between Afro-disco, funk and pop, with a slightly Balearic, almost AOR sensibility.

“Phone Me Tonight” is taken from a 7” record that has barely resurfaced since it was self-released in 1981 on the “Eko Music’ imprint. The song is an uplifting opus that demonstrates Eko’s deftness for creating catchy songs that succeed in their songwriting prowess and melody crafting, both on and off the dance floor. It is a stripped back composition that employs the key elements to great effect. The groovy bass line is underpinned by a tight Afro-disco beat as Eko’s unmistakeable voice draws us in and with a masterful use of repetition and hooks, creates a song that feels familiar from the outset, while being brand new to almost all listeners. As the song develops, the synth lines lift the song higher and higher, culminating in a euphoric transcendence perfect for elevating the mood of any dancefloor.

“Take Me As I am Now”, is sourced from Eko’s first album, “Nalandi” which originally came out in 1975 on Dragon Phenix. Here we have another fine example of Eko’s ability to hone compositions that blend thelines between pop song writing and more loopy dance floor orientated structures. The vocal hook repeats throughout the song, with only minor variations, making the song feel comfortingly familiar from its early bars. An instantly appealing bass line sets the stage for the sleek guitars and taut horn arrangements. The end result is a feel-good balance of melody and groove that makes for a timeless feel with a positive message!"

Powerful techno EP from the prolific Lee Holman, well known from releases on Ferox, KSR and Demarcation alongside his blistering DJ and live performances at Tresor, Corsica Studios, Nechto and Sub-scape (Antwerp).

The A-side starts with the signature track - the iconic big-room techno of “Plasma Wave”, and follows with charging klaxon-call techno in the form of “Tachyon”. Turning to the B-side, Dave Anderson turns in an emotional deeper house remix of “Tachyon”, before Lee closes out the 12” with the oceans-deep “Equilibrium”.

250 copies, hand-stamped and hand-numbered.

“Super solid EP from Lee. Pure techno… dark and mesmerising” (Russ Gabriel)

4 tried and tested big radio tracks in the "Rave House" genre - Hardcore, Rave & House collide with well known samples , big pianos and heavy basslines and sensible Bpms

Yecad welcomes BRYZ onto its roster with his ‘Arcane’ EP, comprised of three originals from the Romanian artist.

Over the past decade the Bucharest, Romania based producer and DJ, Bryz, has been etching his mark on the underground scene through releases on the likes of Tzinah Records, Storytellers Records, Nazca, Esente Records and many more, as well as being a prominent DJ on his home turf in Romania and bringing his sound further afield throughout Europe.
Here we see BRYZ deliver his latest collection of works via Yecad, home to music from the likes of Barac, Dana Ruh, Constratti, Sepp and more.

Opening the release is the title-track ‘Arcane’, a hypnotic excursion through ethereal voices, spiralling delays, immersive atmospheric textures and a crisp, shuffled rhythm section.

‘Calida’ follows next to open the B-side, laying down raw drums, intricate, wandering resonant synth licks, weighty sub bass swells and plucked guitar licks throughout before ‘Iridian’ concludes the release, employing plucked bass notes and sweeping pad lines alongside bubbling arpeggios, oscillating synth flutters and shuffling, reduced percussion.

Saphileaum (the pseudonym of Georgian multi-media artist Andro Gogibedashvili) is inspired by Georgian myths and legends, esotericism, earth, unity, truth and the secrets of the universe.

Over the past few years, Saphileaum has released a diverse array of albums and EPs on labels such as Good Morning Tapes, Oslated, Silent Season, Mule Musiq and Slow Life, each one reflecting his unique blend of cosmic expansiveness, tribalism and meditative storytelling.

On his first collaboration with P&F Recordings, he draws inspiration from mysticism, self study, ancient civilizations and their various cultures and mysteries.

These musings unite to create an immersive sonic experience that traverses cosmic and tribal landscapes, bringing us 'TAMALUNGMA'.

Here, the listener enters a mystical realm-space, where nature's precious spirits guide you through a journey of transition. As you walk this path, their wisdom and presence illuminate the way, helping you move closer to your true purpose.

Small Great Things boss Luca Olivotto is back on his own imprint with the four track ‘It’s Too Dark’ EP.

In recent years, Italy via Berlin artist Luca Olivotto has been etching his mark on the underground House scene through his labels Small Great Things, Endless Music and recently minted At A Glance, as well as his Small Great House events series. Here the story continues with a fresh collection of works from the prominent House producer and DJ.

Opening is title-track ‘It’s Too Dark’, a six minute excursion through bright piano keys, swinging drums, soulful vocal stylings and a bumpy bass hook. ‘It’s Over’ follows and dives into deeper House territory with warm strings, organ stabs, and choppy subs intertwined with crisp drums, soft Rhodes and cut up vocals.

Opening the flip-side is ‘I Found You’, upping the energy levels again with a high energy melodic drive, hypnotic vocal lines and heavily shuffled drums. ‘See Thru’ then concludes the release and leans into a more Disco-tinged House realm with intertwined funk samples, sweeping filter work and intricately processed vocal chants running atop a sturdy rhythmic foundation.

A retrospective of collaborations and remixes by composer/producer David Javelosa (Los Microwaves and Baby Buddha). Featured artists include L.A. punk producer Geza X, Chip Kinman of Rank and File and the Dils, Bebe Barron of the Forbidden Planet soundtrack, Japanese power pop band Orange Kandy, upcoming synth artists Pink Stiletto, and more. Each track is unique in it's back story as well as its sound. Offered as a limited run of 300 copies, this collectors item is sure to become a rarity.

In celebration of Pride Month, Kinga struts to Dark Entries with “Sexy Boy,” a steamy Canadian pop gem. Inspired by gender-bending pop stars of the 1980s like Boy George and Janet Jackson, a young Tomas Fussey aka Kinga ditched his “schoolboy appearance” to adopt an edgier, androgynous style. Immersed in Calgary nightlife, he became acquainted with sexy synthpop and disco songs like Madonna’s “Everybody,” Divine’s “Native Love,” and the Flirts’ “Passion” - songs which still linger in his mind. He began writing music: “It was 80s. Everyone was making a record. So I made one too.” In 1988 he teamed up with keyboardist Dan Madison and veteran producer Bob Gallo to make “Elevator Operator” and “Sexy Boy.” Kinga was surprised when the B-side “Sexy Boy” garnered substantial radio play from CFNY in Toronto. But he notes: “They saw the obvious... My physical appearance supported the lyrics.” In 1989, Amok Records backed a new “Late Night Dance Mix” version of “Sexy Boy.” Almost every part was re-recorded or remade, including Kinga’s vocals. The new version surprised Kinga with its slick production and moody atmosphere. Sales were disappointing, and Kinga stated “It was not the sound of the moment.” But these deeper house-inflected grooves feel like the sound of our current moment. This release of Sexy Boy includes five different mixes, including the original 7” mix, three versions from the 12”, and the previously unreleased “TV Mix”. Sexy Boy comes sleeved in a reproduction of the original artwork and includes an insert with liner notes and lyrics, as well as an 8x10 glossy press photo of the sexy boy himself.

On Soft Wish Oslo based soundartist Erik M merges noisy home recordings of acoustic instruments with fluctuating bass elements and his own voice to create a personal, muted landscape that carries notions of longing as well as contentment.

This is Erik Mowinckel’s first release on Kora and the first music arriving under his new moniker Erik M

I turned the page and will never forget what I then saw.

The fountain pen scratched against the paper, whistling like fur on an abandoned tire in the
middle of the night at the centre of the universe in the core of whatever it is I’m trying to believe.
I am a patient human and I live and breathe. I know this for sure.

I read about a whispering stillness of the Stadsnacht as my blood levels gradually even out again. Beneath the ink, the words take shape. This is a secret correspondence with the Book of Change – a dialogue not meant for eyes or ears, but for the soul. Are you still with me?

The Snake Rope tightens, its Coils Dive into the deep well of patience, where waiting is an art, a
dance with the unseen. The Scientists Say we should measure, predict, contain—but here, in
the shadow of the deepest of nights, the only truth is the Celebration of Ignorance. Love is the
force that binds as it untangles the invisible thread that refuses to sever. The next page quotes the mystical figure Daim: “Never Dissever Us.”

There, in the dawning light, the Dageraad reveals the Icequeen in her frigid throne, the Topiary Man standing guard in his sculpted silence. In this quiet landscape, I wait. I continue to wait, for I have good fortune on my very hands.

If You Won’t, I Will.

Can we exhibit the power to possess conformity? Can we redeem the benefits of crossing the water? Yes. The choice, the act of breaking through the barrier of convenience, is both a burden and a liberation.The words swirl, abstract and concrete, like action and inaction. The Book of Change is a paradox to puzzle over.

The evening cool rests its shoulders on my fluffy neck. I inhale as my pen lifts itself from the
paper once more, shedding ink as though it were tears of joy. I know that I have touched the
edge of something vast, something that moves beyond the grasp of reason into the heart of the
I Ching, the ever-turning wheel of change. This is the correct orientation. This is the vivid
imagery of clouds falling from the heavens and into our laps. This was never meant for your
ears. This was meant for you to feast on as the seasons bestow upon us

MME circles back to the mothership with their highly anticipated second release, this time guided by Philadelphia-based astral pilot, Sweater. This four-track EP delivers a perfect blend of deep, driving rhythms and futuristic soundscapes, designed to assist your escape from the gravity of a distant future. The opener, 'Mighty Morphin' sets the tone nicely with a housey track, lighting up the night with rays of starlight followed by 'Body Scan' with an otherworldly bassline and atmospheric elements that ebb, flow, and weave through late-night magic. Flip over to the B-side where 'Escape The Future' plunges into the dub-laden depths of hyperspace, wreaking havoc on any dance floor in its path. Closing the journey is 'Hydro Pump,' a pure electro tour de force with playful yet dynamic synth work and intricate percussion, culminating in a well-balanced release, primed for the most arduous celestial voyages.

Another release, another artist in our Kooky family. Minube is a DJ and producer from Moldovia, an artist that needs no introduction due to lots of exceptional releases on top interesting labels and hours spent spinning music on the best clubs of Moldovia and Serbia. Through this EP Minube takes us straight to the dance floor. 2 original tracks by the Moldovian are quite raw, yet very dynamic and well-crafted. The other tracks (collabos with Andrey Djackonda and Osvit) show slightly different shades of minimal, but are also intriguing in terms of sound design and structures. The EP is quite diverse musically and it's up to a DJ which track to spin in a club, but it's a definitely release not to be missed in the months to come and more.

Italian duo USAW join Fusion Of Thought for 'Not A Reason EP'! The prolific duo has gradually carved out a position in the modern techno space with live-performances at Tresor and OHM, as well as outings on established labels such as Clergy, ARTS, OECUS and their own USAW label. On 'Not A Reason', USAW deliver a distinctive slice of techno: unrelenting and forceful, yet with a particular sense for melody and hooks. Seasoned producer and Clergy label founder Cleric joins the cause with a remix, transporting original 'Illogical Behavior' to a new dimension.

Joseph Salvador's impressive young Universo Positivo label returns with a new EP from the boss himself alongside Europe mainstay Orlando Voorn. The dynamic duo serve up four cuts that perfectly embody their timeless sound. Salvador has been at the heart of the underground since the 1990s. He is deeply involved on the scene on many different levels from running the cult Tomorrow Is Now Kid! nights in Amsterdam to labels like TINK Records and also working as part of house acts like Black Tulip & Wendell Morrison, Thyone Girls, Digital Cartel and many more. His music always operates at the sharp end of the spectrum and has come on labels like Tribal America, EMI and Sony Columbia. Orlando Voorn is equally as vital to the evolution of techno. His sound famously builds a bridge between Detroit pioneers and the contemporary European sound and he has worked with greats such as Blake Baxter and Amp Fiddler. He recently remixed South Bay Jams on this label and has also dropped music on the likes of Rush Hour, R&S and Housewax. 'Every Man Loves' brings lavish disco strong stabs to a mid-tempo groove that is packed with warmth. Funky bass riffs and jumbled toms all bring it to life next to an exquisite diva vocal that brings the soul. 'Slap My Funk' hits harder with raw drum loops and a touch of filter house energy. Chopped vocal stabs keep things driving with more live funky bass next to jazzy chords. The steamy 'So Well' is a fulsome house sound with big trumpet stabs and smart vocal samples worked into a heavy, party-starting but emotional groove. Last but not least, 'Break It Down' layers up freeform Rhodes jams with crashing drums and smeared synths to make for a real dance floor weapon. These are four potent and expressive new house gems from this dynamic duo.

Limited yellow coloured vinyl!

Machine Girl's debut album celebrates its tenth anniversary with a long-awaited reissue, which marks the first time it arrives on CD as well as vinyl. Originally released in 2014, WLFGRL fused footwork, jungle, digital hardcore and rave into a chaotic, euphoric sound that helped launch a global underground movement. The album's packed with raw intensity and plenty of breakcore influence so it introduced a new generation to extreme electronic music and to celebrate its return, a one-off livestreamed show at Brooklyn's Trans-Pecos accompanied the release. As we are reminded listening back now, WLFGRL is a real high-water mark in outsider music culture.

Terror/Cactus returns to Names You Can Trust for the first time since his debut on the label's Split Single series from 2020. Since then, the Seattle-based Martin Selasco has been steadily cultivating his individual brand of futuristic electronic cumbia, playing a multitude of shows and festivals, as well as releasing a handful of singles and a self-produced long-player, Forastero. The Buenos Aires-born Selasco embodies the new wave of cumbia that has always been championed by his home country: machine-forward audio/visual performances combined with a mixture of bugged out digital folklore and live instrumentation, and in the case of this latest recording with NYCT, baritone and clarinet from Seattle-collaborator Kate Olson.

Right on time once again, the fifth outing on Punctuality welcomes Irish producer Drua to the fore. In typical Punctuality fashion the release draws influence from the canon of golden era late 90s and early 2000s dance music with an entirely modern production aesthetic, engineered for big rigs and sweaty dancefloors alike.

Nightfire is a fully realised vision of Drua’s sound that could best be described as contemporary hard house. All four tracks are laden with punchy, rolling basslines, detailed low end, vibrant stabs, sultry vocals, undulating rhythms and sprinklings of quintessential club sparks.

The nouveau handbag styling of UP kicks off the EP. Stuttered vocals, M1 organs and solid grooves are fused together with clever sampling that is sure to make this one a hit for the festival season of s/s ‘25, as early support from the likes of Roza Terenzi, Confidence Man, Spray, Sally C and Maara would indicate.

Job 2.3 has all the elements of a Punctuality anthem and maintains the big tune mood of the EP: skippy bass notes, low end wubs, subtle breaks, catchy vocal hooks and precise drums nail the brief in executing this prog-hard-house hybrid heater.

On the flip, Nightfire nods to classic leaning deep house through a peak time lens. Introspective pads make way for pulsing subs, sensuous vocal chops and hip catching basslines. This is one of those tracks that can shift the arc of a DJ set to the next level. Big tip here.

The EP concludes with Arch In Ur Back which has all the elements to work a dancefloor: multiple grooves, rolling breakbeats, party starting vocals and the modern sound design that punctuality has gained worldwide notoriety for. An all killer no filler EP in the form of four well rounded club tools from Drua that are sure to be mainstays for discerning DJs and Punctualists

Repress! on Red Coloured Vinyl

The interstellar cosmonauts of Staatseinde create a theatrical mix of pulsing electro with nostalgic hopeful synthlines, all performed live with synthesizers, a sequencer and tantalizing vocals. From Wave to EBM, from NDW to Punk and everything else in and out of the box. It is like walking into a club meeting Kraftwerk on speed and The Sex Pistols on acid.

Their new release “De Nieuwe Golf” is characterized by dystopian prospects and hopeful sounds, confirming Staatseinde’s name as the founder of the “Neue Niederländische Welle”, in other words the New Dutch Wave.

The uplifting italo rifs in opening track “Grauw” take you on a journey through a gray world in which color cannot be taken for granted. Minimal wave track “Einzelganger” makes you feel like an outsider who can’t keep up with society. “Geef Me De Tijd” sounds like a schizophrenic dreamer swinging casually, but ending as a hard hitting track. Dystopian doom and pessimism is captured in EBM/techno floor filler “Doembeelden”. The raw West Coast Sound of Holland infused “La Haya” is a tribute to the city of The Hague which calls out on everybody to get wasted. The epic ode to space travel “Ruimtevaart Vooruit (2022 Refix)” is back in a rendition inspired by Rude66’s 2010 remix version. “Isla Inutile” is a dark and tropical delirium. In the hopeful “Alles is Weg”, Staatseinde takes you from the downfall on the way to…?

Staatseinde’s “De Nieuwe Golf” holds up a mirror to humanity…progress has not helped us any further. There is hope…but will this new wave be on time? Or is it already too late?

When you’re running a label, a demo occasionally comes across your desk that makes you reconsider everything you thought your label was all about. For Balmat, such was the case with this stunning album from Stephen Vitiello, Brendan Canty, and Hahn Rowe. It sounds like nothing we’ve released so far—and that very otherness opened up a whole new world of possibilities for us.

Fans of ambient, experimental electronic music, and sound art will be familiar with Vitiello, a New York native, long based in Virginia, who has collaborated with a cross-generational list of greats: Taylor Deupree, Steve Roden, Lawrence English, Tetsu Inoue, Nam June Paik, Ryuichi Sakamoto, Pauline Oliveros, and many more. On labels like 12k, Room40, and Sub Rosa, he has explored a wide range of minimalism, microsound, lowercase, ambient, improv, and other styles. But this album is something different. It may begin in ambient-adjacent territory, but it quickly veers off, and it just keeps zigzagging, taking on elements of krautrock, post-punk, dub, and the groove-heavy interplay of groups like Natural Information Society and 75 Dollar Bill.

This stylistic turn is thanks in large part to Vitiello’s choice of collaborators. “We’re coming from three different schools,” Vitiello says: “sound art, art rock, and punk rock.”

Active since the early 1980s, Rowe—a violinist, guitarist, and producer/engineer—has played with, or manned the boards for, a frankly jaw-dropping list of musicians: Herbie Hancock, Gil Scott-Heron, the Last Poets, Roy Ayers, John Zorn, Glenn Branca, Swans, Live Skull, Brian Eno, David Byrne, Anohni, R.E.M., Yoko Ono, and many more. But he might be most closely associated with Hugo Largo, a one-of-a-kind New York quartet—two basses, vocals, and Rowe’s violin—that in the late 1980s helped lay the groundwork for what would eventually become known as post-rock.

Canty, of course, is the legendary drummer of Fugazi, the visionary DC post-hardcore group, as well as Rites of Spring before them, and, currently, the Messthetics, a Dischord-signed instrumental trio with guitarist Anthony Pirog and Fugazi bassist Joe Lally.

Vitiello’s trio first collaborated on First, a 17-minute piece released on the Longform Editions label in 2023. Second picks up where the freeform drift of First left off, channeling the trio’s exploratory energies into more intentionally structured tracks and—in a real first for Balmat—some almost shockingly muscular grooves. “Sometimes my projects are more conceptually driven,” Vitiello says, “but I think this was more musically geared. I just wanted to open up the references and bring in an incredible drummer, bring in some melodies, and I’m sort of the center.” But his collaborators, he stresses, are “vastly creative in making anything I might suggest better.”

Like its predecessor, Second took shape in phases, shifting between improvisation and collage. Vitiello laid down the skeleton of the music at home, sketching out initial ideas on Rhodes keyboard and acoustic and electric guitar; he then fed the parts through samplers and his modular system, recording 10- or 20-minute jams. Once he had edited them into more structured forms, he hit the studio with Canty, who added not just drums but also bass and piano; finally, Vitiello took the results of those sessions to Rowe, who played violin, viola, electric bass, and 12-string acoustic and bowed electric guitar, and assisted in some of the final structuring and mixdown.

A few more surprises along the way: Reanimator’s Don Godwin, the studio engineer where Vitiello recorded with Canty, contributed what he calls “resonant dustpan”; and none other than Animal Collective’s Geologist, who just happened to be in the studio that day, sits in on hurdy gurdy on “Mrphgtrs1,” the album’s gorgeous, stunningly atmospheric drone closer. “I love these chance encounters,” Vitiello says. “Somebody I admire, a group I admire—that was an unexpected gift.”

An unexpected gift is a great way of describing Second as a whole: three veteran musicians venturing outside their usual zones and finding a new collaborative language together. The results can’t be neatly slotted into any given genre; they belong not to any given category, but to the spirit of conversation itself.

Drumcode veteran Oscar L joins forces with Metodi Hristov, a newer recruit to Adam Beyer’s revered techno label, for their collab two-track EP ‘Gravity’. Madrid’s techno/tech house maestro Oscar L has a long association with Beyer’s twin labels Drumcode (‘Again’ LP, 2023, + performing at DC events) and Truesoul inc. solo EP ‘Vulture’ (2022), Dosem collab ‘Aircargo’ EP (2023), ‘Yapper’ w. Max Styler (2024). As well as Adam Beyer, Oscar’s had support from Richie Hawtin, Nicole Moudaber, Joseph Capriati… and also released on Knee Deep In Sound, Stereo Productions, We Are The Brave et al. Bulgaria-based Metodi Hristov brought his unique techno sounds to Drumcode last year, with his debut DC 2-track EP ‘Build To Destroy’. Both tracks, title track and ‘Flatline’, were included in his Sept 2024 Drumcode Radio Studio Mix live from Sofia. With support including Carl Cox and Enrico Sangiuliano, Metodi’s career is swiftly up and coming. ‘Gravity’: the title track hurls itself into the fray with fast, heavy techno beats, reverb-rich growly hoovers, while a contrasting sweetly melodic chopped and processed female vocal holds its own against a dystopian dialogue between two sinister machines in dark, distorted, industrial juddering synth. There’s a lot going on, dark, powerful, and dance-demanding. ‘Up & Down’: full-on attack from the first nanosecond, with very fast beats, layers of percussion and a dark male voice intoning the title riff. An insistent, reverbing, ‘hammered strings’ synth melody competes with a melodic second voice, high and sweet bringing light to very dark shade. ‘D’you feel it now…’, you surely will.

Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. His much sought-after and stunning self-titled album from 1970 includes ‘Ele E Ela’, as sampled on Jay-Z’s ‘Thank You’, as well as some of his most popular songs like ‘Freio Aerodinamico’ and ‘Os Grilos’, swinging between sophistication and groove… Remastered from the original tapes and pressed on 180g vinyl. This release is part of our new reissue series that comprises many other outstanding Brazilian classics by the likes of Evinha, Cassiano, Gerson King Combo, Hyldon... Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. By the late 60s he had already put out enough quality records to secure a place within the top Brazilian songwriters of all time, but his career luckily did not stop there and he continued releasing amazing music over the following decades until this day. By the dawn of the 1970s, the multi-talented Valle was entering a new era, ready to test the government censors (Brazil was under strict military rule since a coup d’état in 1964) and express a socially aware stance and a playful hodge-podge of musical styles including samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), black American music, and rock. “Marcos Valle” was originally released in 1970 and features a dynamic musical backing from some of Brazil’s most gifted players. Hip-hop fans may even recognize the opening horn blasts of ‘Ele E Ela,’ sampled to great effect on Jay-Z’s “Thank You.” It includes some of his most popular songs like ‘Freio Aerodinamico’ and ‘Os Grilos’, swinging between sophistication and groove…

Marking his first EP on Damian Lazarus’s revered Crosstown Rebels, OMRI. (pronounced “OMRI dot”) steps into the spotlight with ‘Nothing Wrong’—an infectious, immersive dive that traverses well beyond the dancefloor, laced with rhythm, tension, and soul. Dropping in June, the EP brings together a shimmering original, a hypnotic club-focused cut, and a peak-time remix from fast-rising US talent AYYBO.

Having already left his mark on the label with his remix of Jessica Brankka’s ‘Musk’, OMRI. now arrives with a statement of his own. The ‘Love Mix’ of ‘Nothing Wrong’ leads the release as a full-blown vocal anthem, layering captivating vocals over sweeping melodies and crisp percussion to create a powerful record destined for both club rooms and open-air settings. The ‘Club Mix’ takes a more experimental route—glitchy, stripped-back, and built for locked-in dancefloors and after-hours sessions.

AYYBO adds his own bold interpretation to the mix, injecting a darker, punchier energy that’s become synonymous with his releases on the likes of Experts Only, Insomniac, and HARD Recs. It’s a remix that captures the raw electricity of his sets while reimagining OMRI.’s original through a distinctly West Coast lens. An in-demand name, OMRI. has quickly carved a reputation for transcendental performances at some of the world’s most revered institutions. His sound, shaped across labels such as Hot Creations, Disco Halal, Haccabi House, and more recently through his own imprint Collecting Dots Records, blends deep psychedelia and hypnotic grooves with a forward-thinking approach, with past collaborations alongside Adam Ten, Moscoman, Yamagucci, and more. Set to feature regularly at Lazarus’ Hï Ibiza residency throughout the summer, expect standout sets that reflect his genre-blurring style and connection to the Crosstown Rebels sound as he serves up one of the label's most essential cuts of the year to open the summer in style.

In a blizzard of breaks and surrounded by towering slabs of icy atmospherics, Quelza comes spinning into the Dekmantel UFO orbit with an EP of grandiose proportions.

Anyone who caught Quelza at Dekmantel Ten last summer will be well aware of the breakthrough producer's affinity for evocative soundscapes — amongst his keen instinct for dancefloor propulsion its his richly rendered atmospheres that have made him such a vital new talent in the industry and club scene. The curious, extraterrestrial quality to his sound is the perfect fit for the resurgent UFO series, and Quelza has more than risen to the occasion with four tracks that take in the widest spectrum of his sound to date.

The title track 'Pensa Poetico' is a dramatic, 11-minute epic that moves beyond dancefloor rigidity into a fractured zone where rhythms splinter and shudder around immersive dub chords pulses and IDM infused rhythms . There might be the anchor of an insistent, staggered kick drum, but it's a simple tool to allow the freedom of movement for intricate layers of steel, glass, ice and dust before the second half erupts in a powerful display of breakbeat science. It's the most adventurous expression from Quelza to date — a track he credits with unblocking his creative process on the path towards a more honest expression within his production.

This spirit of adventure maintains throughout the EP, balancing cathartic compositional shifts with hyper-detailed scene-building and energy shifts that push and pull with your expectations. Quelza's well-established affinity for dancefloor physicality holds true as he twists and turns through these constantly surprising, nail-biting arrangements. Even when everything seems to fall apart, he'll sense the perfect moment to return to a pinpoint groove. Toying with minimal, modernist 2-step and complex organic percussion as well as choppy breaks, this is the sound of Quelza breaking out into a new phase where anything feels possible and his production vocabulary allows him to land audacious moves with mind-blowing finesse.

Amsterdam natives Maarten Smeets and Lars Dales, aka Dam Swindle, unveil their third long-player with the release of a new track, the first to be shared from the upcoming album, ‘Open’ - out on 30 May 2025 via Heist Recordings.

The new album sees the acclaimed duo dive far beyond the deep sonic waters they’re most known for, exploring lower tempos, synthwave, hip-house, and ambient across fourteen tracks. With a gestation period that traces back several years, ‘Open’ is their most intimate and personal body of work thus far, birthed during a time of self-reflection away from touring and personal transformation as individuals.

“We felt the need to tell a very personal story through our music as a translation of our personal development in the past years. We also wanted to make music without a specific goal in mind; We simply wanted to create. By taking away the grid of dance music and any expectations of what a Dam Swindle song should sound like, the creativity started to flow naturally with songs in many different styles and tempos. The result is an album that feels refreshing and uplifting and still very much true to the heart and soul of our sound.” - Dam Swindle, January 2025.

While the trademark Dam Swindle four-to-the-floor beats are still ever-present on tracks like ‘The Present Is Always Perfect’, ‘I Need You’, and ‘Is This Love?’, it’s the gentle waves of synths on opener ‘Home’, the contemplative piano chords of ‘Bloom’ featuring Joep Beving, and the lo-fi ambience of ‘It’s Okay, I Can Wait’ that showcase a melancholic, ethereal sensibility previously uncharted by the duo. Collaborations with vocalists such as NYC’s Haile Supreme on ‘Not Enough’ and Neo-soul singer Faye Meana on ‘Girl’ expertly find room in between the dancefloor and home listening sessions, and a clear standout on the LP is the title cut where message-heavy rapped vocals from UK artist Samson ebb and flow amongst iridescent grooves.

Under the helm of Maarten and Lars’ adept A&R, their Heist imprint has become a beloved home for house heads of both schools old and new, platforming some of dance music’s biggest names from Cinthie to DJ Sneak as well as the musical dawnings of artists such as Kassian and Makèz. The Dam Swindle alias has achieved house music royalty-like status across a storied 15-year career that includes two critically lauded full-lengths, collaborations with the likes of Tom Misch and Kerri Chandler, and a globetrotting touring schedule. This album stands as their most profoundly personal work of art to date, and they can’t wait to share it with you.

SAISEI founder Junki Inoue continues his vital archival work uncovering the riches of Japan’s distinctive electronic music scene and bringing them to new audiences around the world.

HERO U.D.A. aka Hiroyoshi Udaka is not someone you can easily google, but he’s sure lived a life worth retelling. His story starts back in the late 80s when, inspired by the acid house emanating from the UK — during what was fondly christened the Second Summer of Love — he picked up DJing and made the move from Japan to London. Throughout the 90s he DJed at underground techno institutions like London’s The End, CLUB UK and Silver Fish, as well as at the infamous Tribal Gathering raves, periodically returning to Japan to support techno greats like Colin Dale, Mad Mike, Suburban Knight and D. Wynn on tour.

The tracks on this EP, previously unreleased except for one, were all recorded after Udaka moved back from London to Tokyo, between 2002 and 2005. Yet they sound strikingly modern, drawing on a rich range of sounds that have come back round again two decades later: broken beat, acid jazz, dub and breaks. Deceptively simple grooves are given depth by layers of textures and micro samples, for example the surface noise on ‘On The Way’ that glues together an otherwise sparse skeleton of dubby pads and body popping drums. ‘Mature Missile’, ‘So Good’ and ‘Night Driver’ employ raw broken beat templates with acid accents, whimsical melodies and vocal interjections for a playful mood. ‘Sin City’ takes a darker turn, off-key piano hits and plunging bass adding to the wonkiness. The EP closes with a wiggly vignette, ‘222AM’, reminiscent of early 00s contemporaries like Mouse On Mars. Now these hidden treasures from Udaka’s archive gain a new life on SAISEI.

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SAISEI is a Japanese word which translates to ‘reproduction’ and ‘to play’ (as in playing records). Japanese culture is widely known for its traditional nature just as much as it is for being forward into the future and this label’s concept does justice to exactly that. Having started digging for records as early as 16 years old, Junki Inoue delved into productions from 1990s Japan to uncover these native gems. SAISEI’s core concept is to recapture and reintroduce unique pieces of Japanese electronic music onto vinyl, to an audience it never reached before as most of this music was only released in Japan.


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3volution in the recent past, Divide is like a bridge between old generations and new ones. Its sounds range from Sci-Fi techno to 90's techno, characterized by minimal sequences, heavy drum patterns, and an accurate sound design.
Third and last chapter for the VA vinyl trilogy on R3volution Records called

This edition includes exclusive tracks by the following artists:

- UVALL, from Tbilisi, Georgia. Born there and at the age of 23, he is no longer at the beginning of his musical journey and the refinement of his taste and style. Always on the cutting edge, he has been impressing with productions and releases on labels such as Semantica, WSNWG with Rohad, Float Records, Hayes, MALoR, and many many more. Already well known in our roster thanks to a previous collaboration for a remix, the talented young music producer delivers deep, muscular rhythms in his portfolio and translates this energy into a raw, dancefloor oriented session.

- Operator, there is no need to spend many words to describe one of the most talented and innovative British artists on the scene for a long time, recently appearing on

- Divide co-owner of EvodMusic and South Berlin Studio, with recent appearances on all the top labels on the planet (WarmUp, Semantica, MindTrip, Tremsix, Hayes, to name a few), and several collaborations and remixes for

- PTTRNRCRRNT aka Dave Brody from Antwerpen - Belgium. Characterized by efficiently percussion tunnelling through juggled textures, PTTRNRCRRNT's technical know-how and conceptual intentions can be masked by the efficiency and singularity of his music. Taking techno's tendency to constantly reinvent itself as a priority and researches between experimentalism and futurism. He is one of the artists with the most collaborations within our roster (some of his remixes are memorable), he alternates his productions on our label with frequent appearances on highly referenced labels in the scene, such as Soma, Materia and Devotion among others.

This one-off Belgian New Beat project from The Zodiacs at first glance seems like standard fare from this time and place in dance music history - even with call to action, commanding listeners to ‘Move & Dance To The New Beat!’ that could well have earned a place at one of the slogans of the entire movement in an alternative universe where this record was a hit. However, a hit it was not - what we have here is an obscure piece of music shrouded in mystery, previously released only on 7 inch, and its enigmatic nature only adds to eerie quality of the children’s voices throughout the record. This, alongside its higher tempo not usually associated with New Beat as a musical form, come together to bring forth a bizarre oddity of the genre that also has the potency of a modern, peak time weapon. Anatolian Weapons on remix duties takes the material and reduces the speed but increases the malevolence and is a testament to his skills as one of the great producers working today!

When Omar J Neri sent us the DAT with a white sticker marked with the date “26 January 1996” and some psychedelic drawings, we were quite astonished. Even more so when we listened to the incredible material inside the tape.

In 1996, Roby J was probably at his best, playing constantly in clubs like Insomnia, Imperiale, and Ashram, as well as Alex Piacciafuochi, the mind and owner of one of the studios (Alex Midi Studio) that defined the Tuscan progressive sound.

At that time, Omar J was a young talent building his reputation around the best clubs in the region. It was a fertile period for him, leading to his first release: "Primitive Pulsar".

Roby and Omar’s distinctive leftfield touch can be heard in these two long, slow-evolving, and structure-changing tracks. Truly two steps ahead and forward-thinking!

Unfortunately, Roby left us too soon in 2014. With Omar’s help, we are extremely honored to continue his important legacy and lucky enough to open their archives. More is yet to come… in loving memory of Roby J.

Minority Retort returns with My Kicks, their second EP, following a well-received debut last year. Part of a new wave of Brazilian artists, the duo continues to develop their sound with this release. It also marks the launch of Sinapse Records, a label founded by one of the duo’s members to share their music and support emerging talents.

Private View is distinctly Blancmange while also expanding into new sonic terrain. There’s a deft marriage of futuristic electronic sounds, Neil Arthur’s unmistakable vocal hooks, and songs veer from buoyant and joyful to dark and brooding. Private View will be released on London Records almost exactly 40 years to the day since the label released Blancmange’s debut album Happy Families. This neat full circle of Blancmange re-signing to the same label that ignited things all those years ago is also reflected in the album itself, being the perfect crystallisation of four decades of creativity.

On Private View Neil returns with key collaborator Benge (Wrangler, John Foxx, John Grant), and David Rhodes (Kate Bush, Peter Gabriel, Scott Walker) also returns as the guitarist, having previously performed with the band as early as 1982’s Happy Families (as well as several other Blancmange albums).

Private View is a record that manages to capture an artist who is potently in the moment when it comes to creating new work, while also being able to draw on 40 years’ worth of knowledge, experience, and built-in intuition. “I'm really lucky to be able make the music completely on my own terms,” Arthur says. “Being able to just continue being creative...that's when I'm happiest.” As he said before: “within myself there are no limits.”

Blancmange is also reflected in the ongoing influence the music has on younger generations of artists and fans over the years. Contemporary electronic producers like Honey Dijon and Roman Flügel have paid tribute with remixes, Moby once called Blancmange “probably the most underrated electronic act of all time.”; while John Grant continues to profess his love for Arthur’s music, old and new, and has invited Blancmange to perform as part of Grace Jones’ Meltdown festival.