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Over twelve tracks selected from BBC radio and European TV broadcasts, this LP charts the development of Blossom Toes from 1967 psyche to something darker and more powerful. This mix of idiosyncratic originals and re-interpreted cover versions includes songs not included on either of their studio albums. Sound quality is Excellent except*. Comes with extensive sleevenotes that include full recording details.

2026 Repress

Mr. G, aka Colin McBean, presents a remastered, 23-track compilation entitled 'OG Retrospective'

'The day I found my original studio masters and got my rights back was the starting point, and then I realised it's 25 years on and it's time to recode, remaster and reevaluate because I've never looked back properly. I've always been like a bat out of hell, never quite thinking I'm good enough or great at what I do, but it's important to celebrate, because there's nota lot of people still here, still doing it after this length of time'.

With new masters provided by Simon at the renowned London mastering house The Exchange London, a direct link to the original mastering done by the late-Nilz (Nilesh Patel) from The Exchange, Mr. G's 'OG Retrospective' marks a reflective period in McBean's life.

'All I've ever done is write and move forward, but more and more, I get the new generation sending me videos of my old tracks and sometimes I don't even recognise them, so finally I thought, 'ok, you're comfortable in your own skin, let's really see how you sounded at the beginning, how you've changed, how have the techniques changed'?

It was quite raw going back over these; some of the memories are riddled with pain and angst - friends dying, where I was in my life at the time, having a heart attack and so on. Having a sound, too, can be a cross to bear. You're only ever competing with yourself, your only game is being better than your last game, so if you dwell on the past too much you can't move forward. Getting to the point where I can look back and feel happy, feels good.

Invariably, what will come from this is 'more', because, with my own label I have endless possibilities and will continue telling my story.'

Tieum - Archives EP.1: A brand new Gobble Special, 24 years after its last release, the king of french early hardcore delivers a time capsule of hardcore history. Featuring never-before-heard tracks from over two decades!

MCRV019 – VA – Phase Drift. Passage is a graceful and emotionally nuanced four-track journey through modern deep tech house. Blending reimagined echoes of early 2000s deep sounds with forward-thinking production, the release moves between moods and textures with surgical control and quiet sophistication. It’s an EP that balances warmth and restraint, melancholy and motion — built for selectors who appreciate finely tuned emotional arcs.

A1. Stephano Franca – Arriving opens with a fluid, introspective piece. Gentle and melancholic, it glides with cinematic poise, drawing listeners into a state of suspended reflection.
A2. Dot – Distance Call introduces a percussive, tribal undercurrent — earthy and grounded, yet full of bounce. It energizes the space while maintaining depth and groove.

Flipping over, B1. Reenday – Last Call (Nicolas Barnes Remix) brings a refined sense of cold elegance. Dubby and atmospheric, it’s a minimalist piece that evokes distance and stillness — a cool breath in the night.
Closing the release, B2. Jeronimo Watson – On The Prowl is a deep tech gem — emotive, seductive, and sharply detailed. With a slow-burning energy, it brings the record to a confident and composed close.

From Brazilian talent Stephano Franca to Dot and Nicolas Barnes, two of the label’s most precise and consistent producers, and rising standout Reenday, a finalist of the ANTS: NEXT GEN Artist Program 2025, this release represents the current essence of MixCult. It is sealed by the distinct touch of Jeronimo Watson, whose Los Angeles–rooted sound closes the circle with style.

Phase Drift. Passage is not just a collection of tracks — it’s a refined toolkit for navigating emotional shifts and dancefloor narratives, framed by elegance and intention.

Limited Edition.

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.

Can’t go over it. Can’t go under it. Gotta go through it. And somewhere out there in the Pitch black beyond all darkness lies Peace & Purpose. The horizon you never quite crest until the inevitable end. Breathe deep — this fearful moment is the most alive you’re ever gonna feel. For the last decade, Crack Cloud’s vision has grown ever more expansive, more cinematic. Last go around, they dropped from The Heavens and then performed with their bare backs to an endless darkening desert. Now they’ve crammed all that life into some metallic and strange object called Peace & Purpose. All the terror of living. All the helplessness. All the raw human will. All glued and screwed and locked into this impossible tactile shape of dungeon dub; sour milk vox; Avant-protest music. Music arm wrestling itself to the ground. Far afield of beauty. The discordant symphony of factory farming and grim timber of the meat processing plant. The grinding din of the cogs. And yet, never giving up in spite of all good sense. Even in death, we are a coterie of survivors. Look now: There’s Terry Fox on his one-legged Marathon of Hope across The Great White North while cancer spreads through his lungs. A self-annihilating drive to feel alive. Rage against the dying of the light, they say. Well, how ‘bout it then!??! Peace & Purpose is not in any way some art project meditation on Punk Rock. It is Punk Rock. Terrifying, inspiring, vital, invigorating and most importantly, utterly unexpected. Every goddamn stupid day is a sublime slice of fresh hell. That’s the point. Gotta go through it. Wishing you Peace & Purpose — if only in that last big breath.

In the late 1980s, Klaus Wiese (Popol Vuh) deepened his connection with Tibetan culture. The result is a series of works solely dedicated to the universal purity of the Singing Bowls. Uranus, perhaps the most rigorous of these, is an intense meditation on the trans-personal sphere of the VI chackra. The music becomes like a single harmonic chant, the reflection of a constant flow of divine light, which transforms the psyche and dilates the secret passages of the heart. In the galaxy of pure sound, the accumulated overtones offer the intrepid listener the access to a prismatic, fluoriscence-rich consciousness. The ego thus becomes the sonorous composer of itself, of the vital circle flooded with beneficial acoustic vibrations. In this sense, Uranus, originally published on tape (Aquamarin Verlag/1988), also marks a parallel with the same research by Henry Wolff & Nancy Hennings or Nada Himalaya's Deuter.

Side A
Don’t It Drive You Crazy (Break Edit) — The Pointer Sisters
Originally from the 1978 LP Energy, this is prime disco-era Pointer Sisters. The OG cut is beloved for its rolling rhythm section, and this edit zones straight in on the drum passages DJs & beatmakers have quietly relied on for years. Tight, punchy & perfect for looping under blends or quick cut-ins.

Side B1
In My Body’s House (Sample Drum Break Edit) — Gene Chandler
Lifted from Gene Chandler’s 1979 album Get Down, a late-career disco-funk gem. The drums here are the story: steady kick, crisp hats & a pocket that sits comfortably across disco, boogie & hip-hop-adjacent sets. This edit isolates the break for maximum flexibility behind the decks or in the studio.

Side B2
Don’t It Drive You Crazy (Sample Drum Break Edit) — The Pointer Sisters
A second, more surgical take on the same Pointer Sisters groove, focused almost entirely on the drum break itself. Think intros, beat tools & sample-ready loops.

Bottom line
A straight-up DJ weapon from start to finish. Disco breaks, clean edits & zero overthinking.

When The Style Council’s debut album Café Bleu was released in 1984, Weller and wing-man Mick Talbot unveiled a cosmopolitan blend of jazz, soul, and pop that felt effortlessly sophisticated and daringly fresh. Café Bleu was more than a debut—it was a statement of intent, redefining what British pop could sound like in a new decade.

Since then, fans have been waiting for a deep dive into the Style Council vaults eager to hear any unreleased material. And now the wait is over.

The Café Bleu Special Edition is a treasure trove for Style Council devotees and music lovers alike - an immersive journey into one of the most inventive eras of Paul Weller’s career. This lavish release unveils a wealth of previously unheard material, including early demos, alternate takes, and unreleased songs that showcase the band’s restless drive for experimentation and evolution.

New Animals On Psychedelics by Krijka!

A1 Cloning Procedures , has the animals trapped in a lab taken over by a corrupt cloning program, where cell and gene modifications end in diastiours transgenic mutations.

A2 E-Tribes, take us on playful stomp into the woods with 2 samurai elders, glooping through flanged bass and hypnotic percussion, slowly feeling more like a mushroom trip gone wrong than a safaras harvesting by a clandestine ecstasy tribe.

B1 Mad Caps, ramps up the sleaze for a straight up curb crawling research chemical work out / sci fi electro technoid hoedown.

B2 Datura, the EP's last act of sorcery, is driven by a bold roaming synth bass, cunning key changes, trippy vox and discerning judders, asking us if any of this is real??

The moment the instantly recognizable intertwined guitar passage on the title track to the Eagles' Hotel California begins, the record's genius becomes obvious all over again. Ranked the 118th Greatest Album of All Time by Rolling Stone, certified by RIAA as the third best-selling LP in history, and considered the foundation on which the Golden State's mid-‘70s music scene was built, the 1976 landmark is a music staple immune to shifts in trends, eras, and styles. Fearlessly addressing the chaos and consequences of American life, its songs remain strikingly prescient and gain creedence with each passing day.

Mastered from the original analogue master tapes, pressed on MoFi SuperVinyl, and limited to 17,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set ensures you will want to permanently check into and never leave this particular Hotel California. Up to the herculean task of standing head and shoulders above all prior reissues, this collectible edition plays with extreme clarity, organic richness, tube-like warmth, massive dynamics, and microscopic levels of detail. You'll be able to practically smell the colitas and feel the breeze in your hair. Songs come across with an epic sweep and feature immersive, front-to-back soundstages that allow the music unprecedented air, roominess, and separation. As for the noise floor? It's basically as invisible as the spirits that waft in the corridors of the unforgettable title song.

Aesthetically, the premium packaging and presentation of the UD1S Hotel California pressing befit its esteemed status. Housed in a deluxe box, it features gorgeous foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the renowned cover art to the meticulous finishes.

Indeed, the opportunity to zero in on all the particulars of the 26-million-selling Eagles record dubbed "a legitimate rock masterpiece" by vaunted Los Angeles Times scribe Robert Hilburn has never been better. A global phenomenon that marked the band debut of guitarist-singer Joe Walsh, Hotel California continues to resonate and connect with listeners of all generations taken by its narrative depth, stark directness, picturesque melodies, daring majesty, and ardent emotionalism. Adorned with a breathtaking exterior photograph of the Beverly Hills Hotel that serves as the simultaneously haunting and alluring cover art, and rounded out by a rear-cover shot of the Lido Hotel lobby that reinforces a notion that teeters between permanence and transience, Hotel California is brilliantly tied to a specific place that functions as a universally understood metaphor for the American Dream.

Confronting the darker undercurrents and oft-ignored constructs attached to that romantic notion, the record's songs revolve around a host of shared themes: excess, mobility, stability, illusion, fame, destruction, and idealism included. Notably, Hotel California appeared at a crucial junction in American history: During the country's bicentennial and amid escalating controversies related to the Vietnam War, energy crisis, and governmental corruption. That the Eagles manage to channel such cultural, social, and economical matters into a cohesive, stately, big-picture statement is alone a stupendous feat. That the album's reach, boldness, vitality, accessibility, and understated intensity have never waned make it a marvel.

Reflecting on Hotel California 40 years after its original release, and indirectly explaining its enduring appeal and increasing relevance, singer-songwriter Don Henley confirmed the record pertains to the "loss of innocence, the cost of naiveté...the difficulties of balancing loving relationships and work, trying to square the conflicting relationship between business and art; the corruption in politics, the fading away of the Sixties dream of ‘peace, love and understanding.'"

It can be argued that Henley and company squarely hit on and drove home those ideas in the surreal title track, chart-topping "Life in the Fast Lane," and grand "The Last Resort" alone. But that would miss the forest for the trees. Experienced as an unbroken whole, complete with the pristinely shot imagery and physical grooves, Hotel California unfolds like a geography-conscious saga by James Michener and plays like colour-saturated movie shot on 70mm film by Martin Scorsese. It's about our collective and individual decisions – and the shape of our past, present, and future. And, just like that conjured by our imaginations, Hotel California continues to take on a life of its own.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Looking back on her career in the early 90s, Stevie Nicks described the first track of Rock a Little as “the most exciting song that I had ever heard.” This coming from a superstar who was already closely affiliated with several bajillion-selling Fleetwood Mac albums — to say nothing of her own benchmark solo debut. Her remarks attest to the enthusiasm and effort she invested in her third record, a 1985 work that quickly furthered Nicks’ profile and cemented itself as a piece of 80s pop lore.

Mastered at MoFi’s California studio, pressed at Fidelity Record Pressing in California, strictly limited to 4,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set presents Rock a Little in audiophile sound for its 40th anniversary. Helmed by a cadre of producers and engineers, and recorded for a reported one million dollars, the platinum-certified album teems with a head-spinning array of colors, tones, dreamscapes, and accents. This reference-grade reissue marks the first time they are all brought to light and conveyed with proper balance, dimensionality, and positioning.

Though Rock a Little doubtlessly has period characteristics of a mid-80s LP, Nicks and company spare no expense when it comes to distinguishing the music with expansive sonics distinguished with lush melodies, high-tech percussion, echoing vocals, sampled keyboards, and layers of sophisticated accents. The degrees of spaciousness, headroom, and dynamics are nothing less than inspiring, while the newly enhanced detail, texture, and clarity make the songs sing like never before. As for Nicks’ voice? Wait ’til you experience the transparency and depth.

Those advantages extend, of course, to the aforementioned “I Can’t Wait,” a statement-making opener shot through with modulating synthesizers, splashy drums, metallic guitars, and serious drama. Holed up in a massive studio, Nicks required just one take to nail her part, which she called “magic and simply not able to beat.” The singer-songwriter also distilled the reverberating emotional essence of the Top 20 tune, stating “when I hear it on the radio, this incredible feeling comes over me, like something really incredible is about to happen.”

The same can be said for nearly all of Rock a Little. Crafted by the likes of Songwriters Hall of Fame multi-instrumentalist/producer Rick Nowels, Heartbreakers organist Benmont Tench, bassist Bob Glaub, jack-of-all-trades Greg Phillinganes, and session-pro guitarists Waddy Watchel, Les Dudek, and Danny Kortchmar — along with another two dozen or so participants — the record spills with diverse ideas, shapes, and moods. Everything is in the right place, as evidenced by the swirling glide and sensual undertow of the slightly funky title track to the snapping rhythmic pace and big hooks of “Imperial Hotel,” one of Nicks’ standout moments.

“What was it she wanted?” Nicks queries on “No Spoken Word,” continuing a theme of contemplation that runs through the narratives. Nicks never lands on a definite answer, but hearing her explore loneliness, love, and the secrets we keep to ourselves proves continuously rewarding. Take her passionate performance on a cover of Chas Sanford’s “Talk to Me,” a Top 5 smash furthered by tasteful saxophone lines and understated folk elements. Immersive yourself in the grand sonic corridors of “If I Were You,” laden with Nicks’ signature mysticism.

Moreover, surrender to the gravitas of the closing “Has Anyone Ever Written Anything for You,” a piano ballad composed about the death of Joe Walsh’s three-year-old daughter. As Nicks asserts earlier on the album, she sings for things money can’t buy.

So, rock a little, yes, but dare to feel even more.

Collecting Orders For 2026 Repress

Few labels do minimal as well as Trelik and in terms of artists, Edwards is also as good as they come right now. This perfect pairing opens up with the deeply alluring 'Time' with its woozy pads and smeared chords over warm and rubbery drums. It's a hypnagogic affair then 'Vacuum Tube' has a more menacing air thanks to the wispy and unsettling synth details and clunky hooks. 'Watch Out' brings a more spangled and rubbery rhythm that has colourful details peeling off the beats and last of all, 'Stream' ups the ante with some thudding deep house and widescreen ambient synth work.

To mark 15 years of Butter Side Up, the label presents a special 2×vinyl compilation featuring eight brand-new cuts from artists who have been part of the BSU story over the years - a true family affair.

Contributions from Ron Obvious, Garrett David, DJ Pipe and a host of newer collaborators reflect the breadth of the label’s community. Each artist bringing their own flavour but all carrying the BSU spirit.

The first record leans into club‑focused cuts, while the second drifts deeper into housier, after‑hours territory. Something for everyone.

Featuring original illustrations and artwork by Yideah.

In the early 2000’s, David Coker, Timmy S and Justin Bailey were right at the heart of the UK tech house scene, producing some of the finest classics the genre has known to date. The projects they worked on together quickly became standout staples and over time those records have turned into proper collector’s pieces.

This reissue on Endell Street brings back one of their most sought after releases. It features the two main tracks from the original release, both carefully remastered and cut one per side. A long lost slice of UK tech house, brought back to life.

Toneblind returns with its second release, welcoming 26-year-old Catania native Edo Ecker and his new EP, “Fall In Love.”

With one full EP already behind him, Edo steps confidently into his next chapter, presenting a sound that bridges eras with effortless ease. Rooted in the golden age of Italian house music yet
sharpened by a modern edge, Fall In Love blends Italo and Euro house influences with his distinctive melodic touch.

Warm, romantic synth lines meet crisp, contemporary production, while subtle Mediterranean nuances nod to his heritage — adding depth and character without overpowering the groove. The
result is a record that feels nostalgic yet current, intimate yet undeniably dancefloor-driven. With its second chapter, Toneblind continues to define its path — honouring timeless influences while spotlighting a new generation shaping what comes next.