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Canadian quartet BADBADNOTGOOD take on creating the ultimate late night' selection of tracks from their record collections, set for release on 28th July 2017. The original trio of Matthew Tavares, Alex Sowinski and Chester Hansen formed while studying music at Toronto's Humber College (they've recently added Leland Whitty to the line-up). A shared appreciation of hip hop and instrumental covers of Gucci Mane and Earl Sweatshirt suggested a worldly outlook and reciprocated love from Tyler The Creator and Ghostface Killah, which whom they made 2015's Sour Soul.

This is an international effort: Velly Joonas' Estonian version of 'Feel Like Makin' Love', Kiki Gyan, Admas and Francis Bebey representing Africa (Ghana, Ethiopia and Cameroon respectively), Les Prospection from France, Scots' Boards Of Canada and fellow Canucks River Tiber and Charlotte Day Wilson.

Finally, there's the no-small-matter of the Late Night Tales cover version, in which BADBADNOTGOOD take on Andy Shauf's 'To You' is turned into a mournful delight. while the Queen Of Siam herself, Lydia Lunch, delivers a sexual sermon involving only you, her and Jim Beam.

We were really excited to have the chance to put together a Late Night Tales compilation, it's a great organisation. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people. Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf.

These artists, as well as many, many others, have infuenced us to create and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation.' - BADBADNOTGOOD May 2017

Limited Edition 300 ONLY

Collecting some of their earliest BBC sessions this necessary document showcases the Fab Four immediately following the release of their debut album Please Please Me and right before they would become international superstars. Combining fantastic R&B covers and some of their best early originals this compilation finds The Beatles at a crossroads between their early beat roots and the pop brilliance they would go on to display for the rest of the 1960s. Essential.

The second volume of this series is as good as the first with more finely tuned twilight dubs and Balearic chuggers, expertly curated by a master of this form in Pete Herbert. Across two sides, the comp flows between low-slung grooves, deep synth atmospheres and sun-kissed dancefloor moments. Highlights include Statues' warming 'Andromeda' and a powerful synth-driven turn from Imogen Soundsystem, while side two leans further into Balearic romance, from Herbert's nostalgic 'At Zuka to Kasper Bjorke's proto-dancefloor elegance. Cohesive, tasteful sunset music with real substance.

DJ Feedback

Phil Mison/Cantoma/Ambala:
"Great tunes as always , full support. Lovingthe Zuka tune!"

Sean Johnston/ALFOS:
"Killer Petey! Next few ALFOS sets sorted"

Conrad/Idjut Boys:
"Nice selection, totem project rmx has it for me"

Sally Rogers/A Man Called Adam:
"Excellent, dependable DJ fodder from Pete and Co. Thanks for the consistency :) "

Camilo Miranda/Ibiza:
"Nice combo of tracks here ! loving these!!"

Dream Chimney/Blog:
"SF vol 2 is 10/10 every track a winner on here"

Logan Fisher/Try Outs:
"Superb comp. full of goodies"

4Trepanado/Selvagem/Brazil:
"Great compilation! the Pete Herbert Remix for Time is a great weapon to flip the switch at the dancefloor"

Simon Lee/Faze Action:
"Stunning compilation, hard to pick a winner but I'm heading for Pete Herbert - Zuka"

Marco Gallerani/Hell Yeah:
"Beautiful selection!!! loving it. Can't wait for summer now"

Dicky Trisco/File Under Disco:
"Classy release. All winners. Giselle is my fave. Nice one Pedro xxx"

Felix Joy/Rinse FM:
"Sounding great!"

Jaime Fiorito/Ibiza:
"Some cool bits! Time is my favorite!"

Bahamadia’s 1996 debut album Kollage is rightly regarded as one of the greatest rap albums of the 1990s. For the first time ever, Be With present the definitive double LP version of this eternal hip-hop classic, including the legendary "Path To Rhythm" which never appeared on the original LP or on vinyl, anywhere. An indelible VIBE from start-to-finish, Kollage presents Bahamadia's swirling rhymes delivered with an irresistibly butter flow and razor-sharp assuredness over a steady slew of smoothed-out, jazzed-up, blunted beats. Achingly cool and effortlessly funky throughout, it's an absolute must for true 90s hip-hop fanatics.

The entire Kollage project was recorded at D&D Studios and the ties to Gang Starr are keenly felt, with DJ Premier producing five tracks in addition to the killer songs Guru had already produced with her. Working with the cream of the mid-90s East Coast sound, Kollage is, accordingly, a record that demonstrates a varied musical taste with disparate influences, as Bahamadia has previously stated: “The title Kollage was a reflection of my state of mind. I first got interested in music from playing my parents’ and grandparents’ records, as well what I heard on the radio. I wanted Kollage to reflect that diversity both lyrically and sonically."

With intelligent, poetic lyricism and a laconic verbal style bursting with both warm texture and deceptive energy, Bahamadia’s flow was as inspired by Aretha and Nancy Wilson as it was Q-Tip, Schoolly D and Lady B. Swaggering out the gate, "WordPlay" finds Bahamadia confidently showcasing her considerable old-school battle-rhyme skills over a Guru beat that utilises an infectiously bouncy bassline with splashes of sultry jazz horns and a Jeru vocal snatch for the hook. Up next, the quietly shimmering and ruggedly beautiful "Spontaneity" is one of the most alluring on the record, Da Beatminerz crafting a brilliantly soulful and jazzy soundscape for Bahamadia's effortless vocals to float across. It's followed by "Rugged Ruff", where the rapper carefully constructs a swift off-beat flow over Premier's raw jazzy fire.

With smooth spacey synth vibes overseen by former Geto Boys producer N.O. Joe, "I Confess" is, without question, a fly love song and soothing (p)-funk groove. "UKNOWHOWWEDU" is an airy, chilled tribute to her hometown. Produced by Ski Beatz & DJ Redhanded, it rides a gloriously mellow break. It's a true Philly anthem, shouting out a who’s who of the entire city’s scene. Early banger "Total Wreck" follows, presenting a murky Guru instrumental elevated by jazzy horns. Bahamadia invokes the title's suggestion, firing her brilliant bars more aggressively than we’re accustomed to. More Beatminerz-brilliance comes in the way of "Innovation", an opportunity for the MC to invoke Freestyle Fellowship in her forward-thinking and literary verses. "Da Jawn" features hometown buddies The Roots, with Black Thought gliding into a back-and-forth with Bahamadia over ?uestlove’s warm, snapping percussion. With the strut club banger "True Honey Buns (Dat Freak Sh*t)", DJ Premier provides some laidback vibrant boom bap for Bahamadia to share a wild, cautionary tale about a night out with her girl, Kia.

Fan favourite "3 Tha Hard Way" is a hypnotically sinister cut, with Bahamadia, K-Swift and Mecca Star taking star turns to coast over DJ Premier’s raw beat whilst the tender "Biggest Part Of Me" is a heartfelt stunner dedicated to her son. Incredibly, only the European and Japanese CD versions of Kollage was released with the brilliantly breezy “Path To Rhythm”, featuring Ursula Rucker. Whilst ostensibly a "bonus track", it's anything but, to our ears. Very much in sonic conversation with KRS-One's stretched-out sleeper classic "Higher Level", it's absolutely essential so we had to include it, appearing on wax for the first time here, exclusively. Quite a coup.

Somewhat predictably, whilst Kollage was released to significant critical acclaim, it suffered from disappointing sales. In the intervening years - and for far too long - it was a criminally underrated record, an increasingly hidden gem. We hope this double LP reissue - which looks and sounds amazing - will go some way to correct this. This 2024 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. It's too bold and beautiful to remain overlooked and underserved.

A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back’s ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann’s curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. Alongside a continuous mix, this release arrives as a 3LP gatefold, and as a limited edition cassette.

Closely associated with Berlin’s techno landscape, Dettmann was born and raised in the former GDR, then later immersed in the bleary-eyed counter cultural landscape of post-unification Berlin. Initially oriented by post-punk, industrial and new-wave music, Dettmann has been DJing since 1993, always expanding and perfecting his repertoire. He later began working behind the counter at the city’s tastemaking rave boutique Hard Wax, and a decade after he first dropped a needle, became (and remains) resident at notable local nightspot Berghain/Panorama Bar, where his instincts have helped sculpt the signature sound of both main dancefloors.

Of course, you’re probably not asking, “Who is Marcel Dettmann?” More importantly, you might want to know; just what treats has he gifted us here? The trip begins with a simple pitch-shift skywards, transforming Identified Patient’s creeping ‘The Female Medical College of Pennsylvania’ into a peak-time freakout, before an alternate take on Toctronic’s ‘Bis uns das Licht vertreibt’ emerges from the vaults for the first time. Dating from 1995, and one of Dettmann’s all-time favourites, Cristian Vogel’s ‘Untitled’ clambers back into the box with respectable cuts, while John Bender’s ‘Victims of A Victimless Crime’ kicks off the flip sporting a new arrangement, transporting us back to the foundations of a confident, stripped-back sound.

A few subtle edits to Clark’s perilously funky ‘Dirty Pixie’ takes us to Dettmann’s remix of Junior Boys. Produced in 2010, it transposes the Canadian duo’s sophisticated pop with our curator in his minimal prime, and has since become an irresistible prize for high-minded diggers. The same can be said for Experimental Products’ explosive proto-electro anthem ‘Who Is Kip Jones?’, empowered from pricey Discogs purgatory with just the slightest of tweaks. It’s deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance’s raw ‘The Human Factor’ and a shimmering new version of previous solo production ‘Water’, featuring close friend and Ostgut Ton ally, Ryan Elliot.

The second half of the Mastermix seamlessly connects the mechanical past and digital present of EBM and industrial in the dance, with Dettmann’s instincts as a guiding hand. Severed Heads’ iconic ‘We Have Come To Bless This House’ emerges with mere nips and tucks, while Nitzer Ebb’s ‘Shame’ is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of ‘Limbo’ from Swiss synth heroes, Yello.

Core musical memories are shaken and stirred with a context-shifting take on Frank Duval’s emotional classic ‘Ogon’, while Ian North’s ‘Sex Lust You’ and Ford Proco’s notable Coil collaboration ‘Expansion Naranja’ effectively throb with only minor adjustments, respectfully imagined as “shadow versions”. Meanwhile, a simple breakbeat lifts Albert Kuningas’s ‘Astraalprojektio’ in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby’s ‘Season of The Real’ inexplicably emerges somehow even funkier than before.

The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann, but only as he puts it, “in conversation with the original.” Concluding three discs and thirty years of commitment to the dancefloor, this Mastermix not only offers us the opportunity to eavesdrop on this endless exchange, but to gain some sought-after material for our own record collections.

Jazzbois is a jazz-hiphop fusion trio from Budapest, Hungary. Their studio albums and live shows are all equally heavily rooted in improvisation and momentary self expression, each performance is absolutely unique and daring.
In the past 3 years Jazzbois has played SOLD OUT headline shows in: Melkweg Amsterdam NL, Jazz Café London UK, Village Underground London UK, Duc des Lombards Paris FR, La Hasard Ludique Paris FR, Gretchen Berlin DE, Knust Hamburg DE, Ekko Utrecht NL, Simplon Groningen NL x 2, Jassmine Warsaw PL x 2, AKvarium Budapest x 3
Played on festivals like: Montreal Jazz Festival CAN, Montreux Jazz Festival CH, SZIGET HU, X the Tracks London UK, Brick Lane Jazz festival UK, Jazz á Vienne FR, Istanbul Jazz Festival TR, Jazz Open Stuttgart DE, Blue Summer Festival PL, Jazz Around PL, Jazz in the Park RO, JAZZx RO…

In June 2025 Jazzbois performed at the Montreal Jazz Festival in Canada. The boys were approached by Rémi Hermoso to record a live session video in front of a small audience in Studio Fast Forward. The session was planned for 4 hours to have time to record with a small live audience, but Jazzbois went in and played 5 songs in only one take without any pause and were done with the material. They handled this recording session like all of them, do one take and be done with it. This way they can get the essence of the moment and not have to worry about making a mistake and starting over. All of these are part of the song, it's honest and raw as it was born right in the moment.

“We did all this for the passion of it, for the music and for the culture, thank you to old and new friends who took part in this intimate gettogether” - said Viktor Sági ‘Vanis’ bass player of Jazzbois.

Welcome to THE VAULT for 1985. A collection that digs deeper into the year’s musical landscape – uncovering singles that may not have always reached the highest chart positions but remain essential to the rich and diverse pop story of 1985. Some were overshadowed at the time, some were highlights from albums that had already sold huge amounts, some found greater success internationally – but all deserve their place in this continued celebration of 80s pop.

45 tracks across 3-LPs – pressed in gorgeous green vinyl – NOW Yearbook – The Vault: 1985.

LP1 opens with a trio of tracks from huge-selling albums:- Bruce Springsteen’s ‘My Hometown’, the sixth single in the UK from ‘Born in the U.S.A’ - one of the best-selling albums of the decade, followed by Bryan Ferry with the stunning ‘Windswept’ from ‘Boys And Girls’ and Sting’s ‘Love Is The Seventh Wave’, taken from his solo debut ‘The Dream Of The Blue Turtles’. Next up, Go West with a U.S single release ‘Eye To Eye’, Scritti Politti with ‘Perfect Way’ – their biggest hit in America, and ABC with ‘Be Near Me’. The first side closes with two established bands; Heaven 17 and Orchestral Manoeuvres In The Dark… Flip the LP over for Adam Ant with ‘Vive Le Rock’, Midge Ure, Blancmange and the second collaboration between Philip Oakey & Giorgio Moroder with ‘Good-Bye Bad Times’. The Style Council’s ‘Welcome To Milton Keynes’ leads to LP1’s closer’s from Simply Red and Fine Young Cannibals who followed their debut ‘Johnny Come Home’ with ‘Blue’.

LP2 opens with Cocteau Twins and the dream-pop atmospherics of ‘Aikea-Guinea’, ahead of The Jesus And Mary Chain with ‘Just Like Honey’, and The Dream Academy with ‘The Love Parade’.

Brilliant with their cover of James Brown’s ‘It’s A Man’s Man’s Man’s World’ and jazz-influenced pop from Matt Bianco are up next ahead of the sublime ‘Castles In The Air’ from The Colourfield and Elvis Costello & The Attractions, who released the 1979 track ‘Green Shirt’ to promote their ‘Best Of’ collection … and the side closes with The Clash’s ‘This Is England’ which would become their last originally released hit…whilst on the other side…celebrate the dancefloor, with a vibrant mix of Hi-NRG, soul, electro and club-influenced pop:- Opening with Sheryl Lee Ralph’s ‘In The Evening’ and Barbara Pennington’s equally superb ‘On A Crowded Street’, the hi-energy continues with Miquel Brown and Hazell Dean ahead of a US hit from Laura Branigan (‘Spanish Eddie’) and Divine’s cover of ‘Twistin’ The Night Away’. LP2 finishes with a massive U.S. dancefloor smash for Eddie Murphy with ‘Party All The Time’.

The final LP kicks off with a bunch of singles that achieved bigger hit status in the US than here and opens with Billy Joel’s ‘You’re Only Human (Second Wind)’, a track written exclusively for his ‘Greatest Hits – Volume I & II’ compilation, ahead of pop-rock from John Mellencamp plus an anthemic smash from Bon Jovi. Pat Benatar’s ‘Invincible’ features ahead of The Power Station’s third US Top 40 hit…whilst back in the UK Chris Rea enjoyed his biggest chart hit to date with ‘Stainsby Girls’ and the side is completed by Marillion with ‘Heart Of Lothian’ the third hit from their huge ‘Misplaced Childhood’ album… Flip to the final side for the stellar vocals on ‘Act Of War’, the huge collaboration between Elton John & Millie Jackson ahead of dancefloor smash ‘New Attitude’ from Patti Labelle and ‘Show Some Respect’ a U.S. single from Tina Turner. Sophisticated pop-R&B from Michael McDonald and Daryl Hall & John Oates come ahead of the collection’s closers- and two outstanding vocal performances: Chaka Khan’s ‘Through The Fire’ and the U.S. breakthrough hit from Whitney Houston with ‘You Give Good Love’ – signalling the arrival of one of the decade’s brightest new stars.

NOW Yearbook – The Vault: 1985 – A deeper dive into an unforgettable year in pop.

SURFILMUSIC, ein Dokumentarfilm, der Johnsons Entwicklung vom Surfer zum Filmemacher und schließlich
zum weltbekannten Musiker nachzeichnet, begleitet ihn bei der Entstehung seiner legendären Surf-Filme
”Thicker Than Water” (1999) und ”The September Sessions” (2000). Diese Klassiker offenbarten Johnsons
künstlerische Sichtweise durch seine Kamera und seine Gitarre und begründeten letztlich seine Musikkarriere.
Der neue Film feiert die lebenslangen Freundschaften und die vom Meer geprägte Gemeinschaft, die Johnsons Weg geprägt haben, und zeigt viele der Surfer, die in den Originalfilmen zu sehen waren, darunter Kelly
Slater, Rob Machado und die Malloy-Brüder. Er fängt auch den gemeinsamen Geist der Entdeckungslust
und Kreativität ein, der seine Musik und seinen Umweltschutz bis heute inspiriert.
Für den Soundtrack schlossen sich Hermanos Gutiérrez, langjährige Bewunderer von Johnsons Musik und
Surf-Filmen, ihm im Studio an, wo Johnson auch wieder mit dem Produzenten Mario Caldato Jr. (Beastie
Boys, Seu Jorge, Beck) zusammenkam, der mehrere von Johnsons beliebtesten Alben, darunter ”In Between
Dreams” und ”Sleep Through the Static”, co-produziert hatte. Was als gegenseitige Wertschätzung begann, entwickelte sich schnell zu einer kreativen Verbindung und Freundschaft, aus der ein wunderschöner
neuer Song, „Hold On To The Light“, und eine originelle Filmmusik hervorgingen. Ihre Zusammenarbeit
wird sich auch auf die Bühne erstrecken, wo die Brüder an vielen Terminen als Vorgruppe für Johnson
auftreten werden.
Außerdem enthält das Album 4 einzigartige Tracks, welche Johnson in den 1990er Jahren auf seinem 4-
Spur-Kassettenrekorder aufgenommen hat.

Ein aufmerksamer Zuhörer der Welt zu sein, bedeutet, von Sprache umgeben zu sein. Sprache hallt durch fast jeden Raum, in dem sich Menschen aufhalten, ob unerwünscht oder erwünscht, banal oder tiefgründig. Worte stehen auf der Seite und klingen im Ohr nach, vermehren sich endlos. Diese Überfülle fasziniert den Komponisten und Musiker Ben Vida schon lange, aber in den letzten Jahren hat sie zu einer neuen Art des Musikmachens geführt, die die Vorrangstellung der Sprache in unserer Klang- und Kulturwelt gleichzeitig hervorhebt und hinterfragt. Sanft und spielerisch bricht Vida die Hierarchie von Bedeutung und Klang der Sprache auf, bis sie in egalitärer Harmonie existieren. Oblivion Seekers ist Vidas neuestes Album in diesem Kompositionsstil, nach der Zusammenarbeit mit dem New-Music-Ensemble Yarn/Wire The Beat My Head Hit aus dem Jahr 2023. Wie bei seinem Vorgänger liegt der Fokus der Musik auf koordinierten Duetten aus gesprochenem Wort in neutralem Ton, wobei die variablen Rhythmen der bewegten Worte komplexe interne rhythmische Strukturen schaffen. Er wird von den Stimmen von Nina Dante, Christina Vantzou, John Also Bennett und Félicia Atkinson, die einen einzigartigen Klang erzeugen, der weder ihrer noch seiner ist und in seiner Geschlechtsdarstellung, seinem Akzent und seiner Aussprache fließend ist. Die instrumentalen Kompositionen, die den Hintergrund des Albums bilden, haben den ungezwungenen Fluss eines Dialogs, gesprächig, aber zurückhaltend, selten als Motor der Veränderung. Es herrscht eine ruhige, konzentrierte Stimmung, die durch den zurückhaltenden Rhythmus der Stimmen noch verstärkt wird, sodass man das Gefühl hat, die Musik sei ein langes Mantra, das nie ganz zu seinem Ausgangspunkt zurückkehrt. Der Effekt ist bezaubernd, gleichermaßen einschläfernd und fesselnd, und suggeriert Wiederholung, ohne sich jemals genau gleich zu bewegen. Die Instrumentierung der vier Stücke des Albums variiert; ,Be Yr Own Abyss" wird durch den wellenartigen Kontrapunkt der Saxophone geprägt, während der mehrdeutige Klang des Vibraphons über ,Oblivion Seekers" schwebt und Frasers anschwellender Bass den einzigen dramatischen Auftritt des Albums liefert. Die Musik verändert sich im Ohr, während der Text die Form und Bewegung der Komposition ständig neu definiert und in einen neuen Kontext stellt, auch wenn sie in ihrem jenseitigen Glanz konsistent bleibt. Der Text besteht oft aus Sprachfetzen, denen Vida während seines Lebens beim Komponieren begegnet ist: zufällig mitgehörtes Gemurmel in der Schlange im Supermarkt, eindrucksvolle Sätze aus einem Roman, den er gerade las, Eindrücke von Musik, die er immer wieder auf seinem Plattenspieler hörte. Kleine, ansonsten unbedeutende Details sammeln sich an, nicht um eine Erzählung zu bilden, sondern um einen Eindruck vom komplexen Prozess der Bedeutungsfindung zu vermitteln, der im täglichen Leben stattfindet. Charaktere und Szenen tauchen im Bild auf und verschwinden wieder, und Sätze, die nach einer Erklärung verlangen, dürfen einfach vorbeiziehen. Vidas Liebe zu Robert Ashley ist gut dokumentiert, aber vielleicht noch bedeutender sind Mark E. Smith und The Fall, Neil Tennant und die gesprochenen Verse der Pet Shop Boys, die gesamte Geschichte des Hip-Hop und Meredith Monk. Die Art und Weise, wie die Worte dargeboten werden, ist genauso wichtig wie die Worte selbst und offenbart eine Intentionalität und Direktheit, die Vida mit den abstrakten Konstruktionsmustern des Textes hervorhebt und untergräbt. Auf Oblivion Seekers ist der omnidirektionale Lärm der Marmor, den Vida abträgt, um zu beleuchten, wie wir die unermessliche Fremdheit der Welt verarbeiten. Der Triumph des Albums besteht darin, dass wir nichts von dem schönen Geheimnis verlieren, wie diese Zeichen unsere äußere und innere Welt miteinander verbinden.

In discotheques and dark rooms across Europe, Boys’ Shorts have earned the trust of the queer and wider clubbing communities as generous stewards of a timeless sound that, like themselves, never stops moving forward. The duo of Vangelis and Tareq initially met at an underground club in their native Greece. Sensing a rare sonic connection, the pair became friends, forming Boys’ Shorts to meet again and again, travelling from their adopted cities of Thessaloniki and London to appear as far afield as Berlin’s Panorama Bar and New York’s Le Bain, as well as supporting Goldfrapp and Hot Chip on tour. Their motivation? In their own words, “we make people dance!”

Following years of gradual, thoughtful studio sessions, and EP releases on tastemaking electronic labels including Phantasy Sound and Live At Robert Johnson, Boys’ Shorts establish their own imprint, ALL SORTS, in order to deliver a fantastically ambitious debut album, ‘What Does It Take To Make These Men Happy?’

The LP opens with the grandiose, cosmic vista of ‘The Space Between Us’, a classic passage of strings and synthesis, before the shared Boys’ Shorts vision falls back to earthier territory with deep groove of ‘Let’s Fall In Love’, mixing universal sentiment with a patient vision of human potential and the voice of Greek electronic pioneer, K.BHTA. ‘Come’ aligns with NYC’s Michael Cignarale, offering an excitable invitation to the mind and body sculpted by the way of a throbbing, warehouse-sized statement of nineties house sensuality. Channeling heroes Lowe and Tennant at their most introspective, ‘Short Life’ maintains the dance, yet dares to ask, “what if the parties aren’t enough anymore… Can you ask for something more?”

Out of the pet shop and straight into the strobe lights, ‘Disco Romantica’ makes true on the promise of its title, a lovelorn monologue giving way and slipping into rave stabs and whirring synthesis that looks forward to a memorable, emotionally-charged night ahead. Underpinning this feeling of anticipation, ‘Going Out Hoping To See You’ introduces the voice of Justin Strauss to Boys’ Shorts' musical world. A certified icon of club culture, spinning from The Mudd Club to modern day DJ booths, Strauss’s generation spanning experience of nightlife leans into the fundamentals of human connection and the pleasure of musical discovery, wrapped in irresistible chug.

Another transformative figure in club music, Fischerspooner’s own Casey Spooner dips into French for the Motorik cyber sleaze of ‘MECANIMAUX’, their own vocals pitching up and down with playful EBM abandon. ‘Montage’ offers a different kind of composition, conjuring an ecstatic club banger that finds inspiration in nineties indie rock motifs alongside the rave scene, while ‘Run’ promises to blow out sound systems before its weighty electro bassline succumbs to waves of glistening synths.

Such bombast into beauty perfectly sets up the record’s blissful conclusion; ‘The Stars Are Out For You’ is electro-pop so delicate as to heal aching feet (and mend broken hearts), while offering the final tender moments of the album as a form of tribute on ‘Untitled (For Mitsi)’. It’s a thoughtful ending to a thrilling trip through a shared passion for electronic and pop music in all its glorious potential. What does it take to make these men happy? It’s a pleasure to find out.

,In the Grace Of Your Love" kam ursprünglich 2011 raus und war ein Neustart für The Rapture und eine willkommene Rückkehr zu DFA, dem Label, das ihnen zu ihrem sofort erfolgreichen Debüt ,Echoes" verholfen hatte. Der Schwung und Erfolg dieser Jahre führte zu einer Achterbahnfahrt mit einem großen Label, die sie wieder da landete, wo sie angefangen hatten - mit Narben, aber jetzt frei, die Grenzen der Erwartungen zu sprengen. Begleitet wurden sie dabei vom verstorbenen, großartigen Philippe Zdar, einer Hälfte des französischen Dance-Duos Cassius und Produzent von Künstlern wie Phoenix und den Beastie Boys. Zdars Begeisterung und technisches Können sind schon in den ersten 30 Sekunden des Albums zu hören: ,Sail Away" ist The Rapture in voller Pracht und Strahlkraft, ein fünfminütiger Ausatem mit Disco-Drums. Natürlich gibt es auch jede Menge Futter für die Dance-Kids - ,How Deep Is Your Love" rockt immer noch die Tanzflächen der New Yorker Bars, ,Miss You" ist ein unwiderstehlicher kleiner Streich in Moll -, aber insgesamt herrscht das Gefühl vor, dass man langsamer wird, Bilanz zieht und an den richtigen statt an den falschen Orten nach Sinn und Liebe sucht. Daher auch das Finale: ,It Takes Time To Be a Man", ein charmant ehrlicher, von Klavierklängen untermalter Song über Verantwortung übernehmen und anderen helfen. Er klingt wie nichts anderes im Repertoire von The Rapture und rundet es dennoch perfekt ab. Der Abspann läuft, die Zeit vergeht, Platten bedeuten immer noch alles.

Naya Beat is excited to announce 'PAWA!', a soaring disco-funk anthem celebrating feminism and the power (pawa) of togetherness. It is a mouthwatering collaboration between legendary jazz vocalist and disco pioneer Asha Puthli and NYC’s punk-chic, discodelic stars Say She She.

A fortuitous and fleeting window between touring schedules allowed Puthli and Say She She’s Nya Gazelle Brown, Sabrina Cunningham, and Piya Malik to write and record Pawa! with members of the cult funk band Orgone in the English countryside at Mike Oldfield’s (Tubular Bells) studio. Pawa! is a tribute to female fortitude and an anthemic call to action for unity and collective action. PAWA TO THE PEOPLE! Asha’s spoken word bursts into a soaring falsetto while Say She She’s celestial three-part harmonies make for a sublime call and response between the fabled mentor and her gifted disciples. Throw in a stellar bassline and one of tightest rhythm sections around, and you have an instant classic. And if that wasn’t enough, four remixes bring Pawa to the dancefloor! The UK’s legendary Crazy P deliver not one, but three future classics – an epic house take with a stomping bassline, a stripped-down vocal dub, and a sunshine-ready disco dub. Not to be outdone, Greece’s favourite dance duo Boys’ Shorts add magical disco touches and reimagine the original as an eight-minute balearic opus.

Featuring beautiful artwork and a premium poly-lined inner sleeve, the 12" has been cut to vinyl for the discerning DJ and listener by Grammy-nominated Frank Merritt from The Carvery, London.

“Nimm die rosa Brille … sag was Du siehst … alles viel besser”

44 years after its original release, one of the most idiosyncratic DIY minimal electronics / synth / new wave records of the early ’80s returns: the legendary 7” by German group DEUTSCHE SCHÄFERHUNDE (engl. German shepherds)—now remastered and reissued for the first time as a one-sided 12” on Anna Logue Records. Recorded in the winter of 1981/82 between rehearsal space, provincial disco and bar nights, and a humble four-track setup, these tracks capture the raw spirit of a generation that simply started creating—no formal training, but plenty of attitude. Minimalist, uncompromising, and inspired by krautrock, punk, new wave, electronic music and dub, the songs move between raw electronics, percussive noise, new wave experimentation, and sharp social commentary. „Rosa Brille“ (rose coloured glasses) in particular feels as urgent today as it did back then—a track that has lost none of its relevance, „Gasmasken“ tells of gas masks dancing in the woods to the sound of sirens, and a timeless Holger Czukay/Jah Wobble inspired „Mein Herz“ (my heart).

Originally pressed in a small run of just 500 copies and later becoming a sought-after collector’s item now worth 200€, the record now returns in a carefully crafted edition featuring a laser-printed reverse side and additional materials such as original lyric sheets and articles, postcard and poster. DEUTSCHE SCHÄFERHUNDE thrived on paradox—a provocative name paired with a clear stance, and lyrics that still resonate today. Shaped by Cold War tension, political unease, and youthful rebellion, their sound refused to fit into any neat category. Only few other bands, such as Der Musikant, Im Namen des Volkes, Thorax Wach, Klinisch Sauber oder Stephan Eicher spielt Noise Boys come to mind.

This release is more than a reissue—it’s a document of its time that still hits with full force.

12″ features: limited to 400 copies, hand-numbered, one-sided 180g black vinyl, laser-etched B-side, outer sleeve printed on reverse side of the board, printed inner sleeve with original lyrics sheets and original articles, DIN A3 poster, double-sided postcard

Greg Mendez war schon immer ein sparsamer Songwriter - er nutzt Zurückhaltung und Einfachheit als Werkzeuge, um den Kern seiner Songs zu schärfen. Auf Beauty Land, seinem neuen Album und Debüt-LP für Dead Oceans, werden wir von einem ironischen, aber nachsichtigen Erzähler begleitet, einem Underdog, der gelernt hat, Zynismus und Glauben in Einklang zu bringen. Diese Songs sind zurückhaltend, ohne selbstmitleidig zu sein, sorgfältig konstruierte Altäre der Unvollkommenheit, vermittelt durch Pop-Melodien, schimmernde, aber eindringliche Gitarren und eine Stimme, die nach der Unschuld eines Chorknaben strebt. Der Großteil von ,Beauty Land" wurde direkt auf Band aufgenommen, fast ganz allein in Mendez' provisorischem Heimstudio in Philadelphia - einem kleinen Raum ohne Tageslicht. Es ist sein erstes Album in voller Länge seit seinem unerwarteten Durchbruch mit dem selbstbetitelten Album im Jahr 2023, das nach 15 Jahren des Schreibens und Aufnehmens von Musik in relativer Unbekanntheit zwischen Philly und New York ein langsamer Erfolg wurde. ,Beauty Land" knüpft dort an, wo wir vor drei Jahren aufgehört haben - es lotet die Tiefen von Trauer, Liebe und Sucht aus -, aber seine intensive, ruhige Klarheit zeigt Mendez von seiner besten Seite als Songwriter. Teile von ,Beauty Land" fühlen sich wie ein luzider Traum an, in dem angeschlagene Charaktere sich ihren Weg durch eine karikaturhafte und verzerrte Welt bahnen - der gebrochene Uhrentakt von ,I Wanna Feel Pretty", das klingende Spielzeugklavier in ,Gentle Love". ,Mary / Dreaming" beginnt als spärliche, fingergezupfte Klage, bevor es abrupt zu einer enttäuschten, Beach-Boys-artigen, aber verkorksten Auflösung übergeht, die sowohl Melancholie als auch Freude hervorruft; ein Gefühl, dass alle Dinge gleichzeitig wahr sein können. Keiner der 14 Tracks ist länger als drei Minuten, aber sie erzählen Geschichten, die ein ganzes Leben umfassen. Der Tod schwebt durch das Album, sei es als Erinnerung oder als Bedrohung. Alles fühlt sich prekär an. Die Art und Weise, wie diese Songs aufgebaut sind, hat etwas Zerbrechliches: die Art und Weise, wie die Begräbnisorgel neben dem Morphium in ,Looking Out Your Window" erklingt, die verheerende Einfachheit von ,Frog" mit seinem verlangsamten Keyboard und dem nackten Refrain: ,Bitte vergib mir meine Fehler." Beauty Land fühlt sich manchmal unmöglich einsam an. Umso mehr zählt es, wenn das nicht der Fall ist - wie zum Beispiel, wenn Mendez gegen Ende von ,So Mean" im Duett mit seiner Frau und Bandkollegin Veronica singt und es sich wie ein lang ersehntes Wiedersehen anfühlt, wie ein flüchtiger Moment der Erlösung, wie eine vorübergehende Teilung der Meere.

Greg Mendez war schon immer ein sparsamer Songwriter - er nutzt Zurückhaltung und Einfachheit als Werkzeuge, um den Kern seiner Songs zu schärfen. Auf Beauty Land, seinem neuen Album und Debüt-LP für Dead Oceans, werden wir von einem ironischen, aber nachsichtigen Erzähler begleitet, einem Underdog, der gelernt hat, Zynismus und Glauben in Einklang zu bringen. Diese Songs sind zurückhaltend, ohne selbstmitleidig zu sein, sorgfältig konstruierte Altäre der Unvollkommenheit, vermittelt durch Pop-Melodien, schimmernde, aber eindringliche Gitarren und eine Stimme, die nach der Unschuld eines Chorknaben strebt. Der Großteil von ,Beauty Land" wurde direkt auf Band aufgenommen, fast ganz allein in Mendez' provisorischem Heimstudio in Philadelphia - einem kleinen Raum ohne Tageslicht. Es ist sein erstes Album in voller Länge seit seinem unerwarteten Durchbruch mit dem selbstbetitelten Album im Jahr 2023, das nach 15 Jahren des Schreibens und Aufnehmens von Musik in relativer Unbekanntheit zwischen Philly und New York ein langsamer Erfolg wurde. ,Beauty Land" knüpft dort an, wo wir vor drei Jahren aufgehört haben - es lotet die Tiefen von Trauer, Liebe und Sucht aus -, aber seine intensive, ruhige Klarheit zeigt Mendez von seiner besten Seite als Songwriter. Teile von ,Beauty Land" fühlen sich wie ein luzider Traum an, in dem angeschlagene Charaktere sich ihren Weg durch eine karikaturhafte und verzerrte Welt bahnen - der gebrochene Uhrentakt von ,I Wanna Feel Pretty", das klingende Spielzeugklavier in ,Gentle Love". ,Mary / Dreaming" beginnt als spärliche, fingergezupfte Klage, bevor es abrupt zu einer enttäuschten, Beach-Boys-artigen, aber verkorksten Auflösung übergeht, die sowohl Melancholie als auch Freude hervorruft; ein Gefühl, dass alle Dinge gleichzeitig wahr sein können. Keiner der 14 Tracks ist länger als drei Minuten, aber sie erzählen Geschichten, die ein ganzes Leben umfassen. Der Tod schwebt durch das Album, sei es als Erinnerung oder als Bedrohung. Alles fühlt sich prekär an. Die Art und Weise, wie diese Songs aufgebaut sind, hat etwas Zerbrechliches: die Art und Weise, wie die Begräbnisorgel neben dem Morphium in ,Looking Out Your Window" erklingt, die verheerende Einfachheit von ,Frog" mit seinem verlangsamten Keyboard und dem nackten Refrain: ,Bitte vergib mir meine Fehler." Beauty Land fühlt sich manchmal unmöglich einsam an. Umso mehr zählt es, wenn das nicht der Fall ist - wie zum Beispiel, wenn Mendez gegen Ende von ,So Mean" im Duett mit seiner Frau und Bandkollegin Veronica singt und es sich wie ein lang ersehntes Wiedersehen anfühlt, wie ein flüchtiger Moment der Erlösung, wie eine vorübergehende Teilung der Meere.

Greg Mendez war schon immer ein sparsamer Songwriter - er nutzt Zurückhaltung und Einfachheit als Werkzeuge, um den Kern seiner Songs zu schärfen. Auf Beauty Land, seinem neuen Album und Debüt-LP für Dead Oceans, werden wir von einem ironischen, aber nachsichtigen Erzähler begleitet, einem Underdog, der gelernt hat, Zynismus und Glauben in Einklang zu bringen. Diese Songs sind zurückhaltend, ohne selbstmitleidig zu sein, sorgfältig konstruierte Altäre der Unvollkommenheit, vermittelt durch Pop-Melodien, schimmernde, aber eindringliche Gitarren und eine Stimme, die nach der Unschuld eines Chorknaben strebt. Der Großteil von ,Beauty Land" wurde direkt auf Band aufgenommen, fast ganz allein in Mendez' provisorischem Heimstudio in Philadelphia - einem kleinen Raum ohne Tageslicht. Es ist sein erstes Album in voller Länge seit seinem unerwarteten Durchbruch mit dem selbstbetitelten Album im Jahr 2023, das nach 15 Jahren des Schreibens und Aufnehmens von Musik in relativer Unbekanntheit zwischen Philly und New York ein langsamer Erfolg wurde. ,Beauty Land" knüpft dort an, wo wir vor drei Jahren aufgehört haben - es lotet die Tiefen von Trauer, Liebe und Sucht aus -, aber seine intensive, ruhige Klarheit zeigt Mendez von seiner besten Seite als Songwriter. Teile von ,Beauty Land" fühlen sich wie ein luzider Traum an, in dem angeschlagene Charaktere sich ihren Weg durch eine karikaturhafte und verzerrte Welt bahnen - der gebrochene Uhrentakt von ,I Wanna Feel Pretty", das klingende Spielzeugklavier in ,Gentle Love". ,Mary / Dreaming" beginnt als spärliche, fingergezupfte Klage, bevor es abrupt zu einer enttäuschten, Beach-Boys-artigen, aber verkorksten Auflösung übergeht, die sowohl Melancholie als auch Freude hervorruft; ein Gefühl, dass alle Dinge gleichzeitig wahr sein können. Keiner der 14 Tracks ist länger als drei Minuten, aber sie erzählen Geschichten, die ein ganzes Leben umfassen. Der Tod schwebt durch das Album, sei es als Erinnerung oder als Bedrohung. Alles fühlt sich prekär an. Die Art und Weise, wie diese Songs aufgebaut sind, hat etwas Zerbrechliches: die Art und Weise, wie die Begräbnisorgel neben dem Morphium in ,Looking Out Your Window" erklingt, die verheerende Einfachheit von ,Frog" mit seinem verlangsamten Keyboard und dem nackten Refrain: ,Bitte vergib mir meine Fehler." Beauty Land fühlt sich manchmal unmöglich einsam an. Umso mehr zählt es, wenn das nicht der Fall ist - wie zum Beispiel, wenn Mendez gegen Ende von ,So Mean" im Duett mit seiner Frau und Bandkollegin Veronica singt und es sich wie ein lang ersehntes Wiedersehen anfühlt, wie ein flüchtiger Moment der Erlösung, wie eine vorübergehende Teilung der Meere.

When funk music exploded onto the global pop scene in the late sixties, many of Jamaica's leading music-makers were inspired to incorporate elements of the exciting sound into their work. The result was the fascinating and compelling funky reggae style that proved immensely popular with record buyers on both sides of the Atlantic throughout the early ‘70s.

Pioneers of the sound included such celebrated producers as Lee ’Scratch’ Perry and Lloyd Charmers, whose recordings are heavily represented on both the CD and LP versions of this irresistible collection.

Collected here are some of the finest examples of the funky reggae, performed by some of reggae music’s most accomplished artists, from Ken Boothe and Lee Perry’s Upsetters to British-based acts, Greyhound and The Marvels.

Cultivated Electronics Ltd For The Floor series began in 2022 and features split EPs available on vinyl (only) with Electro tracks aimed strictly at the dance floor, bringing together CE regulars and new artists. Volume 5 features Umwelt on the A- side and DJ MELL G x Unklevon on the flip, as well as a remix by label head, Sync 24 alongside Controlled Weirdness. New Flesh founder, Umwelt is known for his dark, industrial-leaning techno that blends dystopian atmospheres with driving rhythms. Here, the French producer delivers two hard-hitting cuts in Memoryscape & Morphing Sequence to open the EP. DJ MELL G from Juicy Gang Records brings a raw, high-energy fusion of electro, breakbeat and techno; fast paced and with bold sound design. She teams up with Unklevon who produces sleek, futuristic electro with crisp drum programming most notably for Boysnoize Records, on Get Down. While Sync 24 & Controlled Weirdness close out the EP with their tough and wonky rework.

Engaging artistically with the unique oeuvre of the Pet Shops Boys through the form of cover versions is both an appealing and risky endeavour. Hundreds of such adaptations already exist, and covering songs is a complex undertaking, one that Neil Tennant and Chris Lowe themselves have mastered to perfection.

Exciting cover versions involve a skillful game of allusions and references, quotations and are entangled with personal as well as borrowed memories. Cover versions are homage, appropriation and interpretation — in many ways like adding letters in a Scrabble game: a new word, a new meaning emerge. Or, in the best case, a new song.

With her first debut EP ’Heart’, due for release in April 2026, Cat Storm dives into this labyrinth. It includes beguiling and intimate versions of 'Heart', ‘The Way It Used To Be’, ‘A Man Could Get Arrested’ and ‘Home And Dry’. The artist behind Cat Storm is Carmen Strzelecki. Born in Lörrach, raised in Mannheim and relocating to Cologne in the 1990s, Carmen has become an integral part of the Cologne art and culture scene since founding her publishing house ‘StrzeleckiBooks’ in 2009.

She produced her EP herself in collaboration with some of the grand masters of the Rhineland indie and electro aristocracy. The remixes by Christian Skrzypek, oskø and Clima ensure that it is well-suited for clubs.

Downtown Boys have pushed relentlessly forward as an artistic and political project since their founding. Singer Victoria Marie and guitarist/singer Joey La Neve DeFrancesco first met at union meetings while working together at a hotel in Providence, RI, writing many of the band's early songs about labor organizing and exploitative workplaces. The quintet is completed by Joe DeGeorge (sax/synth), Mary Jane Regalado (bass), and Joey Doubek (drums). Over years of touring, and three acclaimed albums, Downtown Boys have continued to grow as artists, musicians, and organizers. Now, the band has arrived with Public Luxury, an enthralling album that keeps politics front and center while summoning the band's most urgent and powerful sound to date. The definition of Public Luxury falls very much in line with that of the title of the second Downtown Boys LP, Full Communism. Straight up, Public Luxury means, "everything for everyone." It's the stubborn insistence that a better world is possible, while fully recognizing the horrors we witness daily, and the individual and collective responsibility to resist the nihilism and hopelessness we all feel. Sentiments like "everything for everyone," and "we will have it all" perfectly represent the cathartic, communal live experience this cadre of multi-instrumentalists create. These sentiments also encapsulate the inclusive, joyful sonic fusion that defines the album: anthemic punk and indie rock mix with Latin traditions, drum machines blend with acoustic drums, saxophones punctuate riffs, and layers of synths add flourishes from new-wave to industrial. The amount of ground covered on Public Luxury can't be overstated, and yet the album feels totally vital and cohesive. Public Luxury is a revisitation of the band's past for the sake of their future. It was co-produced by DeFrancesco with recording engineer and longtime Downtown Boys supporter Seth Manchester (Lambrini Girls, Lightning Bolt, Model/Actriz) at the Pawtucket, RI studio and arts space Machines With Magnets, not far from the band's first home of Providence, RI. Victoria Marie's grandmother-a monumental figure for the band throughout their existence-passed away in May of 2025, and her influence looms large over the album; the songs "No Me Jodas" and "Sirena" are crystallized representations of the love between a woman and her ancestor. Beyond the loss, rage and frustration of the present, Public Luxury points boldly towards a vibrant, open-hearted vision of both music and the world: "Our music is simply for anyone and everyone who believes in the new future we can make together," Victoria Marie declares. "A world that will be awkward, inconsistent, yet truly free when it comes to all that matters."

Cut The With The Cake Knife was recorded by Rose McDowall in 1988/89 following the break up of her group Strawberry Switchblade. Produced with the aid of several musicians in several studios, the album features songs written for the fabled second Strawberry Switchblade album. More importantly perhaps it showcases the honest, direct and life-affirming songs of one of the greatest unsung songwriters of the modern pop era at a tumultuous time in her career.

Tibet opens the set and could be one of the best pop songs you've never heard. The innate sadness of the songs' content - the loss of a friendship, impending sorrow - is heightened to heart-melting level by McDowall's pop nous and melodic sensibility. Choruses and hooks are everywhere on Cake Knife, from the outsider take on stadium 80s pop in Wings Of Heaven to the spiraling, ecstatic So Vicious, a glorious anthem that highlights the human fragility in McDowall's vocal performance, an instrument that has never lost the naïve purity it first exemplified in Strawberry Switchblade's early 80s recordings. The centerpiece of the album, the title-track, is the greatest Switchblade pop chart hit that never was. Like the veiled melancholy of her former group's hits, Cut With The Cake Knife hints at a darkness beneath the gloss, a darkness that saw McDowall delve into more esoteric territory with her subsequent recordings and collaborations. Cut With The Cake Knife serves as the bridge between the pop music McDowall had been making with her friends Jill Bryson, Lawrence from Felt and Primal Scream to what became a more extreme, deep sound informed by neo-folk and post industrial music.

Rose McDowall's role in the canon has always been one of an outsider. Beginning in Glasgow's East End in the avant proto-noise group The Poems, achieving fame briefly in the 80s and then disappearing into counter-cultural folklore, the emphasis in the internet-age has been skewed towards her image and cultural significance. Unseen to many, her solo work, her groups Sorrow and Spell and her collaborations with a whole host of underground luminaries have still touched lives. As McDowall elucidates: 'They're real sad songs, about real life. I've had people come up to me to say I'd connected with them and helped them. I remember a gig in America when we made a whole room cry. It was bizarre. A couple at the front of the stage started crying and then these two boys beside and suddenly everyone was crying. And I thought, "that's power."

Night School's issue of Cut With The Cake Knife includes unpublished photographs, extensive sleeve notes from Rose McDowall and 2 bonus tracks culled from the bootleg 7' 'Don't Fear The Reaper.' First vinyl pressing is Clear w/ Black swirl; 500 only / has DL card and booklet, with a poster
CD has extensive booklet and is packaged in anO-Card.

To celebrate a decade and a half of excavating the hidden treasures of the Polish underground, The Very Polish Cut Outs presents a definitive anniversary compilation featuring 15, mostly unreleased, tracks from the years 2008-2025.
Since its inception, the label has been instrumental in bridging the gap between Poland's rich musical heritage and the modern dancefloor, and this release serves as a comprehensive time capsule of that journey. From early, legendary edits that defined the label to brand-new, forward-thinking productions, the collection showcases the evolution of a label that turned crate-digging into a national cultural phenomenon.
The compilation brings together a heavy-hitting roster of the label's most influential contributors, featuring essential tracks and rarities from artists such as Pejza?, Ptaki, Holiday 80, Skalpel, Etnobotanika and the label boss Zambon. The sonic palette is vast, moving seamlessly from sun-drenched Balearic and dusty disco-funk to the grittier realms of house and breakbeat. It is a celebration of the label's unique ability to transform forgotten melodies from the 70s and 80s into timeless club anthems, while simultaneously pushing the boundaries of contemporary Polish electronic music.
In keeping with the label's deep-rooted commitment to physical culture, this milestone release is a strictly limited, vinyl-only pressing. The amazing artwork is as always, the work of Bartosz Szymkiewicz.

To celebrate a decade and a half of excavating the hidden treasures of the Polish underground, The Very Polish Cut Outs presents a definitive anniversary compilation featuring 15, mostly unreleased, tracks from the years 2008-2025.
Since its inception, the label has been instrumental in bridging the gap between Poland's rich musical heritage and the modern dancefloor, and this release serves as a comprehensive time capsule of that journey. From early, legendary edits that defined the label to brand-new, forward-thinking productions, the collection showcases the evolution of a label that turned crate-digging into a national cultural phenomenon.
The compilation brings together a heavy-hitting roster of the label's most influential contributors, featuring essential tracks and rarities from artists such as Pejza?, Ptaki, Holiday 80, Skalpel, Etnobotanika and the label boss Zambon. The sonic palette is vast, moving seamlessly from sun-drenched Balearic and dusty disco-funk to the grittier realms of house and breakbeat. It is a celebration of the label's unique ability to transform forgotten melodies from the 70s and 80s into timeless club anthems, while simultaneously pushing the boundaries of contemporary Polish electronic music.
In keeping with the label's deep-rooted commitment to physical culture, this milestone release is a strictly limited, vinyl-only pressing. The amazing artwork is as always, the work of Bartosz Szymkiewicz.

Monomoods Records proudly presents Thunder Skull, the new EP from Doctr, previously featured on Rimini Moods. For this release, he teams up with A.M. Sam on Highrider and Seppl on the title track Thunder Skull, delivering a collection that expands his sonic universe into darker, more cinematic territories, like a road trip through a post-apocalyptic wasteland. Spanning four distinct tracks, the EP moves between Indie Dance, Italo-Disco, and Hi-NRG, each painting its own scene within this dystopian landscape. ‘’Highrider’’ bursts forward with euphoric Eurodance energy; ‘’The Boys’’ unfolds as an epic, heroic tale rising from the ashes; ‘’The Last Waterfountain’’ combines intensity and emotion with an almost survivalist tension; and finally, ‘’Thunder Skull’’ stands as a true Italo anthem for the wastelands — a soundtrack for the last dance under a burning sky. Fusing raw power with hypnotic rhythm, Thunder Skull is a soundtrack for late-night journeys and fevered dancefloors, meticulously crafted with attention to detail, atmosphere, and a bold cinematic spirit.

Nia Archives returns with Emotional Junglist, an album about love – but not just the shimmering romantic parts. Written throughout 2025 – a year that saw Nia fall in, and horrifically back out of, love – each track will encompass something of the experience.

Marking her biggest sonic leap to date, her alt-jungle sound honed alongside James Ford (Arctic Monkey’s, Blur), Ethan P. Flynn (FKA Twigs, David Byrne) and Julia Michaels (Lady Gaga, Sabrina Carpenter), will see her flirt with everything from dewy-eyed indie pop and nineties electronica, underscored by the syncopated beats and thudding basslines of her jungle roots with a tracklist that features Jorja Smith and Sampha.

The motif for the album is a shell – tough on the outside, but through pressure, maturation and resilience, something precious is built within. Nodding to the female form, the spiral chamber also symbolizes growth and self-development.

Was lief musikalisch in 2025? BRAVO The Hits gibt Aufschluss! 48 Tracks aus den Charts auf 2 CDs,
4 LPs und Download. Hier ein paar Beispiele: Ed Sheeran ”Azizam”, Oimara ”Wackelkontakt”, Jazeek
”Akon”, Alex Warren ”Ordinary”, Gracie Abrams ”That’s So True”. Aber auch brandneue Titel, wie Lady
Gaga ”The Dead Dance” und Sabrina Carpenter ”Tears” sind zu finden. 2026 kann also kommen!

‘When The 2000s Clashed: Machine Music For A New Millenium’ is the story of how, 25 years ago, a new form of electronic music – known as electroclash - reignited a tired clubland and gave the indie scene and mainstream pop a shot in the arm in the process. Over this 3LP highlights set, carefully curated from the 5CD box of the same name (also released, 3rd October) the collection showcases the back-to-basics electronic beats that heralded in a new generation of exciting and innovative new artists - Hot Chip, Peaches, LCD Soundystem, and Ladytron, to name a handful. It also shows how the sound and attitude of electroclash plugged into the decade’s cutting-edge indie bands, (Franz Ferdinand, Bloc Party), and became intrinsic to the way chart pop would sound in the first decade of the 2000s (Kylie, Goldfrapp).

The collection also shows how the scene’s underground DIY ethos evolved and inspired the next generation of electronic buccaneers (Simian Mobile Disco, Justice Vs. Simian). ‘When The 2000s Clashed’ brings together a dazzling, diverse selection of artists, producers and remixers from right across the 2000s zeitgeist – from The Chemical Brothers and Daft Punk, from M.I.A. to Soulwax and many points in-between. For good measure, there’s also one side of LP3 given over to the original post punk and electronic sounds (including Kraftwerk, The Human League and Cabaret Voltaire) who’d played such a big influence on the electroclash sound. ‘

When The 2000s Clashed’ was compiled and sequenced for Demon / Edsel by Jonny Slut, founder of London’s electroclash citadel Nag Nag Nag. Established in 2002, in a small Soho venue called Ghetto, ‘Nag’ quickly became THE hottest club, first in London and then in the whole world. A glorious mess and hedonists’ hotspot, a night at ‘Nag Nag Nag’ (if you could get in!) saw the capital’s club kids, students and creatives rub up alongside names from the fashion and music worlds - Björk, Pet Shop Boys, Kate Moss, Boy George, Alexander McQueen, and Pam Hogg were among the regulars. Madonna visited, so did John Peel, Yoko Ono asked to perform and did, Throbbing Gristle’s Chris and Cosey DJ’d, so did Marc Almond, and Too Many DJ’s.

Justin Timberlake was refused entry (too many bodyguards)… even Cilla Black was spotted getting down! Jonny shares these reminisces – and many more - in the collection’s sleevenotes. Named after the 1979 Cabaret Voltaire classic, ‘Nag, Nag, Nag’ became the first place to hear the seemingly endless flow of thrilling new tunes coming from every direction during that decade of dance. Many of them are included on this collection.

Chloe Qisha makes her vinyl debut with Modern Romance: The EPs, a special 12" gatefold edition that brings together her acclaimed first two EPs in one beautifully crafted package. A rising figure who featured as one of British Vogue's 25 most important women this year & on the covers of NME & Rolling Stone, Chloe blends 80s art-pop with Abba melodies and Troye Sivan attitude. Selling out her debut show in 4 mins and after only 5 shows has supported both Sabrina Carpenter & Coldplay alongside slots at All Points East, Latitude & Pitchfork.

Housed in a striking gatefold sleeve with full lyrics and original artwork, the vinyl also includes an exclusive fold-out poster with printed lyrics all housed in a screen printed overbag.

GET OUT OF HERE!

Zarkoff brings it all:

– A cry to battle
– An ode to the abyss
– A sacriligious chant

INVOLUCIJA recruits vocalist & poet Zarkoff from Sumerian Fleet to deliver razor-sharp justice. You can label it EBM, industrial techno or even futuristic math-rock – we just call it Balkan Body Music.

“And after a line, another line” (Serbo-Croatian: I poslije linije, linija) is a flippant reference to Yugoslvia’s nostalgic lament ‘And after Tito – Tito!’ Oh how the ethical goalposts of the past are moved, again and again.

As Zarkoff warns: don’t turn your back on the golden youth!

/// Berlin labels aufnahme + wiedergabe and INVOLUCIJA·ORG connect again for another split-label release // INVOLUCIJA is an experimental post-industrial collaboration with artists from ex-Yugoslavian countries, started by Michel Morin (Sneak-Thief / Polygamy Boys) and Lucija Invo. ///

A compilation of rare and unique pop songs sung in Okinawa's unique musical scale with rock and soul grooves. It is based on “Ryukyu Rare Groove” released in 2003 and its sequel “Ryukyu Rare Groove 2” in 2006. This is a renewed version of those two albums, with more carefully selected and new songs included.

The Yara Families, the symbol of this series, as well as songs by Shokichi Kina, the originator of Okinawan folk rock, Mitsuko Sawamura, who made a breakthrough from Okinawa into American musical films, and Teiko Saito (Teiko Taira), a jazz singer who released her debut album in 2022 at the age of 86 and became a topic of conversation, The album contains 14 precious tropical groove songs. A renewed version of “Ryukyu Rare Groove” is now available in analog format!

The compilation “Ryukyu Rare Groove” became a hot topic as many people became addicted to its unique groove, which was created by applying Western arrangements to Okinawan scales and traditional Okinawan music. Ryukyu Rare Groove Revisited” is now available in analog format.
It features 14 precious tropical grooves, including not only the iconic Yara Families from this series, but also songs by Shokichi Kina, the originator of island song rock, and Teiko Saito (Teiko Taira), a jazz singer who released her debut album in 2022 at the age of 86 and became a hot topic.
Ryukyu Rare Groove Crossover,” a selection of jazz arrangements of Okinawan melodies and folk songs, was also released simultaneously, featuring MURO selection
‘Diggers Dozen’ and Kiyoshi Yamaya's Okinawan folk song Jazz Funk, which was featured on the ‘Ryukyu’ 7-inch from Tropic Night Records. and other instrumentals,

including Latin big band jazz by Naoteru Misuna and the Tokyo Cuban Boys.

This audio trip is provided for you by Erika Halliday an artist hailing from Argentinian capital Buenos Aires. She has provided four original cuts for our listening pleasure in her dark flavored signature electro house vibe. The EP is named after a late-night show “El Club de los Desvelados” airing in Argentina in 2017 and has this nocturnal flavor throughout the vinyl as the show did. The four tracks are stylistically gluing together well and are displaying the passage into the artist’s skill and the vision of music. It is an honor to welcome Erika to the label with this masterfully crafted disc absolutely in line with the label’s aesthetic and vision. Let’s all have a conversation together into the late night with loosing track of time in “El Club de los Desvelados” style.

2025 Repress

Creativity has no borders and our artist have no boundaries, no genres attached just freedom.

Deep in Dis intl. proudly presents "SHAHRZAD" (DIDWAX001) by Parisian dj/producer Noiro. We are extremely gassed to showcase Noiro's eclectic and unique approach to club music with this 5 trax EP.

We start the journey with the highly experimental 'Kata Pulse', an intergalactic and powerful trip-hop influenced tune with a strong vocal game.

A2. 'Rude' follows the cosmic vibe perfectly with a bit more aggressive breakbeat but keeping a warm feeling at the same time. Where the b-boys at??

To wrap up the A-side, 'Aube Session' brings those mysterious and high cloud walker feelings. The dance floor is starting to get warm... crashy bells, dj scratches and twisted synth/bass lines turns on the auto pilot for what's to come flipping the record to the other side where Noiro depicts the rest of the story.

B1. '1F' is a club banger, structured around frenzy and hypnotic synths, solid drum patterns and an unflagging muffled bassline.

Closing the EP B2. 'Show Me' confirms it wasn't just fluke ladies and gentlemen, Noiro's distinctive and unique sound is here.

Vinyl only.

On Tuesday 3rd September 1963, the Beatles recorded all eighteen tracks for the last three Pop Go The Beatles shows. The venue was the Aeolian Hall in Mayfair, used by the BBC for the recording and broadcast of concerts and recitals. The standout track here is a very confident sounding Misery with Duane Eddy-style ending.

Along with From Me To You and Till There Was You from that session, we include here the rock’n’roll instrumental version of Pop Goes The Weasel that started and finished each show. Also featured on this EP is a seasonal medley version of Eddy’s Shazam plus some a cappella tunes sung by the boys for Saturday Club on 17th December 1963, including All I Want For Xmas and You Were Made For Me.

Phantasy are delighted to introduce Greek duo Boys' Shorts for their debut EP on the label, ‘Athena’. The project of music obsessives Vangelis and Tareq, the Boys’ Shorts sound has helped redefine timeless strains of disco, house and Italo for Europe’s queer club underground, with similar charisma spilling into their collaborative productions on labels including Live at Robert Johnson, Permanent Vacation and Polari.

Boys' Shorts appearance on Phantasy is coupled with their most ambitious and fulfilling songwriting to date. Featuring a rare vocal performance from beloved selector and cosmic disco expert Budino, appearing alongside Elisa Paradiso, the instantaneous lead cut ‘Summer’s Here and Summer’s Missing’ recounts a sun-drenched romance cut short. The duo’s soft, bittersweet synthesis mingles with Budino’s Italian-language lyrics, gently pulsing to find closure, or at least further pleasure, while up late in a Balearic discoteque.

Under those same hot lights, Boys' Shorts go deeper still with the leading oscillations of ‘Stereo on Acid’, in which classic, wobbly-hearted 808 sounds flirt playfully with a bassline that bumps like downtown traffic on a sweltering Athens afternoon. Reflecting the hidden pleasures and true underground culture of the city after nightfall, title track ‘Athena’ is a sensual and sophisticated groove with an epic yet understated touch, that one can imagine soundtracking a future soiree or centuries of ancient history alike.

In celebration of the iconic film’s 30th anniversary, this is a standard weight vinyl reissue of the platinum-selling original motion picture soundtrack, featuring songs by Radiohead, Supergrass, Beastie Boys and many more!

Known for her delicate, subtly psychedelic approach to production - all subtlety is thrown out of the window on the opener, “Parents and God”. We are immediately confronted with a slamming Chicago house style beat in style of Mr Fingers at his most utilitarian. It slams, jerking in and out of tempo like Ron Hardy in beast mode.

Out of nowhere a soulful church organ arrives - at first for a brief respite - but then for an extended solo, which gives way to an 80s electro style breakdown before reverting back to form. It shouldn’t work, but somehow it does - to a dizzying extent - and heirin lies Mayurashka’s magic: a blatant disregard for norms and a deft touch that makes the unorthodox so compelling.

“Notango" takes another big left turn - sitting somewhere between tribal seance and rain dance, it’s mostly organic drums and otherworldly sound effects that combine to drag us deeper into the wormhole before “ Vat Murmur” takes us back into the light with its uptempo disco energy and giving way to heavy chugging bass. This one is equally for fans of idjut boys and Larry Levan.

The EP rounds off with the title track “ LSI dreaming” - to try and describe it is almost impossible, but let’s say it starts of with a mid 2000s Perlon-era tech house energy before things quickly escalate beyond all recognition and then just hover with lysergic intensity. If I ever closed panorama bar, this is the track I’d end with.

"30 unforgettable hits from the decade that brought movie classics from The Breakfast Club to Back To The Future.
There was no greater era for movie soundtracks than the 80s! Featuring some of the most iconic and memorable soundtrack moments including the title track from Ghostbusters, ‘Holding Out for a Hero’ from Footloose, ‘I’ve Had The Time Of My Life’ from Dirty Dancing, ‘A Kind Of Magic’ from Highlander, ‘Eye Of The Tiger’ from Rocky III, Gladys Knight’s classic Bond theme from Licence To Kill plus many more. This epic double vinyl will have you reminiscing on those beloved 80s film classics and their amazing music."

2025 Repress

Running Back’s Double Copy subsidiary for house music history returns with four musical masterpieces from Chicago, London and an international cast from Italy on its first various artist sampler.
Originally released on Roy Davis Jr.’s Undaground Therapy outlet, Destination Heaven by the enigmatic Earth Boys project delivers a piece of cloud-nine-deep-house that was a staple at Frankfurt’s Wild Pitch Club and during the early days of its successor Robert Johnson. Produced by Cloudy Eyes and Cole Brooks, we unfortunately have never heard from the duo again. Luckily, Family of Few have been a little bit more productive. Also known as Mind Readers, Kevin Elliot and Billy ‚Jack“ Williams produced some of the more tender moments on Detroits 430 West label. Intervoles is amongst the most peculiar and catchy tracks that slow-burning dance floors can hope for.
The flip side turns the attention to the conclusions that Europe drew from its US-role-models. Released in 1992 on Rena Records with the involvement of New York’s JoVonn (a distinct genius of deep grooves himself), the keyboard skills of Pierre Audetat and the production work of I. Betti, M. Clemente and W. Brown, Dummy Head is one of a kind. Swirly echoes, dubby textures and a heavy bass line mate on the Edit Mix of I Have Been Wanting You to create one of the very first examples of fully formed dub-house.
Similar pioneering properties can be ascribed to the work of Rob Mello. We don’t have enough room here to list all his merits, but rest assured that the UK’s house scene wouldn’t be the same without him (Luxury Service Records, Classic et al). Under the Karim guise, Mello delivered a unique stroke of genius. Distilling the essence of deep house, while looking far into the future, In My Mind is many things at once: broken beat, electro, house with embracing chords, and – if you will – a warm-up banger. and does, what all the tracks in here do: turning heads then, turning heads now. Hardcore Deep House!