Cerca:x mix

Archeo Recordings is a record label. Old, lost, obscure and forgotten gems and a boundless focus on the new Balearic scene for a wider audience of collectors, DJs and music lovers. All releases are limited edition. This release is a Limited Edition EP (100 on Pink Marbled vinyl). New life and an expanded treatment for the magical Free Disco - You Are My Sculpture with the Original 2010 Heterosexual Mix + the Zion Heat Version (an obscure raw unreleased demo from that period that will light up all the dancefloors on the planet) + 2 special Balearic Remixes by label boss Manu Archeo.

CBR009 by Hannah Addams & Cxma (Including Oxygeno Remix) Hannah Addams, Label Owner is back on the imprint after a long period of silence. First of many releases to come is a collaboration with Cxma.

This EP is the result of a whole life together in Sin City, a friendship longer than 30 years, thousands of moments, raves, parties, countless time sharing their love for music. 3 Original Mixes, Raw music, dirty bass lines, crazy random Synthe patterns. A style where both artists feel like at home. It is notorious how comfy they feel swimming on those seas. The EP gets to its maximum when a good old friend of
both, after listening to the tracks, realizes and decides he would love remixing one of them. Oxygeno Remix of "Danza de los ET" is adding the class and cleanness that was missing in the though original mixes.

Michael Gray's monumental crossover dance hit, 'The Weekend,' originally released in 2004, is set to make a special return for its 20th Anniversary. For the first time ever, the track will be available on a limited edition coloured vinyl 7-inch, complete with the iconic original Sleeve Artwork. This commemorative release also includes previously unreleased 7-inch Version from Michael Gray himself. The 'Sultra 7' mix features live strings and an ambient feel, adding an extra layer of exclusivity for fans and collectors alike.

The A Side of course is just one of the biggest tunes from the grunge era and is given a Jazzy Funky Groovy version by Blue Mode of Nirvana's Biggest Hit. It turns out that they were influenced by everything from the Gap Band to Louie Louie and a fair smattering of 80's indie and this producytion by by Chip Wickham mixes together a Swinging '60's Blue Note Vibe with the Acid Jazz sound and brings it bang up to date with the Nu-Jazz Experience. First time on 45 and is already a DJ favourite after being included in the Paul Murphy set "Jazz Room" on BBE Records. Side 2 is a Boogaloo Latin Jazz version (produced by Paul Murphy Live in the studio in Budapest when he was living there) of the Lonnie Smith track "Hola Muneca" beloved of the Acid Jazz era DJ's and previously released on a now impossible to find 7 inch single that goes for crazy prices....

Early Support From Laurent Garnier, Jimpster, Logan Fisher, Dom Cappello & Sean Johnston

Did Virgo Is Back On The Label Featuring Vocalist Mickey L’ange And Delivers Yet Another Belter Called Dream Alone. Remix Package Including Black Spuma (Fabrizio Mammarella & Lauer), Jkriv (Rnt) & Marc Brauner (Houseum).

Aspetuck has been steadily carving out a name for himself through releases on Never Late and Oslated, garnering a respected following for his DJ mixes and festival performances. Aspetuck’s latest record, Immersion, was sequenced and curated from dozens of ideas spanning a transformative few years in Griff’s life. The album is less a snapshot in time and more of a memory bank - flashes of fatherhood, loss, modular rabbit holes, late-night studio sessions, and long walks by the Hudson River with his daughter.
The emotional undertow of the album is immediate. Opener Hit Me With Your Pet Shark is one of the earliest compositions in the collection, created just months after the loss of Griff’s brother and during the sleepless swirl of new parenthood. Built around a single sound from Spectrasonics Omnisphere, found while rediscovering his brother’s studio gear, the track sets the tone: restrained yet searching, personal without becoming precious.
From there, The Printing Press captures the raw energy of a live jam in Griff’s upstate New York basement, running through a 1980s Tascam mixer like a lo-fi assembly line of synths, pads, and drum machines. REI, named after a spontaneous family mission to find a pink water bottle, encapsulates his knack for imprinting daily minutiae into sound. And title track Immersion- once known simply as Tuesday 303 Jam- emerges from a dinner break and a blender, distilling modular sketches and distorted drums into a powerful, slow-motion march.
Under, Under The Tree hits hardest. Built around a grainy iPhone voice memo of Griff’s daughter singing by the Hudson. And closing the album is Bobik, a collaborative studio session with Moon Patrol channeling the playful chaos of a close friendship and modular exploration. Named after a joke about their golden retriever and filled with alien textures from Griff’s beloved EMU XL7 gifted years ago by his late brother, it’s a fitting send-off to an album that straddles celebration and mourning with grace.
The artwork comes courtesy of Peter Skwiot Smith, whose textured analog/digital aesthetic resonated immediately with Griff’s original vision. Peter’s treatment draws on Griff’s personal photography and leans into motion, blur, and the layered nature of memory, echoing the album's sonic tone without overexplaining it.
Mastered by Sven Weisemann, Immersion is available on blue smoke colored 12”

On Lila, his debut LP, Moroccan artist Karim presents a series of undulating electronic rhythms laser-etched into tessellated form: drumless techno from the pre-Sahara, built for communal psychic expansion.

Drumless, yes, but not percussionless. There are shakers, castanets, stabs, plonks, thuds. There are insistent basslines propelling forward, pulsing with energy, rippling in time. There are tones interlocking, rolling, fluttering, pattering. Dancing within, around, between each other. Considered in terms of sheer geometry, Lila is a techno record, unmistakably. But it sounds quite unlike any other techno record you've heard lately.

To write the album, Karim borrowed from the music of the Gnawa, a religious-spiritual musical tradition descended from West African peoples brought to Morocco as slaves hundreds of years ago. Now integrated deeply into Moroccan culture, the centerpiece of Gnawa music is the lila—or "night," in Arabic—an all-night-long ritual of rhythm designed to induce participants and musicians alike into a healing trance state. Which, if you're a dedicated raver, may sound familiar, yes?

Crafted entirely with modular synthesizers, Lila conjures a range of textures and moods. The show opens with "Bakh," a blissful exercise in beatlessness, clear and crystalline. On "Philipoussis," "Kiyex," and "Sonic," arpeggiated synths approximate Gnawa chants while interlaid percussion keeps time in multiple meters. "La" and "Kille" pulse in half-time, ideal for creative mixing. "Joul à lèvre" bristles with electricity, the sound of a charged lightning rod. "Pamil," woozy and lurching, feels like being shipwrecked on a forgotten island. Last and absolutely certainly not least, on the final track, "Miloir," Karim faces West and unleashes the album's only kick drum for a ten-minute psychedelic techno masterpiece. The mind warps; the body moves. 

Lila is released on Tikita, Karim's own record label, founded in 2014. Tikita's discography, spare but tightly curated, features artists from across the globe pushing outwards into techno's deepest reaches. Karim's album pushes even farther. Listen for yourself.

Mutual Rytm welcomes new school tastemakers Klint and Hemka to sub-label Versus for imprint’s second drop. SHDW’s Mutual Rytm welcomes back two standout label alumnus for the second edition of Versus, a newly-launched conceptual sub-label focused around two artists whose sound works individually and in unity. Hemka made an impressive and well-received debut with her full solo EP back in 2025, while Klint appeared on ‘Federation of Rytm IV’. Both artists hail from France, and have crafted a well-earned reputation for their own distinctive approaches to sound design - pairing locked in grooves with cosmic synth escapes. Across the EP, each artist delivers three individual takes on techno to make for an essential collection of high-end cuts, exploring the label’s ethos of creative symbiosis between two artists on one shared release. Klint’s tracks lean towards minimal yet highly effective, dance floor-focused DJ tools, starting with the lithe, stripped back menace of ‘Prism’, before the sparse eeriness of ‘Dobermann’ keeps you looking over your shoulder while remaining trapped in the groove. Third cut ‘Romance’ is more bold and muscular, with contoured drums and icy pads ramping up the tension and energy. Hemka then dives deeper into a hypnotic and anthemic direction while introducing her own voice into the mix. ‘Leave It’ is textured, percussive deep techno with shadowy whispers, while ‘Breathe’ has a dark, grinning undercurrent and scintillating snares fluttering over the drums. ‘Mindness’ then pairs spoken word atmospherics with taught drum pressure and an ethereal backlit glow. In addition, Klint's digital only cuts ‘1112’ and ‘Blue’ marry minimal synths with meticulously defined drums that hit hard, while Hemka's ‘Push’ is an anxious percussive trip, contrasting with the introspective emotional core of ‘Live To Tell’.

Big Bombs EP marks the debut release on Bertie Bassett’s self-titled label, introducing a collection of groove-led house cuts rooted in classic influences and underground club culture.

Already gaining global support from DJs like Marco Carola and, Shaka Loves You and featured on Traxsource’s Essential Afro chart.

Across four tracks, Bertie Bassett delivers a mix of DJ-focused tools and edits, blending raw house rhythms, funk-driven elements and stripped-back arrangements designed for dancefloor use.

From the driving energy of Get House and Back To Underground to the reworked grooves of Man In Black (Edit Mix) and Finga Loop (Bertie Bassett Rumba Remix), the EP offers a versatile selection suited to both peak-time and deeper club sets.

With a long-standing background in house music and production, Bertie Bassett brings a seasoned approach to this first release, combining classic influences with a modern underground edge.

As the first release on the label, this EP sets the tone for the project moving forward, offering strong appeal for DJs looking for fresh, playable house cuts with a raw, groove-led feel.

A natural fit for fans of labels such as Razor-N-Tape, Toy Tonics, Bed Edits and Disco Express.

A DJ-friendly and versatile release for stores supporting underground house and edit-driven sounds.

If art is to be exhibited, then Ulrika Spacek will ensure that their art is collective; that even as the world becomes inhospitable to community, their intentions are an act of resistance.

Whether it is Oysterland, the self-curated night the band have been Hosting for over ten years to platform artists of other disciplines in live music spaces, or Total Refreshment Centre, the East London studio Syd runs which connects the dots between the jazz scene and like-minded experimental artists of the capital and beyond, or their creative bleed as musicians and producers over the years with the likes of Crack Cloud, caroline, DIIV, Holy Wave and Slowdive, the band’s existence is inseparable from their community.

In a hyper-individual world, the band’s fourth album, ‘EXPO’, offers an antidote. It’s there, in the shared dream logic of the music, the off-kilter melodies, jagged guitars and cirrus cloud atmospherics. It’s there, in all the things that are said and unsaid between them; there in the writing, producing and mixing processes they share in. And even as each of their parts Moves toward a unified vision, it’s never more keenly felt than in the bigger Picture to which Ulrika Spacek belong.

Though their well-established foundations are in the art-rock world - and though they are inspired by electronic elements more than ever - Ulrika Spacek are interested in the glitch that exists between the two. Their Music reckons with human warmth and digital isolation, equal parts welcoming and altogether alienating. “Our music has always been a collage - a bit patchwork, sonically - but what makes this album a landmark for us is that we went one step further and made our own sample bank,” explains singer / guitarist Rhys. They create their own doppelgängers in a world of almostreal, where the band appear as if in a hall of mirrors. Digital drums are sampled layered upon real drums, and the effect is almost like birth in reverse - pulled from the ether and returned back to the tangible world.

“There’s a lot that can be said about writing when there is no aim, there is a freedom and a purity in it which opens a door to more music, and in this case, it set a mood for a new album, one that would be colder, darker and one that would embrace electronics and new instrumentation in a new terrain,” the band share. “The album’s greater theme is isolation and alienation in an online world where it seems everybody around you is constantly exhibiting themselves, living in public wanting to be seen and heard. The age of ‘individuality’ is lonely, it’s a room of concave mirrors, and with this in mind, we set upon making our most collective effort; ‘It’s back to strength in numbers, count in fives.”

For fans of Radiohead, Moin, DIIV, Astrel K, Slowdive.

LP presented on Crystal Clear vinyl.

RAWAX welcomes Caruan to the artist family! We are very happy to present you this great artist, who already released on iconinc PERLON. Gaetano delivered here a fantastic mixture of genres. Each track is diffrent and the whole ep tells a story from Minimal to Techno, from House to Jazz and that makes Gaetanos debut for us so special.

All tracks are written and produced by Gaetano Caruana aka Caruan
Piano on "Diaphragm Jazz" by Stefano Onorati , trumpet by Andrea Guzzoletti
Piano on "La Vida Siempre Puede" by Stefano Onorati
Big Sausage is written and produced by Gaetano Caruana and Marzio Aricò.

Introducing Sum Of Its Parts: A new collaborative music project led by Alex Nut. Featuring remixes by Boddhi Satva.
London, UK — A new musical project titled Sum Of Its Parts brings together a dynamic collective of musicians under the direction of DJ, curator and Eglo Records mainstay Alex Nut, who steps into a central creative role as the project’s musical director and producer.
Sum Of Its Parts is built on a fluid, collaborative model, featuring a rotating cast of musicians drawn from some of the UK’s most exciting contemporary music circles. Including Sam Crowe (Lianne La Havas) on Keys, Junior Ali-Balogun (Sault/Cleo Sol) on percussion and Duane Atherley (Kokoroko) on Bass.
Debut EP, The Message, introduces the project’s expansive sonic identity across two original compositions. The title track, The Message, is a 10-minute spiritual jazz odyssey—deep, meditative and expressive. In contrast, Hello High – which previously appeared on the Eglo Records Vol. 3 compilation – delivers a soulful, jazz-inflected house energy with dancefloor sensibility. Extending the release further, the B-side features two amazing remixes by revered House producer Boddhi Satva, who reinterprets the project’s sound through his unique Ancestral Soul lens.

KOIZUMIX PRODUCTION, a collaborative project between Kyoko Koizumi who worked under a different name in the 1990s and club culture artists and creators,
is finally being released in analog format. These two works, now difficult to obtain, are making their long awaited debut on vinyl.

The release is a complete analog version of the 1998 CD, which could be considered a KOIZUMIX PRODUCTION remix best-of.
It includes all tracks from the original CD, plus additional remixes that were previously available only on vinyl, compiled into a 2-disc set titled “89–99 COLLECTION”.

Steyoyoke Anniversary, Vol. 15 marks a special chapter in the label’s history with a double vinyl edition dedicated to the sound, artists, and identity that have shaped Steyoyoke over the years. Across eight original tracks, the release brings together Soul Button, Clawz SG, Nick Devon, 2Qimic, Monarke, MPathy, Seismal D, and René Diehl, forming a carefully curated journey through the label’s Ethereal Techno sound.

From the emotional depth of Silent Truth and the shadowed atmosphere of Lumen Obscura, to the melodic tension of The Day You Decide To Change and the introspective movement of My Dreams, the first part of the vinyl sets a deep and immersive tone. The second half expands the energy with Pressure, Sora, Consciousness, and Pulse, moving between driving grooves, cinematic textures, and refined club-focused intensity.

Pressed as a double vinyl, Steyoyoke Anniversary, Vol. 15 stands as both a celebration and a reflection - a collection built around memory, connection, and the unmistakable emotional language of Steyoyoke.

(incl. The Mackenzie, The Chemical Brothers, Oxia , Mr. Happy, Gregor Tresher, Cari Lekebusch, Thugfucker & Klangkarussell) After the successful release of 12 Inch Lovers vinyl 1 & 2, a sequel was inevitable. Again 2 compilations with a fresh and contemporary mix of true classics combined with more recent, hard to find club hits.

“LET IT SHINE” IS A MIX OF EXPLORATION, LIGHTNESS AND CREATIVE CONNECTION.
THE TITLE “ LET IT SHINE” HOLDS THE ESSENCE OF THE WHOLE PROJECT. IT’S ABOUT TRUSTING YOUR INSTINCTS, BEING OPEN, AND LETTING YOUR OWN SPARK COME THROUGH
NO MATTER WHAT FORM IT TAKES. IT’S AN INVITATION TO LET YOUR TRUE COLORS SHOW TO EXPRESS YOUR ENERGY AND LIGHT WITHOUT HOLDING BACK.
IN A WAY, IT’S A REMINDER TO STOP HIDING BEHIND WHAT’S EXPECTED AND INSTEAD LET WHAT’S TRUE SHINE THROUGH.

Rahaan has become a Chicago legend, a DJ who is widely recognised for his exceptional skills behind the decks and his exquisite taste in music. Lately he has also been earning plaudits for his production skills with some truly outstanding releases. Rahaan has collaborated on a very special release featuring Swiss-born and Italy-raised, Kihmy is an artist and producer who creates nocturnal soul music, where electronic textures and trip-hop atmospheres converge. Her sound lives in the shadows, intimate and cinematic, characterized by a deep and expressive voice and emotionally engaging lyrics.

"Let it Shine" EP released on Soulistic 360 (April 2026). Grab the limited edition vinyl before it's gone!

Nearly 15 years have passed since the original version of this LP was released (the first iteration as a 4X12" LMTD set back in 2012), and it has truly aged like fine wine! This release features five timeless cuts from the mind and soul of cv313 and a truly mesmerizing otherwordly dub of the illusive radius project, mixed and recorded near the heart of Detroit! (with nearly all of the tracks making their debut on wax) This entire project has been beautifully remastered by dub innovator and pioneer, Stefan Betke POLE @ scape mastering in Berlin, DE. You can just drop the needle and close your eyes for a near 20 minutes of fathomless sonic depth, massaging your brain and mind, a deep dive into an immersive analogue world. A new addition to this newly minted vinyl iteration of the "Altering Illusions" series now includes cv313's blistering analogue assault on the darkest radius bit in the interpolation tapes series. Expect sub-harmonic deep space exploration in some seriously out-there electronic quadrants, some of the deepest techno reductions ever captured to tape!

Thoughts:
"Altering Illusions Chapter One cv313 is every bit as strong and essential as the debut cv313 album it supplements and acts as a nexus between cv313 material old and new.It is quite unlike anything cv313 has released before or since, a beautiful hybrid of cv313 textures, dense, whirring drones from Alva Noto’s Xerrox series of ambient albums and Thomas Koner’s panoramic soundscapes." -IGLOO MAGAZINE

a A1. cv313 “isis” original mix 10:47

c B1. radius “interpolation tapes” cv313 rewire 20:06

[e] C2. cv313 “irradiate [dub]” 5:58
[reduced] 20:24

[a] A1. cv313 “isis” [original mix] 10:47

[c] B1. radius “interpolation tapes” [cv313 rewire] 20:06

[e] C2. cv313 “irradiate [dub]” 5:58
[reduced] 20:24

[a] A1. cv313 “isis” [original mix] 10:47

[c] B1. radius “interpolation tapes” [cv313 rewire] 20:06

[e] C2. cv313 “irradiate [dub]” 5:58
[reduced] 20:24

(incl. Nina Simone, The Swiss, Greko Feat. Gosha, Toto , Nneka, Reflekt Feat. Delline Bass, Ragged Life & Julien Jabre) After the successful release of 12 Inch Lovers vinyl 1 & 2, a sequel was inevitable. Again 2 compilations with a fresh and contemporary mix of true classics combined with more recent, hard to find club hits.

Glenn Underground is the founding member of the Strictly Jaz Unit. He was raised on disco classics and freeform jazz in Chicago's Southside, the place where house music was born. Taking inspiration from Chicago's original pioneers, Larry Heard, Ron Hardy, Lil' Louis, and the like, Glenn has produced many sought after house gems for some of the most well respected deep house labels such as Prescription and Guidance.
The Jerusalem EP's, GU's second album for Peacefrog originally released in 1997 still sounds so fresh, so deep and so soulful. Blending jazz-tinged chord progressions with sax accents, and rolling basslines the album evokes the sound of late-’90s hypnotic Chicago house.
Timeless, quality, underground house music for the mind, the body and especially the soul.

12 Inch Lovers nothing but classix, straight from vinyl! Part 2 of two double vinyl-pack incl. Tensnake, Afro celt Sound System, Midnight Star, Robert Babicz, Gregor Salto, Lovebirds, and Codec & Flexor



After its foundation in 2012, 12 Inch Lovers have become a household name for vinyl lovers in Belgium. Their parties sell out time and time again and focus on an adult audience that loves house and club music from the mid 90s to the present. This in combination with unique locations and DJ's that only play vinyl generates a very dedicated and passionate audience that share one big love: vinyl.

NYC's Afro-Latin house player Doug Gomez, who was also half of the defunct Drrtyhaz, leans into club weight and musical detail on Signals 3, a confident new drop built on persuasive rhythms. 'The Space Between Us' introduces his vocal production with Fe Malefiz, who has a sultry, stylised tone that drifts between deep house and Afro-soul with great control. 'The Red Room' shifts gears into peak-time territory with a groove shaped by late-night exchanges with DJ Loka. Closing cut 'To Do Good Na Em Dem Pay' widens the palette further, pulling from Afrobeat's restless rhythmic energy and layering in some bold and brassy horns.

It’s taken Sealed records more than five years to put this release together but finally it’s here. The one and only Bikini Mutants. The Bikini Mutants were from Yeovil, Somerset and part of the All the Madmen world. In their short life as a band they recorded two demos at Monitor Studios, Milborne Port in Somerset in 1982. Let's Mutate collects these two demos on one LP, along with a 20 page booklet featuring photos, lyrics, reviews, interviews and much more. The band played mostly in Yeovil and the West Country along with the Mob and the Review, and even though they were part of the West Country anarcho scene, the sound was a mix of scratchy post punk and indie pop. Members of the band went on to be in My Bloody Valentine and the Chesterfields. The songs are intricate, delicate and engaging with the drums and bass locked in, the fuzzed out guitar weaving on top and Christine Cole’s angelic voice taking each song to pop heaven. Think a mix of Girls at our Best, Au Pairs and the Marine Girls.

REPRESSED !
Patrick Keel is a multi-instrumentalist, composer, producer, and performer. The Pool was his solo project, the sum of fifteen years of experience in live bands, studios, and home recording. Patrick was heavily influenced by the radio of the early and mid 1960's in Dallas. The British bands and Black soul of the era gave him a distinct style, and shaped his musical attitude. The New Wave/Punk/D.I.Y. attitudes of the late 1970s inspired him to express himself in a new way. 1980 saw the release of "Pool One," a sixty minute home-produced cassette. "Pool Two" followed in 1981, which received much praise and little distribution. In 1982 he released a 5-song self-titled vinyl EP of tight, skeletal, synthetic dance music.

In 1983, 'Dance It Down/Jamaica Running' 12' EP was released on Moment Productions. Based on response from D.J.'s in New York and the Bronx, Patrick went back in the studio and remixed two songs from the self-titled EP for rapping, scratching and break dancing. "Jamaica Resting" was sped-up, extended, and reconfigured as "Jamaica Running". The whirlpool synth-strut of 'Dance It Down' came out of the studio as 'Dance In Dub', with a heavier kick and extended dub outro. These spacious versions were optimal for DJ play, slotting regularly in sets at hip clubs like Danceteria. For this reissue we've added two bonus European remixes from the 1984 12' of 'Dance It Down/Jamaica Running', released on Nunk records from Belgium. Both songs employ the use of a Boss DR-55, Korg MS-20, Korg PolySix, and a Prophet 5, and were mixed on a 16- track Ampex recorder. The Pool's spartan, self-assured songs are experiments you can dance to.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed jacket by Eloise Leigh, updating the magenta and blue grid and Pool logo of the Moment Productions release. Each copy includes a 12-page booklet with a never seen before photos, press clippings and notes.

There’s no direct English translation for the word “hiraeth”. In the Welsh language, it describes a form of longing for an intangible something, somewhere or someone that no longer exists. Sofie Birch and Antonina Nowacka draw on the concept to guide their second collaborative album, a suite of vulnerable, open-hearted improvisations and reflections that attempt to grasp an image of the past that’s chimeric, dissolving almost as soon as it materializes. The duo’s process follows the same distant beacon; unlike Languoria, their critically acclaimed debut, Hiraeth is, at heart, an acoustic record, informed by in-person improvisations with voices and string instruments that gesture to an era before computers, AI and DAWs. It’s just as lush, but Hiraeth is warmer and more muted than its predecessor.
Nowacka and Birch conceived the album in the wake of a slew of collaborative live concerts, spurred on by serendipitous improvisations and an interest in paring down their setup. Unsound arranged a retreat in Sokołowsko, an idyllic village nestled in the verdant hills of Southern Poland, close to the Czech border. Sokołowsko surrounds a large ruined sanatorium that’s rumored to have inspired Thomas Mann’s 1924 novel The Magic Mountain, and has long been a magnet for artists. The two took the opportunity to rethink their approach completely, arriving with just a guitar, a zither and a portable Nagra reel-to-reel machine. Recording directly to tape, they sketched out ideas with just their voices and instruments, reflecting their surroundings without being distracted or mediated by modern technology.
“We wanted to get away from screens as much as possible,” says Birch, “to bring to the world something vulnerable and honest. Without advance preparation, every day we went out into the open air, finding places to sit, during sunset or the midday sun. We discovered new tunings on our instruments, picked up a melody, and started the machine, playing over
and over till we got a take.” In the autumn, they met again in a Copenhagen studio, sparingly and carefully layering old synths and organs to add more depth without muddying the mix.
Both Nowacka and Birch sing throughout, their voices threading the acoustic instruments and tangling with each other, almost becoming one. But it’s the environment of Sokołowsko, “the birds and the light, even the wind playing against the harps,” that’s woven into the music’s lining. Affected by time spent meditating and in nature, as well as the fact that Birch was pregnant whilst recording, the album feels alive and remarkably present. Even the sound quality of the tape machine gives Hiraeth a tactile, organic quality, as Nowacka puts it, “like being in a warm bath.”

They still have the raw recordings from Sokołowsko on old reels, physical souvenirs of their time spent making music in a “habitat for intuitive songs, a little ecosystem, alive and spirited.” The outmoded gear and remote setting helped the duo disengage from the modern world for a few moments and imagine an existence that’s been lost to time and nominal progress. With digital technology receding into the background, Nowacka and Birch had space to make “intuitive connections with frequencies and people,” as Birch explains. Hiraeth is a testament not to nostalgia, but to the power of kinship.

2026 Repress

35th Anniversary Edition of Peacefrog - 2LP Smokey Vinyl

Born and raised in the birthplace of House Music, Paul Johnson was known for his raw, soulful, and infectious sound, that helped shape Chicago's house scene and inspired generations of DJs worldwide in particular he was a massive inspiration to Daft Punk and the 'French Touch' scene. Releasing a vast amount of music throughout the 1990s for some of the most consistently underground dance labels including legendary Chicago imprints Cajual, Relief and Dance Mania he finally gained global fame with his 1999 hit “Get Get Down,” a dancefloor anthem that topped charts across Europe. Despite facing physical challenges, including losing both legs in accidents, he remained an unstoppable force in music—touring, producing, and uplifting others with his resilient spirit and signature groove.
Originally released in 1996 Feel The Music was Paul's second album for Peacefrog Records. Containing some of the classiest house music to hail from the Windy City. Classics such A Little Suntin Suntin , Summer Heat and I Wonder Why will have you smiling while you’re jackin’ and the irresistible and infectious Hear The Music was fthe opening track for Daft Punks legendary Radio 1 Essential Mix.

The Pink Satin is the Greaser Man. This is a homage to the early sounds of house music. TPS Gears up with his Yamaha PSS-780 and PSS-580 and fires FM basslines to spread the whimsical word of disinformation and minor truths. The world is full of hate today. Try not to take everything so serious.

Ushering in a new era, Berlin based, New Zealand heavy psych duo Earth Tongue lower the castle gates on their third album Dungeon Vision, a trove of fuzz-drenched anthems produced by garage rock luminary Ty Segall in Los Angeles. Guitarist Gussie Larkin and drummer Ezra Simons spent the Berlin winter of 2025 refining the album’s twelve tracks in their self-described “windowless cave” rehearsal space, crafting a record that channels both isolation and the duo’s live intensity. With the songs finally taking shape and a studio deadline looming, they flew to Los Angeles to turn their hard-won ideas into the real thing. Once there, the band and Ty captured lightning in a bottle, recording and mixing Dungeon Vision in just ten days at Altamira Sound. Tracked live to tape, Dungeon Vision pulses with human energy, fuzz guitars, bone-battering drums, and hauntingly tuneful vocals. Ty Segall’s influence is all over the record with Ty choosing the best takes based on feel rather than technical perfection. The “king of fuzzy guitar tones” pushed the duo to find new sonic textures while championing their raw chemistry. “Ty’s been a big driving force,” says Ezra. “We supported him in New Zealand back in 2023, and he’s backed us ever since even bringing us on tour through Europe and the UK in 2024.” Since their emergence in 2016, Earth Tongue’s world-building, visuals, and relentless touring have earned them global attention and a cult-like following. Their 2024 album Great Haunting, also released on In The Red Records, received a Taite Music Prize nomination and saw them win Best Group at the 2025 Aotearoa Music Awards. They’ve toured extensively, sharing stages with the likes of Queens of the Stone Age, IDLES, Acid King, Brant Bjork and Kikagaku Moyo. With Dungeon Vision, Earth Tongue deliver their most immersive work yet, a richly human, fuzz-soaked journey that bottles the magic of their live show and cements their reputation as one of the most exciting psych rock acts on the planet.

There are two versions of the vinyl edition: classic 140g black record or limited (Universe Edition) 140g black + 7" black vinyl with two bonus tracks.


WE ARE THE BIOBOTS is an album by Michal Baj (DJ Eprom), who has ties to Silesia. It will be released on 21th January 2026, by the legendary Polish label JuNouMi Records (est. 2002). WE ARE THE BIOBOTS is an album that not only talks about technological progress, but also touches on the digitization of human consciousness in the 21st century. Although it discusses the dangers of AI development, no artificial intelligence was used in its creation.

The album features legendary hip hop DJs, including the art of scratching. The album will feature the most outstanding DJs from Poland, England, the USA, and Japan. Thanks to this, the album has a chance to gain a broader, international context. Eprom's professional experience to date has allowed him to bring together such a wide range of artists and bring them together on the album, including:

DJ D-Styles – a legend of scratching from the USA. A pioneer of the genre. Member of groups such as The Beat Junkies and Invisibl Skratch Piklz, creator of many scratching techniques still used today.
DJ Prime Cuts – founder of the legendary Scratch Perverts from London, multiple world champion and creator of unique scratching techniques.
DJ Flip Flop, Prolifix – representatives of the DJ community from the US coast.
DJ Tigerstyle – a leading representative of the DJ community in England, multiple world champion in scratching.
DJ IQ – the most successful scratching champion in the world.
DJ Miyajima – the unrivaled master and creator of the Japanese school of scratching.
DJ Melo-d – co-founder of The Beat Junkies collective, multiple DJ champion hosting a legendary show on Radio HOT 97 in the US.
DJ Ben, Krootki – co-founders of the Modulators group from Poland, World Champions in scratching.
Daniel Drumz – Polish DJ and music producer known worldwide.
Mr Krime – pioneer of DJing and turntablism in Poland.


Michal Baj is a multi-talented musician, artist, and music producer born in Jastrzebie-Zdroj, as well as the owner of the analog Eprom Sounds Studio, where tracks based on mixing and mastering are produced and gain worldwide recognition.

The inspiration for the album is Eprom's connection to Silesia. His work at the KWK Borynia mine, surrounded by heavy equipment and mining technology, became a direct inspiration for creating a musical story about people, machines, as well as the directions of technological development and the impact they have on society.

The album is released by JuNouMi Records, a label specializing in vinyl records, founded in 2002. Your wax supplier.

“One foot out the door, another in the otherworld…”
So begins Hannah Lew’s debut, self-titled solo record, soaked in imperious, wide-eyed pop songwriting and a girl-group/post punk aesthetic that belies the artist’s history in the U.S. underground. A towering, hook-laden album, it’s infused with an optimism and surrealism that conversely deals with the times we find ourselves in.

Recorded at home in Richmond, CA and in The Best House studio with Maryam Qudus in Oakland CA, with the assistance of a crack team of West Coast musicians, this album sees Hannah Lew stepping out from behind the legacy of her two groups Grass Widow and Cold Beat. While musically bearing similarities with her previous work, “Hannah Lew” is a bold leap into direct pop territory, making ample use of a vocal style that teases out the inherent melancholy in her melodies. Mastered by Sarah Register, each song is a perfectly honed nugget that frequently pulls the heart in two directions at once.

Themes of change, breaking up, shattering old ways of being are shot through the record. For the front cover, a photograph of the artist’s face was printed, ripped up and re-assembled, resembling the creative process embarked upon by Lew for her first “solo” material. The album feels instinctual, almost dream-like in its assemblage of sweeping synths and pulsating, propulsive drum machine beat patterns with Lew’s vocal performances sensitive and caressing over the top. Increasingly relying on the subconscious and dreams to guide her creative process, Hannah Lew frequently abandons literal interpretations or linear narratives, the songs seeming to exist in a swooning, effortless flow-state while remaining emotionally hard hitting.

On an album where every song could be a single, there are kaleidoscopic shades and varying emotional tones in abundance. First single Another Twilight is carried along a pumping, Italo-disco-style 4/4 beat and mono-synth bass line, the low end pulling at the heart and body. Lew’s vocal melody teases the track before swan-diving into a gorgeous chorus as she sings “it’s all over baby and I don’t mind… in decline, I take my time…” The album is suffused with moments like this. On slow builder Damaged Melody, an arpeggiated synth elongates the verse before a cascading synth showers down melodic glitter. The stunning Replica uses dual swirling synth patterns before a driving, synthpop chorus for the ages carries Hannah Lew’s vocal into the stereo field, sailing in on a high register singed with the embers of a break up.

In a departure from previous groups, her solo songs are guided by dreams and free association inspired by Dada and the Surrealist movement and sculpted afterwards. As such, the songs reveal themselves on repeated listens, revealing traces of heartbreak inspired by both personal and global elements - Hannah Lew regards the album “a wartime album.” On Move In Silence, Lew intones “there’s a war outside, just out of view,” revealing the dichotomy at play throughout. With the songs evolving naturally and in a flow state, the pressures and sadnesses of the modern age bleed through, mixed in with Lew’s inherent love, sensitivity and fractured-but-intact optimism. On the swooning, sublime Sunday layers of Numanoid synths open up for the commanding vocal performance pontificating on grief, love, pain as she “feels the ache on Sunday…” As the chorus builds and Lew’s call-and-response vocal adds to the emotional tension, it almost feels like too much to take.

Elsewhere, there are echoes of Hannah Lew’s previous work. On Time Wasted a bass guitar comes in with a heavy, punk attack before the synths and vocal harmonies reminiscent of later Cold Beat elevate everything. The glassy, sweetly resigned closer The Clock sounds like so classic it could be cover, a sweetened Jesus & Mary Chain tune perhaps, before it erupts into volcanic chorus that could only come from Hannah Lew in 2026.

The Reflex has been busy of late and, though already a proven master of multi-track mixes and mash-ups, he keeps on reaching new heights with each new drop. This is one of several coming in quick succession and finds him dropping the final part of his label Discolidays' collaboration with the Zagora catalogue, which features tunes by Thomas Bangalter's pops, Daniel Vangarde. Here it is the Gibson Brothers' disco belter 'Heaven' that gets beefed up with bright strings and unrelenting drums, driving you to a place of sheer joy. A more obscure sound come son the flip with uptempo drums and sumptuous musicianship laid down by some of the best of the disco era in Paris.

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

Tropidelicos is the electrifying new album from Houston/Denver powerhouse duo Gio Chamba, a kaleidoscopic fusion of cumbia, psych-funk, and global bass. Fueled by hypnotic percussion and cosmic guitar lines , the record embodies the next wave of Latin futurism — rooted in tradition yet exploding into vibrant, genre-defying sound.
Pressed on limited-edition 1×LP “Mango Viper Swirl” colored vinyl, Tropidelicos captures the radiant heat and joy of Gio Chamba’s live energy—music made for movement, community, and spiritual release. From sweaty dance floors to desert sunsets, every groove invites you deeper into the tropidelic revolution.

MEMORIALS jump off the waterslides and head above the clouds with their stunning second album, ‘All Clouds Bring Not Rain’. The duo of Verity Susman and Matthew Simms (formerly of Electrelane and WIRE) locked themselves away in a studio in a barn secluded deep in the woods in southwestern France and re-emerged with a beautiful, unusual record that is both melodic and unconventional. For such an ambitious album it’s striking that it was written, performed, recorded and mixed solely by the two of them. Sounding like an unearthed classic, MEMORIALS twist their influences into their own unmistakable sound. Imagine Nico singing with Can produced by David Axelrod and you’re somewhere in the right ballpark.

The record draws inspiration from a wide range of music including folk, dub, post punk, experimental tape music, 60s soul, garage rock, 70s spiritual jazz and Canterbury prog. This attention to detail in their sound meant finding several other studios to get what they needed to record with, including a harpsichord at 4AD’s studio in London and a vibraphone and vintage Leslie speaker in Stereolab drummer Andy Ramsay’s studio Press Play. Verity’s distinctive, unadorned singing is a focal point of the record, moving from tender to wild. Her vocal melodies quickly become earworms, providing the tuneful heart around which the songs’ more unorthodox elements are arranged, which is where Matthew’s unconventional approach to recording and production comes to the fore. With their adventurous arrangements, classic songwriting skills and innovative production techniques, MEMORIALS have created another mesmerising listen that’s accomplished and compelling in its unique approach yet remains dizzyingly immersive - just like their acclaimed live shows.

Three decades deep and as essential as ever, Ralph Lawson's 20/20 Vision Recordings continues to mine its rich back catalogue with care. To that end, 'Full Circle Vol.3' feels both respectful and forward-facing with new mixes of enduring classics. Roman Flugel reworks 'Machine Life' into a driving club sound with fresh vocals and elastic acid lines, while MADVILLA sharpens 'Rhythm Freq' into a sleek hybrid of house, UKG and electro. Simon Baker's updated 'The Liptrick' retains its raw punch, and Formidable Force close with a warm, late-night dub of 'Reactivate'. It is a tidy reminder of the breadth and depth of sound this label has always dealt in.

PRODUCED BY: Winston Edwards RECORDED AT: King Tubby's Recorded approximately 1973-1975, mixed by King Tubby.

Seminal dub album

Unreleased Mix of Justin Hinds classic Once A Man Twice A Child , produced by Duke Reid. On the flip side is a rare track also fro Treasure Isle Studio by the saints which is sought after

Some records feel like they should have existed. This is one of them.Originally buried as an album cut in the catalog of C. C. Catch, ‘Stop – Draggin’ My Heart Around’ never received the maxi single treatment it always deserved. For decades, fans of Dieter Bohlen’s signature sound have been left wondering what could have been… no extended mix, no dub, no proper club version… Until now.

Julie Chrome steps in with a strikingly faithful reinterpretation, capturing the emotional tone and melodic essence of the original, while Ryan Benson carefully reconstructs the sonic blueprint, staying true to that unmistakable mid-80s German disco aesthetic of Luis Rodriguez. Think shimmering synths, tight Linn-style drums and that bittersweet, dramatic tension Bohlen/Rodriguez and Co. perfected. But this release goes further than nostalgia. On this maxi, the track finally unfolds the way it always should have. Fully extended, club-ready, and built for the dancefloor. The Long Version delivers that essential 80s arc: slow build, emotional lift, and extended instrumental passages made for mixing. The Dub Version strips it back into a hypnotic tool, pure drums, synth stabs and atmosphere, tailored for late-night transitions and deeper sets. The Radio Version and Alternative Radio Version complete the package, offering two concise takes that still retain all the charm, drama and melodic punch of the original composition. This is more than a tribute, it’s a carefully crafted time capsule. From the production to the artwork and label aesthetics, everything here is designed to transport you straight back to 1986. For fans of classic German disco, collectors of lost Italo-adjacent gems, and DJs who know the power of a well-placed nostalgic moment – this one hits deep. A record that finally corrects history.

Madrid's Jose Cabrera lines up a fresh EP of dreamy Chicago/Detroit-inspired house cuts, featuring a remix from none other than Detroit legend Omar S. TIP!!!

RITUAL is a poetic and political gesture by Antonio Marotta: a sonor resurrection where archaic meets electronics. Drawing on Campanian roots and European club culture, the album blends the trance of Ritual with the ecstasy of the dancefloor.
Seven beats and seven loops inspired by the Seven Madonnas of Campania, where the drum remains the visceral beat that connects the earthly to the divine.
An act of resistance that delivers new life to tradition.
The limited edition Vinyl LP contains a special insert with the visionary graphics conceived by Andrea Maddaloni, the lyrics of the 8 songs and Marotta's personal manifesto.
Grab your copy before it's too late.

Written & Created by: Antonio Marotta
Tammorra, Chitarra Battente, Chitarra Elettrica, Voci, Scetavajasse, Castagnette, Tromba degli Zingari & Live Looping by: Antonio Marotta
Lyrics Transcription & Dialect Revision by: Alessandra Ruggiero
Mixed & Mastered by: Antonio Marotta and Peter De Girolamo
Mask Artwork by: Atelier Antise
Photography: Let's Pic Studio
Art Direction & Design by: Andrea Maddaloni
Club Consulting by: Alfredo Maddaloni
Produced by: Antonio Marotta and Maledetta Discoteca
Executive Production by: Maledetta Discoteca

Step back to the original 2013 release of Imprint of Pleasure by Tube & Berger, which held Beatport #1 longer than any other track that year and peaked as a Beatport Top 10 all-time seller. A record that defined a moment, it captured dance floors worldwide with its hypnotic vocal, rolling bassline and perfectly measured build. Balancing deep emotion with understated power, Imprint of Pleasure stands as a defining benchmark of modern house: timeless in its groove and effortless in its execution.

This new volume of Casquiat diesel into the streets of LA and mixes up the raw realities of life and plenty of lyrical and production innovation across mutant rap, hip-hop, breakbeat and dub sounds. 'Mexican Illegals' is a big opener with distorted bass blasts and ice-cold analogue beats with a stylish delivery up top that twists and turns between the drums. 'Fuck Ice (bonus beat)' is menacing and full of swagger with saw tooth synths and infectious syncopation, then 'Pistol Grip Pump' (Casquiat remix) is an early rap sound made freaky with sci-fi production touches and larger than life bars.

“Ed Spinning” is straight 90’s hip-hop beats, pressed on 7"vinyl.
This project hits like the old party mixes: heavy looping beats, vocals that stick in your head, edits made for DJs back when digital wasn’t a thing (shoutout AV8 series).

For these two new volumes, Ugly Mac Beer is on the boards. Two tracks per side: vocal on the A-side, full instrumental on the B-side, plus drum loops dropping right from the jump. Raw boom bap, lo-fi heat, the way it used to be — for the real heads.

Titles and visuals nod to the BMW E30 and spinning: endless loops, burnouts, tires smoking, just like the beats blazing on the turntables.

“The beat has to follow the movement, never the fashion.”

Born 2 Be Free celebrates the naughtier end of the house and garage spectrum with a first volume in this new Low End Guerrillas series. Mista Men's 'Corner' has muggy blasts of bass that cocoon you in warmth as lively garage drums and nimble synth motifs keep things fresh. Mella Dee brings his usual sonic filth to the rugged analogue grind of 'A Way Of Life'. No Brainers then layer up a bubbly mix of top and hits over driving bass notes on 'Not Again', then Lvpica's 'Funky:Mission' keeps it deep and moody with a shadowy bassline and slick drums for cool cats. Live From The Moon shuts down with the more eerie and suspenseful 'Parrot In The Studio.' Characterful tools from font to back.

Italian producer Gledd has been quietly carving out a reputation for groove-led house music that balances raw dancefloor energy with rich musicality. Drawing on influences that span gospel, afrobeat, and classic deep house, his productions channel both heritage and forward-thinking club culture. My House Is Your Church marks his debut release on Delusions Of Grandeur - a fitting home for his expansive, souldrenched sound - and signals a bold new chapter in his evolution as an artist.

The EP opens with On His Way, a percussion-heavy deep roller built for maximum dancefloor impact. Anchored by fat, heavyweight production and a massive low-end presence, the track surges forward with relentless energy. An incredible gospel vocal cuts through the mix, elevating the groove into something transcendent - equal parts spiritual and physical. On It’s Not That Easy, Gledd leans further into his gospel house influences. Highimpact and rhythmically rich, the track weaves together organ fills and subtle tropical flourishes, creating a vibrant, sun-soaked energy while keeping the pressure firmly on the floor.

It’s a track that feels both uplifting and commanding. Flipping to the B-side, Habibi Gospel pushes into more “outernational” territory. A wild, expressive lead vocal takes center stage, riding atop a heavy, driving groove. Organ stabs punctuate the rhythm, locking dancers into a hypnotic flow that bridges cultures and styles with effortless confidence. Closing the EP, Can You Hear My Noise? brings things to a richly textured finale. Slightly more organic in feel, it blends echoing synth stabs, percussive melodic lines, and chopped vocals into a melting pot of sound. The result is a seamless fusion of gospel, afrobeat, and classic house - deep, emotive, and undeniably danceable. With My House Is Your Church, Gledd delivers a statement of intent: music as ritual, the dancefloor as sanctuary.

Produced through live jam sessions with machines and gear, Omar Akhrif’s music embraces the small imperfections that naturally emerge during the creative process. Tiny timing shifts, unstable textures and unexpected movements — what could be perceived as an error becomes the soul of the track, the human value inside the machine.

Presenting the 2nd in the series of Persian remix EPs, following the bumping Dub House remakes from Picasso, the label is joined by Yorkshire’s own young electronic folklore master, a fast-rising name, Miles J Paralysis.

Whereas Picasso took the first Dubplate ‘Space Within Art’, here Miles J delves in to the follow up ‘Smoke Dub’, turning out a selection of dubwise cuts that build on the dark electronics of his excellent debut releases for his Crying Outcast label.

Yorkshire born and based, with a love for the Moors, as well as the teachings of lore, magick and mysticism, this young producer has been emersed in music since a young age, with a penchant of Dub, Hip Hop and Reggae.

Starting with Survival Dub, the anthemic Ragga Dub original morphs into 2 parts, first heading down Paralysis’s alley of dark and brooding production marrying perfect touches of the vocal samples, before the amen break builds the track to the light.

Smoke Mari follows, the languid Digibreaks chugger, utilizing Linval Thompson’s iconic vocals, now comes as a deep meditative Dub excursion. Stripped back to a raw essence, the vocals whirl, while hypnotic keys and dub bass complete the psychedelic mosaic.

There Is No Love is modern dub style, off beat syncopation, reverb, tape delays and heavy vocal sampling all in the mix. The breakbeats of the original are jettisoned for a Dub (Drug) Chug, the atmospherics seeking the dark corners. “These are the last days; can’t you see the sunshine…”

Zatoichi’s Troubles ends the pack, the trip hop, Depth Charge dub bass cut transforms at the mixing desk of Miles J in to Dub Techno territory, haunting, melodic. Miles J’s love of the deeper side of electronic music expanded. Club music but not produced for clubs. Made for the discerning.

Paralysis the Mystery.

Bosconi Records is thrilled to announce a distinctive vinyl release that harks back to berlin 2000’s good old days
The featured track of this release unveils Console’s , known and active as Acid Pauli, reinterpretation of a track that gained fabio’s attention during his stay in Berlin in 2000. Fabio Della Torre, the owner and A&R of Bosconi Records, stumbled upon this hidden gem during his year in Berlin as many djs in the city were spinning it. Finally his quest to uncover the origins of this track led him to a CD release on the label of Angelika Köhlermann. The track in question is Console’s reimagining of “Let’s Rock Baby” a composition by the independent musician and video artist Anne Laplantine, who adopted the Japanese-sounding alias Michiko Kusaki. This version was originally released alongside a series of remixes by artists such as Dmx krew, Felix Kubin, and Adult, all featured on Angelika Köhlermann’s label.

Today, Bosconi Records is thrilled to bring this iconic track to light again on vinyl, accompanied by fresh interpretations. It’s important to note that these reinterpretations breathe life into Console’s work, not Laplantine’s original track, making Console’s version the centerpiece of this release. We have a banger version from German electro luminary The Exaltics which his typilcal electro techno trademark sound. The Exaltics had just released his new album on Clone and has been featured by Helena hauff in her Fabric Mix compilation. Italian producers Voodoos & Taboos, known for their homonymous label and with an recent “banger” on Bordello a Parigi with an electro playful version. The vibrant Queen of Coins have breathed new life into Console’s track, delivering a fresh new-beat acid ebm burner, giving the track a new and personal perspective.

This project mirrors Bosconi Records’ commitment to exploring diverse dimensions of electronic music and featuring compelling compositions. The release looks to resonate with DJs and electronic music enthusiasts, offering a contemporary perspective on a timeless track.

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)

Vessel Recordings Group owner Ira James has curated another delicious deep house release with this big new house tune, plus a set of Todd Terry remixes which come as part of the label's 20th release celebrations. First up is the Freeze Mix, which brings emotional intensity and heavy low ends, then there's a flashy dub before Kameo & Nonfiction's original mix layers loose toms and elastic bass with disco synth colour. Terry also serves up a peak time house rework, Jon Lee & Ramiro bring a tribal twist with their mix and Blakkat's extended mix is a more tech edge affair. A fine way to mark 20 releases.

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)

Limited green vinyl including the iconic Beam vs. Cyrus Remix, Lange's Sunset Mix and Hiver & Hammer Remix.



In 2001, Lange delivered "Drifting Away", a track that was a defining moment in trance, capturing the euphoric pulse of dancefloors at the turn of the millennium. Now, 25 years later, it returns to vinyl to celebrate its lasting impact, reigniting the same energy and emotion that moved a generation.



In 2001, Lange delivered "Drifting Away", a track that was a defining moment in trance, capturing the euphoric pulse of dancefloors at the turn of the millennium.Now, 25 years later, it returns to vinyl to celebrate its lasting impact, reigniting the same energy and emotion that moved a generation. This special, coloured vinyl release features the iconic Beam vs. Cyrus Remix, Lange's Sunset Mix, and Hiver & Hammer Remix, bringing together the timeless interpretations that cemented its legacy.

Always lurking amidst the underground Porto music scene is Spitbender, the most stable moniker of the ever-morphing Francisco Antão. Spin gathers a collection of tracks that demonstrate his experimentalism & coy sonic precision. Spitbender takes cues from Jungle & Hip Hop producers to create his own unique blend of Downtempo. What becomes clear throughout the album is the attention to detail: it is infused as much by Industrial's red-line spectra as it is by the dubplate logic of the Darkside Continuum, yet it does so at its own tripped out speed.

Spin begins with the laid-back but constantly shifting 'Global Overgroove'. Its breakbeat science moves in & out of DSP glitch-work & dub reflections. When its slinky bassline melody arrives, a certain dread sets in.

'Weyward Fold' drops into a driving, hard-edged chug, threaded with snippets of Malcolm X's disobedient pedagogy. The momentum carries into 'Headnod Doctor', where the bass distortion thickens & the cymbal circuit is overloaded, landing somewhere between Hip‑Hop grit & metal weight.

Side A ends with the downtempo roller 'Dogs and Moles (Skylurk Mix)'. The familiar break drifts into new territory, pulled along & wrapped in a slap-back echo. A quirky melody cuts through the haze, giving the track a fresh tilt. The mulch of the track forms a steady, unhurried pulse.

Spitbender's spacious atmospherics & groove-focused approach comes further into focus on 'Nothing Here But the Recordings'. Creating his own chapter in the book of Trip Hop, his minimalist touch is laid out in full.

'Force the Hand Ov Chance' pulls Boom Bap gently into dub mechanics, letting space do the heavy lifting. Its simplicity hides a deep pocket.

Returning to broken-up distortion, 'Mirrors of Flesh (Dub Mix)' finds Spitbender using the mixer as an instrument to push & pull the heavy drums of Benjamin Brejon of Méchanosphere alongside the voice of Rui intoning the title phrase.

Sitting between the album's two poles, 'Out Take Dub' fuses the clipped‑obsession timbres of Spin's heavier moments with its blissed out flow. Feedback & distortion are welcomed & drawn long.

In the end, Spin hits like a fully formed statement—lean, focused, & unmistakably Spitbender. Every track pushes its own angle, but together they land with a clarity that feels earned. It's a sharp marker in his trajectory, & it leaves a charge in the air.

Early DJ Support: Massimiliano Pagliara, Paranoid London, Logan Fisher, Terry Farley, James Holroyd, Rocky (X Press 2), Francois K, Marcel Vogel, Sean Johnston, Austin Ato, Ron Basejam, Richard Rogers, Oliver Dollar, Crazy P and many more

Creating an international name for itself over the past decade as a sample pack label, Samples From Mars made its inevitable venture into the music world originally as a home for founder Teddy Stuart’s work. Long before making samples, Stuart garnered credits working as a grammy-nominated recording engineer in the hip hop world, and DJing / producing with Justin Strauss as A/JUS/TED, for labels such as DFA, Domino Records and Southern Fried Records. Now the label is set to release a variety of genres - house, disco, techno, ambient, all with a vintage tinge and a focus on high quality, analog production.

Enter Salt Queen. Visual artist and musician Magali van Caloen together with Samples From Mars founder, Teddy Stuart. Based in New York, the duo combine hardware dance aesthetics with dry, salty takes on familiar club moments into music that sits somewhere between funny, raw and unpredictable.

Salt Queen’s debut ‘ARE U OK’ is an acid-laced, deadpan spoken word track with an opening line that snaps any room to attention. A disorienting club encounter unfolds over Italo-inflected 808s and a relentless 303 bassline. There are no chords and no melodies - just a skeletal groove and an intimate voice circling the dancefloor. Drifting between concern and provocation, the vocal runs through cliché club conversations before destabilizing completely into a siren-laden crash out. The ‘Freak Nasty Club Mix’ ditches the plot and lets the hardware breathe, with a thick SH-101 bassline anchoring the first half before a sudden switch into an unrelenting acid pattern that refuses to settle. Two versions of the same wild night out.

Unheard Music returns with its second release, delivering a hypnotic and club-driven Tech House package by Malandra Jr. and pizzaaftersex.
Built around the infectious pull of Your Retreat, this EP captures that late-night tension where groove, atmosphere, and repetition lock into one fluid movement. The original mix sets the tone with a stripped yet emotionally charged framework, balancing rolling percussion, subtle pressure, and a strong sense of floor-focused depth.

What About Never debut from Intertoto, who deals a tracky beatdown ace in ‘If I Take You Home’ — a late-night/early-morning house instrumental that hints at ambiguous post-club activity. Bridging the eclectic spirit of the Motor City with the raw, textural styles of European contemporaries like NWAQ and Kassem Mosse, ‘If I Take You Home’ filters these ideas through the experimental aesthetics that have long simmered in the underground of Intertoto’s native Scotland.

Michael J. Blood expands on the after-hours theme with the cannily titled ’Walk of Shame Mix’ — a cracked reflection of the original that channels the essence of Theo Parrish, Delano Smith, et al. His ’Morning After Mix’ flips the pace entirely, layering hypnotic chimes and dark New Jersey–style synths with an almost overwhelming sense of dub-wise dread.

Fresh from a run of must-check EPs on Syncrophone Recordings, Black Jazz Consortium man Fred Peterkin inaugurates a new label, Base. The New York-based producer appears to be the man at the helm, since his next scheduled release also appears on the freshly minited imprint. He begins with 'There & Back (Long Player)', a languid, mid-tempo chunk of string-laden deep house classiness, before opting for a breezier, dreamier and sunnier sound on the impeccable 'Something For The Road'. Peterkin's ability to fuse looseness, heaviness and subtly soul-flecked instrumentation comes to the fore on EP highlight 'Rhythm & Movement', while 'BTA10711 (4am Mix)' tiptoes the fine line between dubby deep house and spacey, far-sighted futurism.

Daybreakers head to Chicago for this one, bringing back How Bad I Want Ya from Soul Element, aka Stacy Kidd, alongside Peven Everett. This record is a true representation of the city — Stacy’s deep approach to house music and Peven’s unmistakable voice up front. It carries that raw, direct energy that defines a lot of their best work.

How Bad I Want Ya has been around for a while now, one of those records that stayed in bags and never really disappeared. It’s a proper slice of deep house with a vocal that stays in your head.

The original keeps things direct and deep. No excess, just a track that does what it needs to do on the floor.

On the B side, Glenn Underground steps in with the Peak True Time Mix, stretching things out and adds some percussion and an infectious bassline. It’s a proper GU remix — longer and patient, while keeping that Chicago swing intact.

Two sides of the same city, done properly.

House that was always deep.

Buy or cry.

Since debuting in the mid-1990s, Kurt Spichiger aka Shaka has released rather a lot of high-quality deep house, in the process notching up appearances on the likes of Local Talk, Traxx Underground, Yore, Housewax and, most recently, Mate. Here he evokes the atmosphere of a 'smoky' basement club via a three-track Seasons Limited label debut. Title track 'Smoky Club' is undeniably classy and carefully crafted, with starry electronic motifs, dreamy pads and jammed-out Wurlitzer organ motifs rising above a languid, leisurely deep house groove. Spichiger's love of jazz comes to the fore on the even warmer and more seductive 'City Park' - all sampled disco drums, smooth jazz-funk bass and extended electric piano solos - while 'The World Goes Oriental' sounds like vintage Larry Heard mixed with the afterglow of late night lovin'.

The anonymous Only Music Matters crew serve up another EP of smoking sounds for discerning crowds. It's the smart sampling of a classic motif from jazz-house great Saint Germain that makes the opener 'AAA001A' so enchanting as a bluesy vocal drifts in and out of a dry, dubby, minimal tech beat. 'BBB001B' is more driving and gritty, a clipped tech cut to keep things moving in the dead of night, then 'BBB002B' brings another supple groove, this time with rays of synth rising out of the mix like the morning sun. Quirky sound designs and a skipping rhythm make it irresistible.

Transparent orangenes Vinyl. Unter dem Titel "II - Incarnate" legen SHAYTAN ihr zweites Album vor - und festigen ihren Mix aus Doom/Stoner und klassischem Heavy Metal mit orientalischen Einflüssen. Wo das Debüt "Chapter One" (2024) noch als Beschwörungsformel diente, steht das zweite Album für die Manifestation allen Übels in düsteren, aber auch melodischen Klängen. Musikalisch bleibt die Band ihren Wurzeln treu, erweitert den Sound aber durch noch atmosphärischere Klangbilder, die auch durch den intensiveren Einsatz von Hammondorgel und wuchtigeren Bass-Sound getragen werden. Die Produktion stammt von Charles Greywolf (Hammer King, Godslave).

2026 REPRESS

Pure, Distilled Dub. Upholding Jamaica's Legacy As Well As Germany's Unequivocally Influential Dub Techno Spirit, Moonshine Recordings Proudly Welcomes Their Next Addition To The Roster. On The Controls For The 9th Full-length Album Release, A True-to-the-roots, All-analogue Musician: Another Channel. Having Put Himself On The Map With Releases On Soukah's Blacksoil Records, Bristol's Transient Audio As Well As On Australian Imprint Modern Hypnosis, It's Now Time For The Album Release, We've All Been Waiting For. No Computer Involved As Impeccable Arrangements And Analogue Reverberations Unfold. Live And Direct In The Original Dub Mixing Fashion, The Augsburg-based Artist Uniquely Transports The Sonic Characteristics Of Rhythm & Sound Into The Present Time.

Subtle Vinyl Crackles Gently Introducing Meditative Beats, 'run Dub' Sets The Pace. Keen Listeners Find Themselves Embedded In Lively Echoes And Reverbs, Left To Bask In Smooth, Sonic Contemplation. Engineered To Soothe The Soul, Timeless Foundation Sound. Intensified Groove Meets Low-frequency Pressure In 'amir Dub' Among Haunting Melodica Fragments. '(yes!) Badness' Unsheathes Its Off-kilter Swing, Vocal And Foley Samples Musing In The Distance - Further Showcasing Another Channel's Technical Prowess. Heavy Chord Stabs And Delicate Overdrive Counterpoint The Immense Scope Of Conjured Space In 'ael Na Dub', Concluding A Beautiful A-side.

Lush Chords Lure Us To The Flip-side - 'solid' Kicks Off With A Staccato Bass-line In The Midst Of Lavish White Noise Surges And Minimal Drums. Rooted In Endless Feedback Trails, Steadily Kept In Check. Previously Teased, The Mighty 'ethiopian Dub' Steps Through In Full Glory, Carried By Militant Drum Motion And Forceful Low-end. On A More Spacious Excursion, 'uranus' Takes A Brightly Lit Stroll Through The Analogue Dub Universe, Led On By Another Channel's Signature Groove Propulsion. Pointing Back Towards A-side, Prolific Dub Proponent Babe Roots Presents His Musical Qualities In A Monumental Remix Of 'run'.

Berlin lo-fi crooner Der Assistent returns with "Ultramarin", a sun-faded suite of soft-focus pop, Balearic grooves and late-night yacht moods drifting between languages, moods and references – slightly surreal, and quietly melancholic.
Following the tropical haze of its predecessor "Amnesie am Amazonas", his third album makes a slightly bigger splash: classic late-80s digital pianos, downbeat grooves and flashes of dub-reggae intertwine with subtle soprano and alto saxophone lines that drift between lounge melancholy and nocturnal jazz.
Laid-back opening cut “Wenn der Scirocco weht” pays homage to Japanese lovers rock, while the dubby downbeat title track celebrates the color blue in French, English, Italian and German, echoing situationist slogans and painter Yves Klein’s idea of “the invisible becoming visible.” Lead single “Mann am Telefon” dives into hazy yacht-pop and lo-fi soul, gradually unfolding into an instrumental outro that recalls the early synth romanticism of Vangelis.
Across the album, Der Assistent traces a playful tale of split personalities – with subtle nods to Fight Club and Blade Runner – culminating in the lush closing 80s R&B ballad “Total Confusion”.

Written, recorded, produced and mixed entirely by Der Assistent, Ultramarin also inaugurates his new imprint of the same name.
RIYL: Fishmans, Eddie Chacon, The Zenmenn.

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Originally released in 2008 on Ezekiel Honig’s own Anticipate Recordings, Surfaces of a Broken Marching Band finds the artist refining a compositional language rooted in the methodologies of musique concrete, ambient, and beat research. Working from a palette of environmental recordings, instrumental fragments, and soft electronic treatments, Honig pushes the source material into an array of sympathetic forms ranging from pillow-soft, lowercase ambient to diffuse downtempo and minimal house. For its reissue on Keplar, the album has been remastered by Kassian Troyer (D&M), bringing a new clarity to its intricate, low-lit architectures.

Throughout the record, serving almost as audiographic guideposts, are faint but insistent gestures toward propulsion, an abiding and recurrent 4/4 pulse that guides the music laterally and instantiates a slow negotiation between its various elements. This music invites close listening precisely by not revealing itself all at once, allowing small collisions of timbre and subtle shifts in emphasis to carry the weight. The traces of lived environments that remain embedded in the mix - distant crowds, sounds of transit, the indistinct acoustics of interiors in flux - expand the frame without breaking its intimacy, creating a potent dislocation between the nearness of the sound and the scale of its sources.

Rather than foregrounding any single voice, this is music that distributes attention equally across its materials, allowing background details to assert their presence as much as melody or rhythm. Honig presents listeners with an astute practice that’s concerned less with building from the ground up than with uncovering what happens when disparate textures and structures are brought into close contact with one another. (Alex Cobb, 2026)

Vincenzo De Bull follows up his initial 4 Kicks EP with a truly fitting set of 4 smooth grooves on Kicks 4 Life EP.

Kicking off the A Side is the energetic bass workout of The Jaunt. Driving mix of filtered loops and persistent bass carry this along with accented punctuation courtesy of trippy oscillating vocals, pianos before it’s all brought home post-break with a lovely pad driving more tension to add to the effortless progression. B2, Make It Smooth will contain some recognizable elements for most of the selectors out there, before the cut develops into a new context which will immediately remove your previous associations and make way for a fun, new groove – we don’t have to tell you, but Vincenzo does a superb job of ‘Making it smooth.’

Flip to the B Side for smooth R&B style house vibes courtesy of Move Your Body, an ethereal workout grounded by a solid low and a tugging looped groove, interspersed with enough energy via vocals to keep the floor engaged and moving, but at a lower energy level. Perfect to move into later nights. Tatsuro Lovers rounds out the EP with a midtempo chugger perfect for starting the evening, groovy pool parties or just sitting at home, enveloped in the heady, swirling vibes underpinned by crisp drums and deep low end.

Staffan Lindberg’s Revéillon EP links Rio baile funk, São Paulo club mutations and Stockholm electronic craft. Made with Brazilian MCs Maromba and G7, it grew from Instagram DMs, nights at Pedra do Sal, Copacabana on New Year’s Eve and a shared taste for whisky, Red Bull and pick-and-mix.
Raw, playful and transportive, the EP landed digitally on April 3rd, with vinyl to follow in June on Studio Barnhus.

Nobody knew. Not the crowd packed into Circolo Kessel that Sunday evening, not even the six musicians on stage. When Giardini di Mirò played on March 19, 2023, it was supposed to be just another homecoming show in Cavriago, the kind of night where you play for the people who’ve known you longest. Some were missing from the audience, though: “Our closest friends stayed home to watch the football match tonight,” Jukka quipped from the stage. “But that’s fine, we’ll deal with them tomorrow.” In hindsight, even Juventus fans who celebrated their 1–0 victory over Inter made the wrong choice.

Seventy minutes in, all the instruments converged into a one-chord riff, driven by the drums and punctuated by screaming guitars. A repetitive rhythm that paired brutal volume with hypnotic precision. Even those at the back of the room felt it: that trance-like state where sound becomes physical. Then the wall of sound collapsed. Guitar feedback lingered in the air for a few seconds before fading into nothing.

This was the last sound Giardini di Mirò made. They haven’t played since, and there are no plans to do so again. But in that moment, nobody knew.

The closing song that night was also the opener of their debut full-length, recorded more than two decades earlier. Its title, A New Start, carries an unintended irony the band would likely appreciate. It is also oddly fitting that their final show took place in the same building where they began. Circolo Kessel, previously known as Calamita, served as the band’s rehearsal space for many years. Yet since their rise to becoming one of Europe’s defining post-rock acts, they had never performed a concert there.

In a fortunate coincidence, Markus Mathis – a longtime fan who had recorded several of their shows before – also captured this final concert using two room microphones and a feed from the mixing desk.

Quasi Casa is the complete, unfiltered document of that night: an “official bootleg” spanning over 70 minutes of purely instrumental music, drawing on material from across their entire career, from the earliest releases to Del Tutto Illusorio. It captures, with striking clarity, the intensity that defined the band’s live performances.

Rather than simply uploading the recording and calling it a day, the band chose to assemble a physical release as a parting gift to their fans. The double LP includes a 16-page booklet with extensive liner notes and visual material.

Never Sleep charity tape series focuses on the North East's Valenican musical obsession with the man who started it all.

Trendsetter DJ Scott commands respect with a blend of Makina, Hardcore and Bounce. A trance laced session filled with the resonating compere styles from MC Stompin, MC Jet and MC Natz.

Bringing the energy, heart on the sleeve lyricism and maximal Mackem love for the late night surreptitiously crew. Lacing the backdrop with rapid fire crossfade technique, jump up tonal flair and high pace anthemic signals. Scott brings authenticity alongside the finest MC's in the land.

MC Stompin shows the naysayers who owns the night, MC Jet streamlines quality on the mic and MC Natz brings his own signature tones to the prestigious event.

Literally bringing the first ever Makina records back from Spain (8 of them) and starting Hangar13, this mix showcases an incredible time for the localised sonica and the rise of a cultural defining era in the North East.

DJ Scott is known for his huge cultural contribution, youth work and working class pioneership. A true UK legend and local hero.

All proceeds go to The Macmillan Cancer Support who help people across the UK and and provides specialist health care.

Steve Bug and Pornbugs team up on Behind The Glass / On The Swing with remixes from Mihai Popoviciu and Markus Homm.

Unsung House hero, Steve Bug has been there and done it all. Arguably Germany’s most important pioneer, his label Poker Flat has been an epoch-defining imprint. Celebrating 20 years of Bondage Pornbugs are mixing in different circles with recent releases for Selador and Acker Dub, showcasing their crossover appeal with a new generation of DJs.

Opening with ‘On The Swing’ we are delighted by classic deep vibes with a modern twist. Grooevsome and warm, this will get the floor going anywhere in the world. On remix duties, Mihai Popoviciu drops his trademark style, smoothing out the bumps for a deeper ride.

Next up, ‘Behind The Glass’ takes a similar path. Soulful warmth exudes from the speakers as the bumpy bass and echoing keys mark time. Reaching a crescendo with muted acid undertones in the second half keeps attention high and the dancefloor full and happy. For his remix, Markus Homm takes it deeper with shades of Detroit. Liquid cool for the later floors.

2023 Repress

Dennis Brown has always been cited as Jamaica's favourite singer.
While Bob Marley set out to conquer the world, Dennis's popularity on the island grew with every year.
His most prolific period is said to be with producer Niney the Observer,who led the singer down a more Roots avenue.He put Dennis on some of his heaviest rhythms.
Throwing also into the pot the fact that these rhythms were also to be mixed by the Dubmaster himself King Tubby we are bound to get one of the best Dub albums around.
Here is where the Crown Prince of Reggae Meets Niney the Observer at King Tubbys.
It's from this period that we have focused on and it's these tracks that were taken to King Tubby's studio to produce this stunning album.
Hope you enjoy the set.......






G a7 | COME AGAIN DUB

J b2 | WOLF AND LEOPARDS DUB

The mighty Channel One Studios,Kingston, Jamaica, has its place set in Reggae's Musical History.Its distinctive sound the studio created on opening its doors in 1972 to its closure in the early 1980's made it the Producers, Singers and Musicians studio of choice during this furtive period. Achieving that vibe and clarity, separated it from the other Kingston establishments.

Run by the Hookim Family's four sons, Jo Jo the eldest followed by Paulie, Ernest and Kenneth. Their father originally came from China and married a Chinese Jamaican lady and settled in the St Andrews district before moving to Kingston Town itself. The family business was built on jukeboxes and one armed bandit machines in and around Kingston. A lucrative venture until the gaming laws changed in 1970, outlawing the gaming machines. So the music side of the business would have to be expanded. So it was decided to open a studio to make the music to supply their already established Jukebox enterprise. The four brothers opened Channel One Recording Studios in 1972 at 29 Maxfield Avenue, Kingston 13. Initially as we stated the purpose of the studio was for the brothers use only, but this would soon change when the various Producers all looking for that Channel One sound came asking for studio time.

The brothers had used the services of Bill Garnet a renowned and well respected technical engineer on setting up the studio. They spent a lot of time laying out the space to get the right acoustics and picking the right quipment. They went with a four track API desk and the best quality microphones such as Neuman, Sony and AKG, vital in obtaining the quality sound and track separation that would prove so worthwhile after the music was recorded to give the best flexibility on the final mix downs. Jo Jo would take over the production duties after the initial hiring of Syd Bucknor a producer who had worked closely with Coxonne Dodds Studio 1 stable. The first release on the Channel One label would be 'Don't Give Up The Fight' by Stranger Cole and Gladstone 'Gladdy' Anderson.The initial two thousand run being swallowed up by their Jukebox interests and so the steady flow of hits would run up to the brake through hit of 1975 'Right Time' by  the Mighty Diamonds.

1977 saw Jo Jo extending his stays in New York to a semipermanent status, returning mainly to oversee recording sessions and then taking the results back to America for worldwide distribution. His brother Paulies senseless killing in that year also added to Jo Jo's decision to spend more time with his Hit Bound Manufacturing set up in New York. The Channel One studio would be upgraded in 1979 to sixteen tracks and although Jo Jo and Ernest still covered the mixing and engineering duties Kenneth would now supervise sessions. An often untold part of Channel Ones history is the involvement of Producer Niney The Observer. The mid to late 1970's were heavy times both musically and politically and Maxfield Avenue was in the heart of this crossfire. Some artists and musicians were weary of using the establishment especially when sessions ended late at night and exiting the studio at these times could be somewhat dangerous. But Niney’s fearlessness seen him over running and in many cases running the all night sessions with his trusted set of musicians loosely called The Soul Syndicate. Having the run of the mighty Channel One studio's allowed Niney to build up and work on a stockpile of rhythms that he still has yet to unleash on the world. We have been lucky to select a bunch of material from Niney's vaults for this release. Some great unreleased rhythms and some different cuts to some tracks you might already know. Niney's work with Dennis Brown and his own distinctive heavy roots style productions have been documented and indeed his work on Channel Ones Yellowman releases stand tall also. We hope this fine set of Niney Productions set inside the hollowed walls of Channel One will sit beside them as they so richly deserve.

“All I can do is make my art from an honest place with an honest intention.” Earth-o-Naut.

Earth-o-Naut is a songwriter, drummer, musician and producer. He was born in Liverpool and raised in one of its satellite towns, Skelmersdale. He was raised by his mum and uncles on music from every genre, falling in love, amazement and awe with the groove and the craft of songwriting. Nothing has changed to this day. Songwriting has also always been a constant. That quest to create something original and use the songwriting process as some form of catharsis. Learning guitar and piano was the next logical step, to help with the creation of new ideas into new songs. A lot of time was spent playing drumming gigs and then taking his own songs on the road, solo with just an acoustic guitar, learning the ropes and serving his apprenticeship. Great songwriters The Beatles, Curtis Mayfield, Bill Withers, Neil Finn and many others inspire Earth-o-Naut to this day.

Earth-o-naut has worked hard for many years on his studio chops and is the writer, arranger, recording engineer, mix engineer and producer on all of his own material, and he also works with other artists as a producer. Earth-o-Naut's debut album, 'This Is Nowhere. This Is Everywhere.' will be released on Agogo Records in June 2026. The debut album features UK drumming legend, Steve White and also the vocals of Amalia Estradas and Suzanne Maddock. 2026 will also see Earth-o-Naut take his songs on the road and play some live shows.st singular, emotive, and genre-defying releases of its era.

Was für eine schöne und unerwartete Überraschung: 25 Jahre nach der Veröffentlichung von "Die Summe der einzelnen Teile" von Kante liefert Acid Pauli einen grandiosen Remix ab. Seine Uptempo-Techno-Version verleiht dem Klassiker der Hamburger Schule neuen Schwung - einem deutschen Song, der über die Wunder des Musikmachens sinniert: "In manchen Momenten, für eine Weile, entsteht mehr als die Summe seiner Teile". Acid Pauli spielte den unveröffentlichten Track erstmals in seinen Live-Sets und seinem Pingipung-Podcast (#175), und als er Kante fragte, was sie von der dopamingeladenen Interpretation ihres Pop-Hits aus dem Jahr 2000 in seinem DJ-Mix hielten, gab es rundum Daumen hoch und strahlende Gesichter. Als sich herausstellte, dass Acid Pauli noch einen weiteren Kante-Edit in petto hatte, nahm diese 7"-Single schnell Gestalt an. Auf der B-Seite verbindet er seine Kick-Drums mit dem langsamen, sehnsuchtsvollen "California" aus Kantes Debütalbum "Zwischen den Orten" von 1997. Hier ist sie also: Pingipung präsentiert stolz "Kante on Acid" - zwei Knaller für die Festivalsaison, die uns zurück zu den Wurzeln der Hamburger Popmusik führen, gebrochen durch Acid Paulis charakteristisch energiegeladenen, psychedelischen Groove. Kante: Eine einzigartige Band, die die Hamburger Schule mit Jazz-, Post-Rock- und Indie-Elementen verbindet und für ihre ausdrucksstarken, melancholischen Texte bekannt ist. Mit Alben wie "Zwischen den Orten", "Zweilicht", "Zombi" und "Die Tiere sind unruhig" wurden sie um die Jahrtausendwende zu einer der markantesten Stimmen der deutschsprachigen Popmusik. Acid Pauli: Acid Pauli (alias Martin Gretschmann) steht für einen eklektischen Ansatz in der elektronischen Kultur und beschäftigt sich seit über zwei Jahrzehnten mit psychedelischer, experimentierfreudiger Musik abseits der Mainstream-Pfade. Er ist in Techno-Clubs in New York oder auf Ibiza ebenso zu Hause wie bei der Produktion von Hörspielen und dem Schreiben von Filmmusik.

Incubus is an American rock band from Calabasas, California. The group was formed in 1991 by vocalist Brandon Boyd, lead guitarist Mike Einziger, and drummer José Pasillas while they were students at Calabasas High School. The lineup later expanded to include bassist Alex “Dirk Lance” Katunich and Gavin “DJ Lyfe” Koppel. Both were eventually replaced, Ben Kenney took over on bass, and DJ Kilmore joined as the band’s turntablist. In 2024, Nicole Row replaced Kenney on bass.

Incubus’ sound has been described as a blend of rap metal, funk, jazz, and post‑grunge, often incorporating elements of hip‑hop. This eclectic style helped them become one of the most popular alternative metal bands of the early 2000s.

The band has achieved significant commercial success, earning multiple multi‑platinum releases and producing several hit singles. In 2017, they released their eighth full‑length studio album, 8, with Skrillex contributing to production and mixing.

Check The Description Before Asking For A Track ID is a thoughtfully curated four-track journey through modern deep tech house, balancing forward-thinking sound design with emotional depth and dancefloor functionality. The release unfolds across two distinct yet complementary sides, guiding the listener through evolving textures, moods, and states of energy.

On Side A, A1. Overt – Annular and A2. Third Echo – 31th Session introduce a spacious and immersive atmosphere. Built around shimmering arpeggios, airy melodies, and fluid progression, both tracks explore a subtle interplay between progressive motion, trance-like elements, and dub-infused textures. The result is a weightless yet driving experience — refined, hypnotic, and perfectly balanced for setting a tone that feels both futuristic and deeply engaging.

The B-side shifts into more introspective territory. B1. Eric Louis – Grooving In The Future and B2. Severin – Shiti bring a melancholic edge, focusing on emotive melodies and transitional energy. These tracks are crafted for pivotal moments within a set — where the atmosphere deepens, emotions unfold, and the narrative takes a new direction. Warm, bouncy grooves intertwine with cooler, more restrained tones, creating a contrast that feels both elegant and expressive.

Spanning a wide emotional and rhythmic spectrum, NRP006 is a versatile tool for selectors — designed to navigate the subtle shifts of a dancefloor with precision, intention, and depth.

NOREPRESS is a division of MixCult Records. Limited Edition.

Best known as one half of KIASMOS alongside Ólafur Arnalds, the Faroe Islands born, Reykjavik based producer Janus Rasmussen has consistently refined an elegant sound that marries sonic precision with emotional depth. Over the past decade, he has built a wide-ranging body of work through collaborations across multiple genres as a producer, songwriter, musician, and mix engineer.

As a solo artist, Janus has crafted compositions that balance immersive sound design, subtle melodic shifts and rhythmic drive, drawing on his diverse musical appreciation and studio experimentation. These experiences have shaped a creative identity that now comes into sharp focus on his most ambitious solo project to date - Inert.

The album marks a bold step forward, thematically exploring the act of breaking free from inertia through embracing creative freedom. With his new work, Janus incorporates his own vocals more than ever, weaving them seamlessly around intricate electronics as he expands his sound into new territory, while retaining the subtle restraint that has defined his output. Drawing inspiration from the dance music spectrum, Inert reflects a renewed sense of momentum, vulnerability and adventurousness in his sound.