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One of Tom Trago's biggest tracks, now repressed! The Original Mix and backed with the huge Carl Craig Rework.

'Use Me Again' is Tom Trago's evergreen club classic. Originally released at the start of 2010 it became a staple track in many a DJ set. The track is based around an infectious loop in true disco spirit. It lights up every dancefloor its been played to - and still does.

Carl Craig has been one of the track's biggest fans ever since it came out, playing it out in almost every set at a certain point. For this release he came up with a typical c2 re-tweak. Big one!

A collection of earlier and newer works by LFU
combined in one EP.
On November 14, 2025 !K7 Records released DJ-Kicks by Eris Drew. She chose 'Oh Echt' by LFU as the opening track of her mix.
The style of 'Oh Echt' is not easy to categorize. Electronic breakbeats with Detroit hi-hat patterns and a typically pushy four-to-the-floor kick. The funky, staccato bassline and mysterious strings take you back to the eighties and the added funky organs and stabs complete the story. The "Oh Echt" Main Mix is the instrumental mix of the 'Vogel Mix' in which the 'Oh Echtapella' is incorporated.
The first design of 'Boom Boom Tracking' was in 2011 for a DJ/DRUM performance that LFU did. He picked it up again in 2014, but did not finish it until 2024. This big beat floor filler contains chemical beats accompanied by electrostabs and a deep, dark bassline. If you listen intently to this song on a regular audio device, you might notice a thump on every 1 of the 4 beats, but when it's played on a good, big sound system, you can't miss this tension in your stomach. 'Boom Boom Tracking' it is!
Downtempo percussive track 'Tjeetje' is the first track LFU has made in North Coast Studio in 2001. 'Slow Forward' was the third song he completed there in 2003, the same place where he met Ben Baan of Fruitcake, who played the piano part.
Initially, 'Queen Cubana' did not make it as a remix of Eddy Zoey's 'No Soy Cubano' in 2017. In this new version, LFU removed his vocals, except for "Step". LFU took inspiration from Katy Perry's 'Bon Appetit' and turned it into a rhythmic slow jam with carefully programmed beats, resulting in a spectacular funky joint.

Kerri Chandler begins a brand-new chapter with the launch of his self-titled label, Kerri Chandler, and its debut release; the Downtown EP Pt. 1.

The release includes four tracks reconnecting with the spirit of Kerri’s iconic Downtown Records era while offering something fresh for the next generation of listeners. 3 of the tracks come straight from that timeless catalogue and firm favourites among Kerri’s community, now beautifully presented on vinyl once again.

Part 1 also features one brand-new, exclusive track, giving fans something truly special: a glimpse of Kerri’s sound, and an invitation to join him on a journey through his remarkable catalogue. This release marks the start of an ongoing celebration of Kerri’s music, his evolution, and the sound that continues to inspire house music lovers around the world. Every detail, from the sleek new sleeve design to the thoughtful presentation, reflects Kerri’s care and respect for his music and the people who’ve supported it. It marks the beginning of something bigger; it’s a series of reworks, reissues, and rediscoveries that will guide listeners through the depth of Kerri’s catalogue and his lifelong love for house music. For long-time followers and new listeners alike, Downtown EP Pt. 1 captures everything Kerri Chandler represents, soulful, honest, and made with nothing but heart.

Ring The Alarm! Nach der Neuauflage von Sister Nancys „Bam Bam“, die eine reißenden Absatz fand, folgt nun der nächste unverzichtbare Track auf dem Stalag Riddim vom verstorbenen, großartigen Tenor Saw. Dies ist die ultimative Soundsystem-Waffe und ein Muss für jeden Selector, der etwas auf sich hält. Zurück mit dem entscheidenden Original-Keyboard-Workout von Ansell Collins Stalag 17, aufgenommen für Techniques, ist Stalag einer der Eckpfeiler der Reggae-Musik, der von einer ganzen Galaxie von Superstars der Musikwelt verwendet und genutzt wird, darunter Big Audio Dynamite, Public Enemy, Run DMC, Alicia Keys, Kanye West, Sublime usw. Ein Original Twin-Killer-Doppelsider – limitierte Auflage in illustrierter Hülle. Verpassen Sie es nicht!

The electronic producer Franz Kirmann returns to Bytes for his eighth solo album. The “Almadies” are long wooden boats used by Senegalese fishermen. It is also the name of the neighborhood where Kirmann grew up, in the suburbs of Dakar, Senegal, near the Atlantic Ocean. "These new compositions are the result of sound experiments conducted over the past few months and reflections on the concept of mind-constructed geographies," Kirmann explains. "The way memories and souvenirs shape an image of a place or country that is part reality, part fantasy, part cliché, yet also deeply personal. This experience is influenced by education, social background, history, and other socio-economic factors. " The ten tracks are crafted from collages of electronic sounds blended with field recordings from various places Kirmann has visited — from Dakar to the Caribbean, as well as London and Paris. His aim is to blur the line between electronically generated sounds and real soundscapes, creating music where it becomes difficult to distinguish the real from the constructed. All the sounds on the album were produced using synthesizers and field recordings. No drum machines, percussion or traditional acoustic instruments were used. Influences include Brian Eno and John Hassell’s Fourth World, Vol. 1: Possible Musics (1980), described by Hassell as "a unified primitive/futuristic sound combining features of world ethnic styles with advanced electronic techniques" , which also works in the context of Almadies. Another big influence was Ariel Kalma’s Le Temps Des Moissons (1975) as well as artists including O Yuki Conjugate and Robert Aiki Aubrey Lowe to Susumu Yokota and Michael Banabila.

Esteemed soul man of Panama Mr. Ralph Weeks has in recent years been enjoying a much overdue retrospective of his remarkable six decades-long musical journey with the help of Names You Can Trust. Now onto their fifth record release together since 2019, the label has covered both Weeks' original holy grail material as well as re-cuts and reimagining of some of his rarefied and unreleased songs.

One of Mr. Weeks' two iconic 45 releases on Panamanian label Sally Ruth was a funky soul side called "Let Me Do My Thing," originally recorded in 1971 as Weeks' answer to Charles Wright's big tune "Express Yourself," which had just hit the airwaves in 1970. Weeks' musical response would help define his legacy. He was gonna express himself, he was gonna Do His Thing. This golden age ultimatum recorded with the Dynamic Exciters of Panama as the backing band was a simple, straight ahead number with a defining message that would be carried on throughout Weeks' independent career. The funkified air and creative freedom of the original tune is a prime example of the crossover Combos Nationales sound that flourished in the prolific Panama recording industry of the era, and in the ensuing decades Weeks' tune would live on as a cherished rare groove for souleros, funk fans, and bootleggers alike.

Fast forward to 2023, when Ralph Weeks and Names You Can Trust prepared for a Bay Area appearance at the wonderful Latinos Con Soul weekender put on by San Francisco's Discodelic record shop, the groundwork was laid in the studio for a revival, a reawakening of Weeks' funky fan favorite. A spectacular ensemble of NYCT's All-Star artists and alumni was convened in the studio, including Caito Sánchez on drums, Victor Axelrod (Daptone Records) on clavinet and Sam Day Harmet (La Banda Chuska) on guitar. Anant Pradhan (The Skatalites), Eric Biondo (The Budos Band) and Alex Asher (Los Cumpleaños) occupied the brass section, and Ralph Weeks even lent his still formidable chops on electric bass and keyboards, a little OG flare to back up his silky voice with a deft musical touch. What came out of the sessions was a chance for NYCT to pay homage to Weeks' iconic original, without replacing it, and build a brand new version from the ground up with the maestro and composer himself!

Legendary Mello Music Group producer Apollo Brown's feature packed album including Oddisee, Evidence, Freddie Gibbs, Masta Ace, Vinnie Paz, Westside Gunn, Sean Price and more! 19 full boom bap classics. A celebrated fan favorite with over 20 million streams is finally back on vinyl with this special double lp olive green edition.

T.R.U. REALigion is the seventh mixtape by Atlanta rapper and legend, 2 Chainz and first release under his current artist name (formerly known as Tity Boi). The mixtape served as a major launching point for 2 Chainz as it was his first release to chart on the Billboard Top R&B/Hip-Hop Albums chart, and led to numerous major guest appearances ("Mercy" & "Beez In The Trap"). It achieved viral status in the mixtape era, having amassed over 1 million downloads on popular mixtape hosting site, Datpiff. Rereleased on streaming platforms for its 10th anniversary with 2 new songs featuring Wiz Khalifa & Big Sean, & now for Black Friday, the project finally sees the vinyl treatment during its original anniversary month (November 2011). Pressed on double Red, White & Blue Marbled Vinyl & housed in a denim-coated jacket, this album is a must have commemorative release for any Dirty South rap fan aficionado and serves as one of the great mixtapes of the early 2010s



2xLP, Pressed on Red, White & Blue Marbled Vinyl & Housed in a widespine jacket inside an embroidered denim outer slipcase.

On April 13th, 2019 Record Day, Vega Records celebrates with the new release 'My Body' performed by none other than the Legend and King Luther Vandross. This is a song that was never released and was recorded back in 1979 by Luther Vandross when he was working on the colossal album 'Never Too Much'. Brought to Louie Vega by artist and renowned background singer to the greats Mr. Fonzi Thornton, Vega was able to work on the immaculate sounds of Vandross. As Vega recalls 'When I put up the tracks in my studio it sounded as if Luther were singing today, it made it so easy to come with the house grooves having such a perfect vocal performance and one of kind tone. Once I came with the music, I felt I needed to call his original background singer team, which Fonzi organized in a flash. He called upon the genius background singers Brenda White, Lisa Fischer, Cindy Mizelle, Tawatha Agee and Fonzi himself. We are talking the A-Team of background singers, a dream come true in my studio', Vega recalls.
The Result is a stunning art piece by Richard Wilson on the cover of the vinyl double pack 12'. There are seven versions to choose from ready to work back to back.
So not only is it record day, it's also the birthday of Luther Vandross which is on April 20,
HAPPY BIRTHDAY LUTHER VANDROSS!!!
LOUIE VEGA SENDS A BIG HAPPY BIRTHDAY TO LUTHER VANDROSS & THANK YOU TO FONZI THORNTON, SEVETA WILLIAMS, AND VANDROSS MUSIC, LLC.

On a "Balearic-Jazz trip", the phenomenally hyped Thought Leadership returns with another X ideas: the deck this time chooses the Ace of Swords. In the acclaim garnered by III of Pentacles, there were many whispers of “Balearic” from those in the know. As soon as you drop the needle on XI you will be basking in turbo Balearica.

Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

The sonic palate has been augmented by the addition of synth and bass; there are more guitar layers, more pedals and more organic drums this time – a much fuller production. Still DIY, and still recorded straight to multitrack, just ever so slightly grander in scale; think a rough-hewn, long-lost Claremont 56 cut and you’ll have some idea of how XI opens this future classic LP.

The touchstones so key to the vision of Pentacles (Cocteau Twins, Dif Juz, Durutti Column) are all still present and correct; XII could be a piece from Extractions, XIII is pure Garlands-era Guthrie and, now with the shuffling jazz drums, XV makes TL even more LC – but more disparate influences are found this time out too. ECM guitar legends John Abercrombie and Pat Metheny in the more considered melodic phrasing and harmonic structure of the ideas and a nod to the cosmic Balearic spirit in the overall vibe, means more is offered to the listener across Swords.

XVI and XVII are the biggest indicators to Thought Leaderships’ new found love of The Real Book and their grasp of jazz chords. The former sounds like if Mike Hedges had produced on a heavily sedated ECM date in the early 80s, whilst the latter is Bright Size Life condensed into a most post-punk shard of Strat conversation. The syrupy Phase 90 on the lead parts lends much weight to the guitar melodies, a beautiful tonal counterpoint to the Vox-ish chimes of the plangent chords we’ve all come to love.

The flip again treats us to three extended, improvised jams. XVIII owes as much to Canterbury as it does to Krautrock, another modal voyage through the stars. Light the incense and drift away, guided by delayed cymbals and weaving ribbons of guitar. XIX has almost a New-Wave/Sophisti-Pop energy to it in tone, if not in structure and execution. Something almost Tears for Fears-esque in the chiming chorus guitars. An interesting outlier that has already received a lot of love from those that have heard it. XX is the starkest idea, and the only piece this time with no drums. What we do get, however, is a free exploration over a two chord-vamp. It’s Harvest Time meets Planet Caravan and a fitting end to this Balearic jazz trip.

Be With is honoured to present the first ever vinyl release of Ace Of Swords, carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last one flew. You have been warned.

“The high priest of country cool” - Rolling Stone

“I like him very much. He’s very special. He’s singing with a voice I never heard before” - Townes Van Zandt

“A conscious, soulful brother” - Horace Andy

“He’s a brother to me - one of the best singer/songwriters I’ve ever met” - Adrian Sherwood

“Unearthed mine of gems from inner Wales - a songbook of ideas - that's Jeb!” - Gilles Peterson

Jeb Loy Nichols is a bonafide Country (Got) Soul legend. The Music Maker presents 21 incredibly deep, grooving and soulful songs from the cream of Jeb's catalogue; from its earliest days to his latest unreleased gems via countless rare and unbelievably good lost-classics. This 2LP set is presented in a gatefold sleeve complete with freshly commissioned artwork courtesy of Jeb himself.

In collecting these uncut, under-heard gems, we hope to do justice to Jeb's jaw-dropping artistic brilliance. A man who, in working with Adrian Sherwood, Dennis Bovell, Dan Penn, Larry Jon Wilson and countless other legendary characters, has crafted some of the most deeply affecting folk, country, soul, funk, blues, dub, reggae, gospel, rap and electronic music, ever heard.

The first music Jeb really felt a connection with was southern soul: "I used to listen to the radio at night and fell in love with Bobby Womack and Al Green, The Staple Singers and Joe Simon – that whole Nashville/Memphis/Muscle Shoals thing.” But Jeb was so much more than a soul boy, Indeed, he "went to bluegrass festivals with my dad and come home and listened to jazz records with my mother.” And, when he was fifteen, he heard his first punk record: "God Save The Queen" by The Sex Pistols. “That and The Ramones completely changed me.” In 1979 he got a scholarship to go to art school in New York: “A great time. Punk was over but hip-hop was starting and I got into that in an obsessive way.”

His first recording, in 1980, was an unreleased rap song called "I’m A Country Boy". If that isn't an insight enough into Jeb's kaleidoscopic path through music, in 1981 he visited friends in London and found himself living in a squat with Adrian Sherwood, Ari Up (from the Slits), and Neneh Cherry. “Adrian put me to work immediately, moving boxes of records all across London. It was Adrian that was and is my biggest influence – in his complete disregard for genre purity.” So, presumably you're getting the picture? A veritable musical magpie with a voracious appetite and unimpeachable taste.

"Mine has always been a meandering career. I've done what I've done, and made the music I've made, due to chance meetings. I'm not particularly ambitious; it's more important to me that I work with friends and like-minded people. I've been a big fan of Be With for years. Everything they release is essential. When they asked about rereleasing "Countrymusicdisco45" I was both pleased and flattered. We began talking about how we'd do it; two years and twenty-one tracks later, here we are. I've always thought of the music I make as Country Music. Music conceived in the country, written in the country, recorded in the country. I left London and moved back to the country so I could live among the trees, the grasses, the animals, those things that don't go to war and get greedy. This compilation is the story of that life. Hand made, lo-fi, ramshackle, stripped down, real deal music. Heartworn and funky. Music made in the kitchen, not in the studio. As the great Skip Mcdonald said, Perfect ain't perfect. It's great to see all these tracks gathered together. It feels like a family reunion. Some older members of the tribe, some newer arrivals."

Opener "countrymusicdisco45" is a song Jeb wrote about how his crew lives, tucked up blissfully in the hills: "House parties full of country folk dancing to disco, reggae, soul, country, hip-hop. All night. I recorded it at home under the influence of Stevie Wonder." It's one of the funkiest records you'll ever hear. "Sometimes Shooting Stars" was recorded in Nashville and mixed by the legendary Dennis Bovell. It's deep, dubby, majestic. A thing of fragile, melodic beauty. The party ramps back up again with the undeniable groove of "Short Cut Home" before the profoundly moving "Disappointment" arrives. One of many songs he's recorded with good buddy Benedic Lamdin (aka Nostalgia 77): "We were going for a Leon Thomas meets Richard Brautigan meets Alice Coltrane kind of thing". We think they nailed it. "Days Are Mighty", like a lot of the tracks on this collection, "started life as a demo, an attempt to get something down while it was fresh. No frills, nothing fancy, just feel." And what feels!

The irrepressibly funky "Don't Dance With Me Tonight" is a deeply moving, slow-mo organ-drenched head-nod-funky country-ballad. Next up, the breezy "You Got It Wrong" was recorded in Wales with some of Jeb's good friends and neighbours, The Westwood All Stars, featuring Clovis Phillips and Will Barnes. Skanking fiddle-flecked gem "Ring The Bells" was the first thing Jeb recorded when he moved to Wales. A combination of all his loves; country, reggae, soul. It's followed by "Let's Make It Up", a truly sumptuous string-drenched emotional groover. "When Did You Stop Loving Me" is another Nashville track, written and recorded during a time Jeb was spending a lot of time with the Muscle Shoals crew, Donnie Fritts, Spooner Oldham, George Soule and Dan Penn: "It shows, I'm sure, their influence." Oh, you bet it does!

The swaggering country-funk of "Just Beginning" should grace many groove-focused DJs' sets whilst "Wintering Of The Year", again made with Clovis, is pastoral, campfire soul. The glacial, gorgeous "Let It Rain" is from an unreleased record Jeb made with the great British jazz bass player Andy Hamill and "We Tell Each Other Who We Are" is freaky country-soul made by a man with a love for strutting, wonky hip-hop stylings. Rounding out the side, "Trip To You" is pure, uncut amphetamine-propelled drum-machine soul.

The spare, beautiful "Dirt" is from an EP Jeb made with Julian Moore in his house in South London: "All first takes, straight to tape." Swoon! "Heaven Right Here" was a very minor league hit in America: "It was produced by the brilliant and much missed Wayne Nunes. It was started in the countryside of Missouri, finished in the countryside of Wales, and recorded in the countryside of Sussex." Double swoon! "If Later Ever Comes" is electronica meets J.J. Cale business whilst "Remember The Season" is truly wonderful and breezy guitar soul. "A Little Love" was made with Wayne Nunes as well, after a night of listening to Studio One and Northern Soul. Bouncy dub closer "Weary Traveller" was written by Bill Monroe, the hero of Jeb's youth: "Monroe's music was heavily influenced by black southern churches; I've tried to keep some of that feral feel." This was the final recording by Jeb's 1990s Country-Dub band, Fellow Travellers.

The name of this compilation comes from a time when Jeb lived in Peckham, south London and he used to DJ and sometimes perform at a local bar: "The owner of the bar, a Jamaican named Count Percy, once asked me what I called my music. I told him I wasn't sure, I guess just pop music. He thought about it for a minute and then said, 'no, more like mom and pop music'. Rather than call me a country singer or a folk singer he always referred to me as The Music Maker."

With the long overdue deluxe overview of his beloved music, we hope to finally shine a light on the unheralded genius of Jeb Loy Nichols. RIYL Larry Jon Wilson, Townes Van Zandt, Bobby Charles, country got soul artists, dub, deep soul, disco, dancing, heartbreak. This deluxe collection, spellbinding from beginning to end, should hopefully go some way to ensuring Jeb reaches an ever bigger, ever more appreciative crowd of followers. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The artwork has been lovingly put together by The Music Maker, himself, Jeb Loy Nichols. "Be With is the perfect home for this mongrel music. I am forever in their debt." The pleasure is all ours, Jeb.

Heralding 10 years of relentless club futurism, Timedance strikes forward once more with TD10. Batu's label has nurtured experimentation between techno propulsion, soundsystem pressure and innovative sound design since the beginning, rarely resting in one space and always reaching for new ideas. Across 23 forward-facing cuts, this compilation continues that tradition with a strong cast of scene-leading heavyweights and crucial emergent talent.

The wide-ranging styles across TD10 are bound together by a shared affinity for bassweight presence and vibrant, three-dimensional production. Fractured, artful deconstruction from Daisy Moon, Marco Shuttle and Verraco sits alongside the snarling half-step pressure of re:ni and Lurka and the jagged drum intensity of Lechuga Zafiro, 33EMYBW, Ayesha, and Jabes. There's space for big room anti-anthems from Pearson Sound, Bambounou and Batu himself, wildcard swerves from Minor Science and Skee Mask and more emotive melodic sensibilities from Polygonia, El irreal Veintiuno and BADSISTA. At every turn, the ideas are fresh, toying with the idea of an all-encompassing sound for the label and throwing open the possibilities for what it might represent in the future.

Timedance has thrived in an era where technology has eroded the boundaries between the generic formulae of dance music's past, helping set the pace for innovation and presenting compelling, immediate music across the tempo range. TD10 responds to that legacy with its gaze fixed firmly forwards, ushering in the label's next chapter in proudly unpredictable style.

We're happy to welcome Kepler to our exclusive roster with his new label Contact.

Kicking off with a big double header from the man himself. Hype It Up / Sneaker have been heavily road tested over the summer festival circuit, both getting massive reactions worldwide.

Iptamenos Discos kündigt Houdini an, die neue EP der Labelgründer Local Suicide. Die Platte enthält drei ihrer dunkelsten und kraftvollsten Originaltracks bis heute, ergänzt durch markante Neubearbeitungen des französischen Electroclash-Pioniers David Carretta und der aufstrebenden griechischen EBM-Kraft Alpha Sect. Die Houdini EP entstand im Berliner Studio von Local Suicide während zahlloser nächtlicher Sessions mit Skelesys in derselben kreativen Phase, die auch ihren gemeinsamen Hit Moustache, die Surface Of The Sun EP und Faster Faster auf Curses’ Next Wave Acid Punx-Compilation hervorbrachte. Das Ergebnis ist ihr bisher düsterstes Material, das ihren Technodisco-Sound in noch härteres Terrain führt - mit hypnotischen Basslines, industriellen Texturen und analogen Vintage-Synths. Damit zählt es zu den mutigsten Releases im Katalog von Iptamenos Discos. Die EP eröffnet mit Obsessions, einem Track zwischen Darkwave und Techno, aufgebaut auf einer brutalen Bassline, analogen Synths und eindringlichen, mantraartigen Vocals. Die wiederholte Zeile „Obsessions, they come and go“ spiegelt den unerbittlichen Sog des Stücks wider und unterstreicht seine klaustrophobische, sich ständig wiederholende Energie. Submission, eine Zusammenarbeit mit Langzeitkollaborateur Skelesys, steht dem in nichts nach: ein düsterer Low-End-Sound, verzerrte, stark bearbeitete Vocals und der Sprechgesang „Resistance, no submission“ durchziehen den Track wie eine Trotz-Erklärung, die Spannung in Kraft verwandelt. Der Titeltrack Houdini ist etwas zugänglicher, behält aber die gleiche schattige Atmosphäre. Unheimliche Orgelmelodien und der Text „The great Houdini, the big escape“ beschwören Transformation und Befreiung herauf, zollen dem legendären Illusionisten Tribut und verleihen der Nummer eine theatralische Note. Der französische Kult-DJ und Produzent David Carretta interpretiert Obsessions neu mit seiner unverkennbaren retro-futuristischen Handschrift. Seit den 1990ern bekannt für die Fusion von industrieller Präzision mit Italo-inspirierten Synths, hellt er den Track mit glitzernden Disco-Melodien und einer erhebenden Stimmung auf – eine Version, die sich bewusst vom dunklen Original absetzt und sofort für die Tanzfläche taugt. Der in Straßburg ansässige Alpha Sect, das Projekt des griechischen Künstlers George McCall, führt Submission in kompromisslose Dimensionen. Verwurzelt in Electro und Body Music mit Punk-Einflüssen, beginnt sein Remix als wuchtiger EBM-Stomper und entwickelt sich zu einem clubtauglichen Track, der Intensität mit Katharsis in Balance bringt.

IMPORTANT: These are often unplayed, sealed or barely played copies, but have been stored in a humid environment. Some copies might have slight storage damage like deformed sleeves or some mold. Even though a quick cleaning session of the item (if needed) will probably make it as good as new, these are still sold as is! HORIZON HAS BEEN ONE OF HIS BIGGEST HITS AND ONE OF COCOONS & SOMAS BEST SELLING VINYL. A MASSIVE HIT ON MOST FESTIVALS. ULRICH SCHNAUSS COMES WITH A GORGEOUS TECHHOUSE MIX. YOU ALL MUST HAVE HEARD OF TIGERSKIN AND HIS WELL CRAFTED MUSIC. THIS OUTSTANDING PRODUCERS COMES WITH A CLASSIC FLOORSTOMPER AMERICAN STYLE. THE FUNKDVOID MIX IS STILL ONE OF OUR ALL TIME FAVOURITES NEXT TO BEROSHIMAS SKYFLYER

Sealand returns with its fourth vinyl release, bringing together Mykoz, Inqoherent and RVOLT for a fierce and emotional journey through cutting-edge hardcore sounds.
The title track Net runners by Mykoz and Inqoherent has already been tearing up festivals across Europe - a high-impact banger built on distorted energy, razor-sharp percussion and a dark futuristic pulse that defines the Sealand spirit.
Inqoherent's Sense of Touch dives deeper, blending haunting melodies with relentless drive, while Mykoz's I'm Losing My Mind captures the tension between emotion and chaos in pure dancefloor form.
To close the record, RVOLT reshapes Mykoz's There Is A Storm Coming into a powerful, crossbreed/industrial remix - heavy, raw and built to destroy big systems.
Net runners marks a new chapter for Sealand: 12'' format vinyl, high quality full coloursleeve in a protective shrinkwrap sleeve

The seventh release in the Punctuality canon lands hot with a peak-time four-tracker from Persian-Swedish DJ and producer Mohajer based in Berlin. All In is a bold statement of intent—the music glistens with sleek, modern production aesthetics, drawing from UK-tinged breaks, pumping ’90s house, and sultry, timeless trance moods, perfect for big rigs and intimate dancefloors alike. Like her DJ sets, the tracks are scintillating and high-throttle, twisting and turning through unexpected paths while maintaining a steady dancefloor focus throughout.
“Intake” sets the tone for the EP. The A1 is a high-octane collage of lustrous, contemporary house, where playful, bouncy low-end slips and skips around glitched-out atmospherics, sleazy tech synths, and earworm organs. The arrangement careens and veers without relenting, driven by pumping amens and provocative vox chops fluttering in and around the bass.

A2, “i c u” keeps things heated with rolling breaks and ultrabright melodies that ignite the track with dazzling intensity. A sultry take on UK soundsystem music, its undulating wubs and flirtatious vocals are anchored by a dub sensibility that keeps the groove low, slung, and sexy. Think smoke machines, red lights, and smoldering sexual tension.
Luscious, trancey, and dripping with percussive sensuality, “You Wannabe” carries the sensuous mood to the flip. The track unfolds like the arc of a DJ set, teasing moments of magic amid layers of atmospheric pads, FX, and a pulsing bassline that grounds the arrangement from start to finish. The vibe is sweltering, cosmic, and irresistibly sultry—drawing from many directions but always locked into the groove, built for DJs and dancers alike.
The EP closes with “Backseat,” a hypnotic journey through swirling synthetic flourishes, rumbling subs, and psyched-up lead lines. It expertly builds tension and release, flipping halfway into bright flashes of euphoria and light. The result: a mysterious, sensual number that captures the ephemeral magic of the dancefloor and showcases the expert production skills of Mohajer.

This is buy-on-sight material from start to finish—don’t sleep.

PD002 takes flight in the form of a lost, deadeye jungle bird scavenging for his next trinket. It captures the raw energy and playful, feral sound that defines the Pelican Dub aesthetic: a blend of primal rhythms, hypnotic textures, and experimental intensity.

Pelican Dub 002 features three original tracks by DJ Merlín, alongside one co-production with Adam Pits:

Obsession
Obsessed once again… Nearly lost my head rocking it like a madman.
These drums weren’t simply made. They were forged by a blacksmith with a big blade and a bad temper. It boasts a peculiar flow and a three verse arrangement. Not a mix tool, or is it?

Down the Wrong Road
A futuristic techno-dub track featuring pinched, glassy drumwork wrapped around a pseudo-acid riff. Born during the aftermath of a questionable decision of two friends meeting early in the morning after separate all-night adventures, hence the title: Down the Wrong Road…..

Dirt Bubble
Dirty, unpredictable, and uncompromising. The original version of Dirt Bubble is a raw and visceral workout, chaotic in just the right way.

Dirt Bubble (DnB Mix)
The younger sibling that has outgrown its original prototype. This DnB rework has rightfully become a flagship for the Pelican Dub sound. Expect primal rhythms, wild experimental drum design, and a savage, stretched-out analog bassline that dominates the low end.

‘Made For The Dancefloor’ is Glitterbox’s first vinyl compilation since 2021’s ‘Where Love Lives’ release. Spread over three 12” with four tracks per record, ‘Made For The Dancefloor’ compiles some of the biggest and most loved releases on the Glitterbox label this year. Including the huge Tripolism remix of The Shapeshiters classic ‘Lola’s Theme’, Crackazat’s upbeat take on Ben Westbeech, big main room cuts from Harry Romero, Kiddy Smile, Dave Lee and lots more.

After an amazing run with his latest EP on Hessle Audio 'Make It Better/ Restless Sleep' Josi Devil is back with a 3 tracker on TSVI & Wallwork's Nervous Horizon.
Combining club functionality and cinematic sound design this EP leaves no stone unturned.
'No More' has already conquered most dance floors around the UK and the world being played by the biggest names in the scene like Ben UFO, Joy O, Special Requests etc.
'Duinpan' is a pounding garage banger with mind bending sound design.
'M.e.S' the final track is a collaboration with label boss TSVI, and it definitely is the cherry on the cake incorporating both the signature Nervous Horizon sound and Josi Devil's cold & slick production.

The third installment in Lance Ferguson's acclaimed Rare Groove Spectrum series builds on the success of Vol. 1 & 2, offering a fresh set of reimagined classics. From '70s Australian jazz-funk and Latin-fusion to big band soul and golden-era funk, Ferguson blends crate-digger sensibilities with modern studio craft.

Standout cuts include bold reworks of Idris Muhammad, Billie Eilish, Jungle, Billy Brooks and more, with the focus track "Losalamitoslatinfunklovesong" delivering a Gene Harris reinterpretation infused with Bossa Nova and Brasil '66 flair. Showcasing Ferguson's mastery as a multi-instrumentalist and arranger, the album brims with rich, cinematic productions throughout.

Selling Points

Known for projects The Bamboos, Menagerie, Lanu — widely regarded as one of Australia's most versatile producers.
Previously released 45 full-length albums and 100+ singles/remixes across labels including Atlantic, Universal, Sony, BMG, Tru Thoughts, and Ubiquity.
7× ARIA Award & 5× APRA Music Award nominations.
Co-writer/producer of the global hit "This Girl" by Kungs vs Cookin' On 3 Burners
#1 in 10+ countries
1.27 billion Spotify streams & 545M YouTube views
Multi-Platinum & Diamond certifications worldwide.
Collaborations with Aloe Blacc, Roy Ayers, Alice Russell, Durand Jones, Quantic, Joey Dosik and more.
Music featured in 200+ compilations and major syncs, including CSI NYC, Grey's Anatomy, Homeland, Suits, and House of Cards.

Mario Biondi is a singer and composer, born in Catania, Italy. In 1988 he had an important opportunity as support act to Ray Charles' Italian dates. His love for soul music helped shape his particular vocal styling that takes its cue from great vocalists like Lou Rawls, Al Jarreau and Isacc Hayes. His first big break came in 2004 with the original release of the single "This Is What You Are". Originally planned for release only in Japan, the cool and irresistible song gets noticed by European radio.

Well-known DJ, Norman Jay begins to feature the song on his BBC1 show playlist and Mario's incredible voice crosses the European continent ahead of the artist himself. His album "If shot up the charts and went triple - platinum. 'This Is What You Are' is one of the most important and iconic Italian jazz vocal tracks of the last decade

The Nightlife isn’t just a single. It’s a fever dream. Honey Dijon and Chloë have built a sonic peephole into a city that only half-existed—New York’s Meatpacking District in the late ’70s, that liminal wet haze where sweat, leather, and desire commingled under streetlights that flickered like dying stars. Imagine Blade Runner rewritten by Jean Genet, but scored for bodies pressed together at 4 a.m.—that’s the terrain.

And in the marrow of this track, the ghost of Kim English’s Nitelife thrums—an invocation of the 1990s underground, those rooms where freedom was fragile but absolute. Honey Dijon doesn’t just sample it. She resuscitates it, drags it into the now, dresses it in sequins and grief, insists we dance harder because the future is burning quicker.

This isn’t nostalgia. This isn’t homage. This is ritual. A reminder that nightlife was always resistance—radical, erotic, communal. And The Nightlife is a portal, a signal flare, maybe even an omen. Something larger is coming. Consider this the first act.

2025 Repress

“UR wonders” What happens to jazz if combined with the current electronic sound tools used to make Detroit techno now?
What might Jazz sound like if the inspirational pioneers of fusion ie; Return to Forever, Astral Pirates or Weather Report had access to the music production technology available now or in the future?
The artform called Jazz was a unique reflection of “The African American experience here in the United States.Unfortunately by the 90″s it had been compromised by major record companies and made “smoother” for mainstream consumption and more profits.
Born in America’s rural black south Rock & Roll had suffered the same fate years earlier. Original artists eventually replaced by well studied clones and corporate mega profits!! Also happening the original artform of jazz appeared to be caught, processed & throughly EXPLAINED by people who sought to intellectualize “struggle & human emotion” into mere words and then benefit immensely financially by being authorities on the subject.
Hmm sound familiar?

As you watch the current intellectual colonization of the urban inner city African American art forms house music, hip-hop, Jungle & Detroit techno get studied, bent, twisted renamed and turned into EDM profit formulas.

There stands records like Nation 2 Nation that defy these definitions and inspire the next generation of Pioneers who continue the undefined exploration of Jazz like Derek Jamerson, Jon Dixon, Raphael Merriweathers, Desean Jones, Timeline, Galaxy 2 Galaxy, Raphael Statin & Ian Finkelstein. Mother to daughter, Father to son,

Nation 2 Nation a work inspired and that inspired what’s next.

For Toxic Funk Vol. 20, we're excited to welcome back the man with the big beats and unmistakable grooves – Sonale – for his first-ever 7" vinyl release on Breakbeat Paradise Recordings. After making waves with digital releases like the bass-driven Ill Vibe EP and the party-starting Sound Monkey EP, Sonale now brings his signature style straight to wax with two exclusive funk-heavy weapons. The A-side, Give I...

Remix Ep with a broad spectrum of styles and some big named remixers. Side A kicks off with Colin Dale's remix of Dark Male, which is a typically throbbing techno cut for the dance floor, the Second track on Side A is David Duriez pushing an acid house remix of fellow French act G-Prod. On the flip is MOY's step into big bass and fast based breaks led drums which will make your head explode as they build their intensity, the second track is Derek Carr remixing The Vast Profound, his house rework offers all you might expect from this veteran of the scene - looped hooks and deep pads. Lastly The Vast Profound digs into the deeper end of house music layering up pads, strings and lush melodies. Comes with an insert "Remix track selector" on coloured vinyl limited to 135 sale copies.

"No Control" is one of the albums that helped bridge the band"s more reckless earlier direction with their more focused (but just as pissed-off) "90s-era. The strength of such cuts as "Big Bang," "Automatic Man," the title track, and "I Want to Conquer the World." No Control is one of the bands best all-time albums and an archetypal blueprint for the genre.

Updated remixes of two big Balearic classics on Best Record! "Describing Linda Di Franco is no easy task: a reserved, sometimes elusive artist with a career that is difficult to define. From an early age she was interested in various artistic fields. Working as a DJ in clubs, then on the radio, she took the opportunity to record her first musical demo, Stage, obtaining international recognition which quickly took her to England and to the States, where she recorded her first compositions, My Boss and T.V. Scene. The songs are of great value and achieve unexpected success, also included in The Rise Of The Heart, a milestone in the nascent revolution of club culture, a Balearic classic supported by DJs in love with the indefinable sound of Ibiza. But Linda is extraordinarily ahead of her time and despite the enormous fame has gained with her songs she is already oriented towards a career as a music video director. For this reason the Turin singer-songwriter turns out to be one of the least fruitful artists of her time, while her CV in Hollywood is impressive in various roles which she holds, in addition to that of actress and director, that of impeccable sound technique. Intelligent artist, full of good and positive feelings and certainly also ambitious, but extremely scrupulous by subjecting sounds in cinema to careful review. Yes! The "sound" is an investigative tool for her, a way of understanding art. Linda Di Franco is - willy-nilly - still the undisputed queen of the Balearic sound today. So, she decided to produce Redux, a limited edition album published by Best Record, in which her most intrepid and famous songs are re-proposed in the jazz versions edited by her friends from Turin and Los Angeles. Then she had to give in to the boundless passion of Danilo Braca, the Italian DJ based in New York, who deserves credit for the successful combination of refined and ethereal songs with the disco genre. TV. Scene - Epic Remix, TV. Scene - Costa del Sol Mix and My Boss - Remix are Danilo's pearls, created with the help of excellent international musicians who with more defined and current sounds have added their art to that of Linda."

Chicago's premier boogie purveyors STAR CREATURE dig deep with 4 extremely rare cuts, 3 of them being white whale level impossible to find & the 4th commanding big bucks online! Includes songs by TIGER JACK, SOUL INVADERS, MOTHERFOX, and PYRAMID PLUS. Heavyweight vinyl and heavyweight reverse board jacket. Due out Nov. 10.

“Let’s Bounce” was originally issued on Ajana as one of their only 2 releases, the first being earlier from Central Power System on Numero Group’s The Chicago Party compilation. Tiger Jack remained elusive, both Jack and a copy of his record until we stumbled upon a contact and were able to get in touch and stitch together the fully extended mix of this Punk Funk Boogie Bopper. Speaking of Numero Group, The 2nd track of Side 1 comes from an assist from the reissue Gods themselves as they blessed us with this never-sold-on-discogs soulful side of Boogie Slap issued on one-and-done label Magikal. When asked about the track, songwriter CA Williams said they recorded it for a restaurant jingle. Probably the best one we’ve ever heard.

Side 2 starts off with an absolute Modern Soul Monster with Motherfox’s Hot Shot. John Harris came by Star Creature’s South Side of Chicago HQ to chop it up and share some stories on Motherfox and his other passion project most deep funkers would known as Carver High. This record has reached insane demand the past few years as it’s a certified floor filler for all scenes - peak big budget sound packed into a small DIY package, total package. Track 2 delivers the full version of the ever mysterious Pyramid Plus providing the Titular Tune “Comin’ At Ya’” as vocoded talkboxed low slung, spaced out Boogie Banger.

Bruce Springsteen's statewide ode Nebraska '82 is given ample extra space with a new expanded edition, as his 1982 acoustic masterwork is cast in renewed light by its use the forthcoming biopic Deliver Me From Nowhere, which documents the conception of the original album. Now with an extra 17 solo outtakes, including demos of 'Born In the USA' , 'Pink Cadillac', and 'Downbound Train', as well as the fabled Electric Nebraska sessions with the E Street Band, the new dubs illuminate the breadth of Springsteen's vision for a reconciled America, where Springsteen found much inspiration in the folk, literature and short stories of the heartland, particularly in those of Flannery O'Connor, childhood and young-adult memories. Notably, it was deemed by PopMatters to beo one of the first every DIY records made by a major artist, and soon sparked a DIY revolution by folk musicians the globe over.

SHDW presents 'Federation Of Rytm IV': a bumper 30-track collection spanning the past, present, and future of techno.

Offering powerful standalone club cuts and a cohesive deep-dive, the expansive VA lands on 24th October 2025.

The fourth edition of SHDW's flagship 'Federation Of Rytm' VA series has been carefully curated by the DJ/ producer and head honcho over more than a year, with close attention to detail given to sequencing. It is a balance of label regulars and debutants that represents the past, present, and future, both sonically and through the generational diversity of the artists involved. There are plenty of surprises along the way while always remaining true to the Mutual Rytm ethos and reflecting the journey of the night from start to finish, whether that's in intimate, sweaty clubs or on big festival stages.

Across 30 tracks in the digital collection and 24 on four sides of wax, the release explores the full breadth of the Mutual Rytm sound. Driving grooves and relentless percussion set the pace, gradually unfolding into hypnotic and atmospheric passages that invite deeper immersion. Pulsating low-end power alternates with eerie minimalism, while bursts of futuristic energy and cavernous kick drums keep the tension high. Elsewhere, dub textures and moments of introspection provide balance, creating a narrative arc that moves fluidly between intensity and release, atmosphere and tension, darkness and light.

Category 1 Music Sampler - Vol. 3 illustrates how the world’s most talented artists, producers and remixers come together to create great house music.

Beginning with 'I’m Alive (Touch the Sky)' featuring 2 of Chicago’s most iconic figures, Ron Carroll and Glenn Underground, it contains all of the elements that represent the ultimate Chicago soulful house production.

Shawn Christopher, another Chicago mainstay, has teamed up with the UK’s Richard Earnshaw and Ron Carroll to deliver a rousing Gospel inspired gem, 'He’s Got It'. This track will get everybody moving, whether it’s onto the dancefloor or off the sofa!

Terry Dexter’s hit, 'You Saved Me' is given a hard driving Garage infusion by UK born Marc Cotterell. It’s a fresh approach that’s been universally acclaimed. Lastly, the world-renowned DJ, Eric Kupper is the force behind Ron Carroll’s production of Aires Adora 'Magic Carpet Ride'. Eric’s big room touch is unmistakable throughout this masterful remix

The Spacebunny tracks were originally released on Surreal Recordings back in 1996, the original mix being licensed to Danny Tenaglia's Twisted Secrets (vol2), since then it has become a party classic with original copies changing hands for over £100 on discogs.

The Mingers "Fancy A Shag" track was released in 2002 on Deeper London (a subsidiary of Surreal Recordings) with a limited press of only 200 copies. The track is floor filler and was often one that would kick things off in the early stages of the night, featuring big tribally beats, a fat funky bass and emotive strings.

Cybernetic disco maestro Patrick Cowley graces Dark Entries once again with Hard Ware, an LP of far-out funk and synthpop celebrating what would have been Cowley’s 75th birthday. Best known for his chart-topping disco anthems, Cowley left us with an incredible body of work before his tragic death in 1982 due to AIDS-related illness. Since 2009, Dark Entries has been working with Cowley’s friends and family to uncover the singular artist’s lesser-known sides, including his soundtracks for gay pornographic films, which the label chronicled on compilation albums School Daze, Muscle Up, and Afternooners. Hard Ware presents the closing chapter in a trilogy of unreleased Cowley dancefloor bangers that began with 2022’s heavy-hitting Male Box and was continued with the soul and garage-inflected From Behind in 2024. The most expansive release in said trilogy, Hard Ware delivers ten tracks of pure, uncut Cowley: sultry, psychedelic, sarcastic, and just a bit sleazy. Cowley devotees will delight in “Tech-No,” a sparse instrumental demo version of his epically dystopian “Tech-No-Logical World.” You could soundtrack your next aerobics session with cheeky numbers like “Pajama Party Massacre” or “Shake It Up,” both of which feature Cowley himself on vocals. The frenetic “Big Ass in Motion” is built around samples from Rudy Ray Moore and The Madam’s infamous “Sensuous Black Woman,” an X-rated comedy record that would later feature in classic booty house records. Mid-tempo cosmic groovers are well-represented with jams like “Hellfire” and “Megablue,” which perfectly capture Cowley’s bathhouse-in-outerspace sensibilities. No collection of Cowley’s work would be complete without an interstellar floor-filler, and we’ve got quite a few here, like “Jungle Jump,” which pits whirling beats with dub-laced swirls of synth, or “Spellbinding Lover,” a Donna Summer-indebted melancholic boogie masterpiece that features Sylvester backup singer Jeanie Tracy. Hard Ware closes with the chilling synth-hymn ”Ice Age,” in which Loverde vocalist Peggy Gibbons sings of a coming frosty apocalypse. The story told in “Ice Age” mirrors the coming AIDS crisis and feels like a haunting premonition from Cowley. The record comes in a sleeve with a hand-airbrushed circuitboard-inspired design by Gwenaël Rattke, and includes lyrics as well as liner notes by Andrew Ryce and Peggy Gibbons. Hard Ware is another crucial document of a tremendous talent taken too soon.

For their first album as Gilla Band (formerly Girl Band), the
foursome have redrawn their own paradigm. ‘Most Normal’ is like
little you’ve heard before, a kaleidoscopic spectrum of noise put in
service of broken pop songs, FX-strafed Avant-punk rollercoaster
rides and passages of futurist dancefloor nihilism.
Lockdown robbed Gilla Band of any opportunity to try the new
material out live, but the pandemic also incinerated any idea of a
deadline for the new album. They were free to tinker at leisure, to
rewrite and restructure and reinvent tracks they’d cut, to, as
drummer Adam Faulkner puts it, “pull things apart and be like,
‘Let’s try this. We could try out every wild idea.’”
The group also fell under the spell of modern hip-hop, “where
there’s really heavy-handed production and they’re messing with
the track the whole time,” says Fox. “That felt like a fun route to go
down, it was a definite influence.”
‘Most Normal’ opens with an absolute industrial-noise banger that
sounds like a manic house party throbbing through the walls of the
next room as a downed jetliner brings death from above. What
follows is unpredictable, leading the listener through a sonic house
of mirrors, where the unexpected awaits around every corner.
The common thread holding ‘Most Normal’’s ambitious Avant-pop
shapes together is frontman Dara Kiely. Throughout, he’s an antic,
antagonistic presence, barking wild, hilarious, unsettling spiels,
babbling about smearing fish with lubricant or dressing up in binliners or having to wear hand-me-down bootcut jeans (“It was a
big, shameful thing, growing up, not being able to afford the look I
wanted and having to wear all my brother’s old clothes,” says
Kiely).
‘Most Normal’, then, is a triumph, the bold work of a group who’ve
taken the time to evolve their ideas, to deconstruct and reconstruct
their music and rebuild it into something new, something
challenging and infinitely rewarding. It’s a headphone masterpiece.
It’s a majestic exploration of the infinite possibilities of noise. It’s a
bold riposte to your parochial beliefs on whatever a pop song can
or should be. It’s the best work these musicians have put to
(mangled) tape.

Der Grammy-nominierte Schlagzeuger, Produzent, MC und Sänger KASSA OVERALL definiert die Grenzen zwischen Jazz und Hip-Hop neu. Verehrt von lebenden Ikonen und Underground-Trendsettern, begann er seine Karriere hinter dem Schlagzeug. Seine bahnbrechenden Soloprojekte haben ihn zu einer treibenden Kraft in der US-Jazzszene und darüber hinaus gemacht und ihn mit Unterstützung von Visionären wie Thom Yorke, Iggy Pop, Virgil Abloh, u.a. belohnt. Mit dem renommierten Doris Duke Artist Award 2025 hat Kassa seinen Status als führende Stimme des zeitgenössischen Jazz gefestigt.

Auf CREAM, seinem vierten Solo-Studioalbum, zollt Kassa seinen beiden Leidenschaften seiner Jugend Tribut – Hip-Hop und Jazz-Schlagzeug. Mit diesen Instrumentals verwandelt der visionäre Schlagzeuger und Produzent klassische Rap-Songs in zeitlose Standards, indem er das Kontinuum zwischen Jazz und Hip-Hop aus jedem Blickwinkel und ohne Abkürzungen erkundet und eine neue Interpretation des "Great American Songbook" bietet – eine Hommage an das reiche Erbe der afroamerikanischen Musik.

CREAM unterstreicht Kassas künstlerisches Können durch meisterhafte Arrangements, eine durchdachte Songauswahl und einen Sound, der seine Entwicklung nachzeichnet. Unterstützt von einer herausragenden Band mit generationsübergreifender Jazztradition verkörpert das Projekt seinen genreübergreifenden Ansatz und sein Engagement, den Jazz voranzutreiben.

Von Newport bis North Sea hat seine Band für ihre Live-Auftritte, die Gilles Peterson als "völlig surreal" bezeichnete, große Anerkennung erhalten. Er trat in der Tiny Desk Concert-Reihe von NPR auf und veröffentlichte mehrere von der Kritik gefeierte Mixtapes, die von der New York Times, NPR Music, The Guardian, Afropunk und anderen gelobt wurden.