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It's pretty wild to think this is in fact Carli’s debut solo album, considering the Swedish producer’s long and illustrious career, defined by eclectic hits ranging from underground grime scorchers to straight-up Eurovision goodness, not to mention him being a cornerstone of acclaimed outfits like Off The Meds, Savage Skulls, and Marcus Price & Carli.
On Sea Of Love, the Stockholm-born former breakdancer takes listeners on a journey through a vast ocean of musical influences, effortlessly blending rave nostalgia, bass-heavy experimentation, and contemporary club sounds. Carli skilfully navigates from raw UK hardcore bonkerisms to the crisp rhythmic pulses of modern-day dancehall, always upholding a vibe that's at once futuristic and reverent of club music’s storied past.
Filled with intricate production techniques and an irresistible sense of joy, Sea Of Love showcases Carli’s unique ability to merge styles without losing coherence or authenticity. This is club music crafted by someone who’s not only seen it all from the booth, but also been on the dancefloor himself, resulting in tracks that feel deeply personal yet universally appealing.
With Sea Of Love, Carli firmly establishes himself as a visionary solo artist, proving that after decades of shaping the sound of Stockholm’s underground, his best is still ahead.

Berlin scene figurehead Gilles Aiken, AKA Edward, coming through with a massive Kalahari debut (and it’s safe to say he understood the assignment).

Booting off on a massive remix tip as the veteran producer reinterprets Mike Parker & Aric Rist’s Trybet project, but trust him to allow for a moment of dancefloor introspection. It’s prime early morning gear in a rousing juxtaposition of beatific string harmony and tough-as-nails deepness. Triumphant ‘window shutters open in the club at 5 AM’-type shit.

The other two are quintessential Edward: impressionistic, widescreen odysseys across lysergic terrain, but groove-forward where it counts. A pair of head-spinning explorations intended for the dancefloor, flush with shadowy flex, insectoid detail and tripped-out flourishes while keeping it funked-out in the tradition of Detroit.

The ‘Deep Sea Villain EP’ plumbs the depths of smudged abstraction, and as we’ve come to expect from Edward, it’s big on hallucinatory detail. It all oozes the multi-layered surrealism that typifies his best work. Proper transcendent biz.

Mike Shannon drops the ‘Off World Synthetics’ EP on Rekids. The Cynosure label boss follows up his ‘Shadow Moves’ EP on sister imprint RSPX on January 16th, 2026

Canadian DJ and producer Mike Shannon kicks off the year on Radio Slave’s Rekids with the ‘Off World Synthetics’ EP, landing 16th January 2026 and marking his first appearance on the label since 2023’s ‘Shadow Moves’ for sub-label RSPX. A long-standing force in Minimal and House with a discography stretching two decades, collaborations on Richie Hawtin’s Plus 8, and his own Cynosure and Haunt Recordings labels, Shannon has carved out a reputation as a respected staple in the booth and the studio.

Inspired by Alejandro Jodorowsky and Möbius’ INCAL graphic novels, Mike Shannon’s ‘Off World Synthetics’ EP opens with ‘Synthetic Salsateca’, where a static groove drives a playful, squelching synthline. ‘Back To The Hood’ follows with rattling, mechanical energy before the fl ip reveals ‘Off World Sparkle’, its wonky sequences bending around rubbery low-end. Closing cut ‘Only Noodles’ pushes deeper into warped clicks, scratches, and subtly shifting textures, rounding off an EP that’s raw, restrained, and devastating in the right hands and on the right system.

5 x LP
60-page hardback book
Black vinyl
Printed labels
Printed inners
Slipcase
A2 poster
Slipmat

Originally released in 1990 by Happy Mondays, Pills ‘n’ Thrills and Bellyaches captured the chaotic, euphoric spirit of the Madchester movement, blending indie rock, acid house rhythms and funk grooves into a sound that helped reshape British alternative music. Featuring era-defining tracks such as “Step On” and “Kinky Afro,” the record became both a commercial breakthrough and a cultural snapshot of a generation fuelled by dance culture and Northern nightlife.

More than three decades later, its grooves, attitude and genre-blurring production still resonate strongly with contemporary audiences, influencing modern indie and electronic artists alike.

5LP Edition. All original audio remastered from Factory Records master tapes. Includes original album, Hallelujah + Madchester Rave On, Baby Big Head Bootleg Album (Live at Elland Road, 1991), classic and new remixes, 60-page hardback book with brand new essays from James Brown and Central Station designers, fold-out A2 tour poster and Madchester slipmat.

Inaugural release of ambitious new label Mindfares, dedicated to the more nuanced, experimental edges of the electronic spectrum. Their first record is coming courtesy of Romania-based artist and performer Aburelius, taking listeners on a left of field, abstract yet nature bound trip that is as much immersive as it is emotional. With a rich, detailed sound that's borrowing and mutating from ambient, post rock, dub techno, and trip hop, the release shines on well-built systems both at home and in your favorite neighborhood hifi booth.

Once upon a time, a Romanian man named Bogdan crossed the mountains into Switzerland in search of something, though even he couldn’t quite name it. By chance, he settled near a young record store, Legram Vinyl Garden, where he stumbled upon exactly what he never knew he was missing.

Between long digs and countless unforgettable gatherings, the Bogdan sound began to take shape, growing into an almost untameable yet undeniably magnificent beast.

This EP gathers our favourite Bogdan tunes from a lost but never forgotten time, now preserved both in plastic and in our memories. A timeless collection of raw, flavourful creatures, each one alive in its own way.

2025 Repress

After a long hiatus, Eric Cloutier returns to his Palinoia label with three tribal techno groovers intentionally built to get the entire dancefloor moving.

Having grown up surrounded by the hardgroove sound, Eric latched on to the style and has regularly incorporated it into all his sets for the last few decades. Passionate about the style, and recognizing it being over-cooked and watered down as a current hype and trend, Cloutier felt the need to use his talents and knowledge of the history of the 90's tribal sound to refocus things in a manner only he could do.

This three-track EP - the first of two in the set - Perpetual Booty Grooves will do exactly what it says on the label and endlessly whip a room into a frenzy. All three cuts on this record end in perfectly locked grooves, allowing any DJ to keep the vibe going and never letting the audience exit their fugue state.

We want to honour the ONE & ONLY – mighty DJ FUNK !!
Rest In Peace !

Mit TechnoBase.FM Vol. 5 erscheint eine weitere Ausgabe der beliebten Compilation-Reihe auf Vinyl – ein Muss für Fans elektronischer Musik und Sammler hochwertiger DanceReleases. Die limitierte Pressung bringt den charakteristischen Sound von TechnoBase.FM direkt auf den Plattenteller und vereint aktuelle Club-Tracks mit zeitgemäßem HandsUp-, Dance- und Electro-Flair.

Ein echtes Highlight für alle, die elektronische Musik nicht nur hören, sondern erleben wollen – in bester Soundqualität und stilvollem Format

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!

The Berlin-Hamburg duo, Session Victim bring their celebrated Sidequests trilogy to a close with Chapter Three on Delusions Of Grandeur,

wrapping up the series in signature style—full of warmth, groove and left-of-center touches that remind us why their music has remained so enduring over nearly two decades.

And a remix from Ian Pooley to boot!

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.

During this summer’s European tour with Junior Dell & The D-Lites, we were honoured to share the stage at This Is Ska Festival in Germany with none other than The Pioneers.

After the show, fate had me driving Jackie and George back to the hotel. On the way, we got to reminiscing about our last collaboration — Jump Up!, released on Original Gravity Records in December 2023. Mid-conversation, Jackie casually said: “Hey Neil, I’m in England all of July, we could record something.”

I dropped the guys off, said goodnight, but as soon as my head hit the pillow, an idea sparked: wouldn’t it be cool to have them record Jackie Edwards’ northern soul classic I Feel So Bad — but reimagined in an early reggae style?

So in July, we set up a session at Farm Factory Studios in Welwyn Garden City. George and Jackie came down, and it was nothing short of magical to hear these legends harmonising together once again in the booth. The result captures that late-60s moment when soul and reggae collided on dancefloors, raw and full of energy.

To add another dimension, we also created a version as if it had traveled from Kingston to London. The “Boss” version imagines the raw Jamaican master — while the A-side reflects how Trojan Records might have “sweetened it up” with horns and strings for the UK pop market.

Two sides, one timeless tune — a tribute to both the grit and the gloss of reggae’s golden era.

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.

"A TRIBUTE TO T-1000" Lead off "Mashup" is absolutely essential mid-90s Boo Williams. Rediscovered on a lost DAT originally intended for Relief Records, unreleased and unheard until a few months. Boo Williams pays tribute to legend T-1000 with a techy heater on the B. Also features 2 dubs by Ricardo Miranda.

Forgotten Paradise is a new vinyl series from Western Lore, focussed on exploring the full breakbeat hardcore &
Jungle Tekno tempo range through a collection of 12” singles & EPs

After an under the radar, vinyl only bootleg 12” kicked off the series in 2024 (and flew out so rapidly on Bandcamp, none of the ltd run of copies made it to retail), L own, the producer behind the record returns to the series for the first of a two part long player showcasing the depths of his sound.

Deep, musical, textural & blissed out jungle tekno wizardry across a range of tempos.

Party time ! One Electro Hardstuff mix, one blues Brother's f**ked up bar thing, and one Drum & Bass american fat dancefloor time ! Wanted !

Personal Bootlegs to shake your booty

Based in the small but rather cool northern UK town of Todmorden, Tea Breaks is making a big name for itself, much like the local hotspot The Golden Lion, which has long been booking top-tier DJs and throwing proper good parties. Now the label delivers another standout release that collides legendary hip-hop with global rhythms. Opener 'Breathe & Stop' fuses Bollywood vocals with classic East Coast bars while 'Tea & Beer' drifts on woozy rhythms, world percussion and smooth female bars. 'Broad Nod Factor' brings golden-era goodness and sunny flutes, and 'Ms Fat Booty' closes with dark soul swagger that defined NYC in the mid-90s. These are, once more, four inventive mash-ups that bridge cultures and eras with effective style.
classic East Coast bars, 'Tea & Beer' has drunken rhythms and world percussion with silky female rap tones, 'Broad Nod Factor' rolls deep with a golden-era edge and sunny flutes and 'Ms Fat Booty' shuts down with dark soul swagger. Four great mash-ups.

This is the very limited marbled vinyl version of the repressed Lords of The Null Lines EP.

Here we have the beautifully remastered Foul Play and Foul Play ft Randall remixes of Lords Of The Null Lines. There is little to say about these definitive classics that has not already been said. You know ‘em, you love ‘em, they are essentials. However, the Danny Styles remixes are perhaps deserving of some explanation. There were created in the early 90s, and were cut, but quickly stopped by Moving Shadow as they were not really official remixes. A few test presses got out, and the result has been these remixes reaching a near mystical status in the passing decades, and the vinyl changing hands on discogs for absurd prices.
So it was with great pleasure that Hyper-On Experience and myself managed to broker a deal with Moving Shadow and Danny Styles to bring these amazing remixes to a legal and official release! It took over 25 years, but they can finally be bought...

The ALIENS ON MUSHROOMS/WAX crew come thru with 2 fresh reworks. NIKKI's "FTCU" gets a banging tech house treatment with extra jack added via rolling snares and toms. On the B-Side a BIGGIE classic gets twisted into a bouncy booty-shaking call out for the freaks.

BOO WILLIAMS dons his MOONMAN moniker to explore the outer limits of his sound. Title track "GET LOOSE" pushes the BPM way past BOOs typical speeds well into 130s techno territory. "LOS SERVICE" features a vocal sample that pushes it into spaced-out psychedelic afro house.

A fish dreams in a drum machine. Hidden Operator surfaces, soaked in fog and radio hiss. The fever escapes. Kontra-Musik and Kess Kill hold hands in a burning telephone booth--two labels dancing backwards through a mirror, cackling. This is a record made of riddles and ruin. Dub coughs in the corner. Proto techno slips on oil. UK hardcore gurgles something unspeakable before melting into a slo-mo house groove with a hangover. Lo-fi? No-fi. High-why. Slightly wrong but utterly intentional. Basslines stagger like drunks in a maze. Snares in existential crisis. Synths whispering conspiracy theories. This is an apparition. Half dungeon, half dancefloor, half pigeon coop. Understanding is colonialism. Twitch instead.? KONTRAKESS01. Carved in vinyl. Released into the ether. Confuse your neighbours. Alarm your pets. Send postcards from the inside.

Back in 1979, a new kind of superhero entered the Chicago music scene, '...Daryl Cameron somehow entered the phonebooth of his mind and emerged as Captain Sky.' His first album for LA based AVI record 'The Adventures of Captain Sky' was a smash hit and established Captain Sky as a serious Afro Funk artist right next to Detroit’s George Clinton and Bootsy Collins.The first song on the album, Moonchild was released as a very limited promo 12-inch and remixed by Chicago radio DJ Peter Lewicki. The result is a timeless cosmic disco tune that may be one of the best disco song ever made.

Interactions is a new vinyl imprint based in Mallorca, emerging from an event series dedicated to connection, collaboration, and the exchange of sound. What began as intimate gatherings with handpicked artists now evolves into a label, extending its ethos from the booth to the studio. With a focus on minimal house aesthetics and a detailed approach, Interactions aims to highlight the subtle edges of groove-driven electronic music through artist exchange and collaboration.

The debut release comes from Veruh, an artist whose refined productions strike a balance between rhythmic detail and emotional restraint. The EP’s title track, Eurivor, is an atmospheric roller built on intricate FX and fleeting vocal snippets — minimal but with character, playful yet anchored by a persistent groove made for the club.

On the remix front, Sepp delivers a peak-time tech-house rework. A defining force in the minimal-tech scene, his version is a tight, rolling burner packed with late-night tension and summer-floor energy.

The B-side shifts into broken-beat territory: Abil Revis & Olab bring emotion to the surface, pushing the vocals forward in a remix made for after-hours sessions, where subtlety, mood, and movement take over. Finally, For·at craft a stomping reinterpretation — minimalist yet forceful, teeming with fractured rhythms and deep pressure.

Eurivor marks a confident first step for Interactions — a label grounded in collaboration, rooted in minimalism, and dedicated to the quiet magic that happens when artists connect.

Second album by influential British hard rock band Black Sabbath, originally released in 1970, containing some of the band’s most famous tracks such as War Pigs, Iron Man and the title track.

Issued in October 2014, debuting at number two on the UK Album Chart and at number five on
the Billboard 200 in the US, where it also became his second chart topper on the Dance/Electronic
Albums chart, Motion is Harris’ 4th studio album and a platinum-seller in the UK.
Packed with EDM crowd-pleasers as well as an impressive range of guest vocalists, including Hurts,
Haim, Gwen Stefani, John Newman and Ellie Goulding, it has been available on vinyl only once
before, a Record Store Day exclusive in 2015.
As Entertainment Weekly noted, “The best tracks on Motion…focus more on high-caliber vocals
than on booty-blasting low end... he's taking his chances with the most unpredictable technology
of all: the human voice."

Tea Breaks is based in Todmorden in the north of the UK. Although it's a small market town, it's well known for its pub, The Golden Lion, and the quality DJ bookings it gets. The label is proving just as good with yet another great collision of legendary hip-hop sounds and global beats. 'Breathe & Stop' has Bollywood vocals and classic East Coast bars, 'Tea & Beer' has drunken rhythms and world percussion with silky female rap tones, 'Broad Nod Factor' rolls deep with a golden-era edge and sunny flutes and 'Ms Fat Booty' shuts down with dark soul swagger. Four great mash-ups.

Mexican magic man Iñigo Vontier returns with another stroke of high NRG-nius on ACID COWBOY.

Put on your pointy boots & strap on your stetson: this stripped-down hip-spurring mix of meme-ready themes might be the dance hit of the summer.

Fresh off releases for Optimo & Crosstown Rebels, Iñigo has been smashing his ‘Calypso Cult’ parties around the world with a hypnotic blend of tribal house, acid techno, and playful eccentricity. This release encapsulates this special brand of mischief into a super-potent 12 inch coming this summer on Multi Culti World Records.

Drawn from years of early-hour sets and the quiet intimacy of the booth before the room fills, Gimme The Sun marks the debut EP of Al-Veez (real name Alvise Marino). A seasoned guitarist raised in Italy with musical roots in funk, boogie, and blues, Marino’s release is a sonic travelogue of his formative years as a selector in a city, NYC, that quietly became home. The prominent guitar captures both the ache of departure and the bright, restless hope of return.


With a wistful blend of beachy, meandering textures, lush synth layers, and a hypnotic pulse, the EP lands in time for another steamy summer in the city—sure to strike a chord with longtime NYC house heads, whether they be behind the booth or lost in the crowd. Arranged in close collaboration with TSoNYC label boss Danilo Braca (also on mixing and mastering duties), theshimmering title track reads like a Dear John letter to New York. Tender, honest, and full of gratitude, it’s the kind of farewell only a true love could inspire—one that dances forward even as it looks back.

As the record warms up, “F Train Boogie” evokes snapshots of bright midsummer mornings gazing out a scratch-blurred train car window at the glistening city, while the track that follows, “Sneaky”, sizzles with cosmic allure—an intoxicating blend of luminous synths, tightly interlaced rhythms, and a commanding kick drum that locks the listener into an entrancing groove from the very first bar. “Underwater”, the fourth and final track, shares some of the same allure and mystery, but features a playful optimism, encouraging the listener to lean into curiosity of what the next chapter, night, or DJ set will hold. 


2025 Repress

Bite the Day is a new Idjut Boys label imprint. We do an occasional London Party of the same name.....the concept is that there isn't one, musical anythingness and more often than not intending to involve collaborative collision with a hitlist of audio gymnasts whose talents can mask our lack of
said talent.

From the vaults of Idjut time past, Dominican Dolla Man delivered a lyric we thought boots some cold reality into today. The mighty Emperor Machine man was called upon to deliver his ministry of musical justice take. If you can figure out the words they are better than your average Christmas
rap song.

Australia’s Winston Surfshirt shares his fourth studio album, WINSTON, on Sweat It Out. The semi self-titled record is complete with 11-tracks of doting adoration and tidbits of love told through the playful, unique sonic fusions that Winston does so well. Seamlessly sliding between smooth R&B tones and hip hop inflections to juiced up disco-house, WINSTON delivers an homage to his foundational sound while refining a new chapter in territory untouched. As the name suggests - this record is Winston to its core, more than ever before.

Full Disco House bootleg.

Massive disco boogie from the man with the plan DAVE MAZE. Volume two of the "DISCO YAMS" series drops 4 upbeat, booty shakin' groovers re-edited and tweaked for your clubbing pleasure. Untitled to keep the crate diggers guessing... Limited heavyweight colored vinyl. Paper sleeves.

The title says it all - A Cellarful Of Motown! ..A Northern Soul Love Affair.

West Grand has been set up to mine the deep vaults of mighty Motown courtesy of a licence deal with Universal Music.

The first West Grand LP fuses two musical religions, Motown and Northern Soul.

In some ways they are unlikely bedfellows. Motown became known as Hitsville by churning out hit after hit, while Northern Soul passion is fired by a constant search for the unknown and the obscure.
The 16 tracks here - on incredibly the first Motown various artists vinyl album released worldwide for 40 years - join the dots. All of them were recorded in the 1960s. None of them were released at the time, despite being prime examples of the sublime magic conjured up by Berry Gordy’s genius-like team of singers, writers, producers, arrangers and musicians at that tiny little snakepit of a recording studio on West Grand Boulevard in Detroit.

Motown authority Adam White’s album sleeve notes confirm just how productive that studio was. It often ran 24 hours a day, 7 days a week.
As a result, lots of the most sublime music ever made was somehow rejected for release. It would have stayed unknown and unloved in tape boxes if it had not been for detective work by Soul aficionados turned detectives. That’s Northern Soul power. Many were DJs and collectors tracking down cassette copies or acetates (some of them found in rubbish skips and about to be destroyed). Others, notably Paul Nixon, the founder of the CD series A Cellarful Of Motown! which inspired this album, badgered the Motown gatekeepers so much they were eventually granted access to the forbidden kingdom.

Over recent years all the tracks contained here have been released—some bootlegged, some on legitimate seven-inch issues, some on CD, one download-only. The album proudly boasts debut vinyl release for some in the collection. All have been remastered and have never sounded better.

As a homage to Motown music makers + Rare Soul fanaticism, WEST GRAND believe we have come up with a classic.