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2015 Vinyl reissue incl CD - LIMIÑANAS 4 existing albums re released - FIRST TIME ON LP+CD package!

Hot Detroit Techno from the one and only.... O B Ignitt. Brand new label from this killer producer. Too much!

After two years of consistently pushing cutting edge fresh talent on CD as well as in tandem with a series of well-received free digital releases (all still available at (absysrec) Absys Records are proud to present our very first vinyl release. Mastered to crisp perfection by LXC, this three-track vinyl continues to mine the deep, cutting edge atmospheric vein with an Eastern European twist that people have come to expect from us as a label, and with all the variety that has characterised our various CD compilation releases over the years.

New super-groovy one-off pressing purple double-vinyl very limited edition of Miami Sound 2 housed in gatefold sleeve, complete with two full-colour inner sleeves containing extensive text and exclusive photography from TK Records in-house photographer Larry Warmoth. Soul Jazz Records’ Miami Sound 2 is a superlative collection of 70s soul, funk, disco and boogie featuring tracks from legendary artists such as Betty Wright, Timmy Thomas, Gwen McRae, Milton Wright, T-Connection and many more, all released on the mighty TK Records musical empire based in Miami, Florida.

Throughout the 1970s founder Henry Stone’s TK Records rose up to be one of the most important forces in black music, successfully pioneering the evolution in musical fashions from the early gritty funk and soul at the start of the decade to the arrival of disco in the mid-70s. This album is a rollercoaster journey across soul, funk, disco and boogie, a party-rocking dancefloor-filling collection of monster tracks that includes million-selling hits such as Betty Wright’s classic ‘Clean Up Woman’, Timmy Thomas’s ‘Why Can’t We Live Together’, T-Connection’s ‘Do What You Wanna Do’, anthemic rare groove club hits including Gwen McCrae’s massive ‘All This Love I’m Giving’ and Milton Wright’s ‘Keep It Up’, plus a host of hard-to-find gems and rarities from the likes of Raw Soul Express, Chocolate Clay, Beginning of the End, Robert Moore, Clarence Reid, Little Beaver, Paulette Reeves and many more. TK Records functioned more like a close-knit family than a typical record company. Based in the industrial Hialeah district of Miami, music man Henry Stone surrounded himself with a host of creative artists, musicians, songwriters and producers who created an immediately identifiable TK sound as well as making musical stars out of many of its artists

We asked Velvet Velour for an album you can listen to while cooking dinner; maximising the available time on a 12” record. He reached for the sky and pulled down a generous serving of clouds. Downtempo on the A-side, house on the B-side.

In 2000, after almost two decades of hibernation under the ambient waves and dub currents of the Sargasso Sea, LSD revived the seminal ‘Auntie Aubrey's' series, an Orb Remix Project. Released as a 2 x CD compilation, Part 3 is a veritable smorgasbord of classic, new and unreleased labour-of love remixes that span three decades yet still transcend space and time.

Many influential artists have been involved with The Orb since the beginning, and the project keeps evolving and adapting. Dr. Alex Paterson, the gravitation centre of the Orb is known for his playfully subversive remixes and true to form this album highlights the diversity of his musical mind.

We see the good doctor remix the melancholy and evocative “The Last Lighthouse Keeper” from The Transit Kings, an early British electronic music group that included Jimmy Cauty of The KLF, one of the original members of The Orb. The remix of ‘Davy Jones’ Locker’ from System 7 takes you surfing on a sun-dappled sea of ambient dance nostalgia, while Killing Jokes’ ‘European Super State’ remix (in which LSD label founder Martin ‘Youth’ Glover plays bass guitar) sounds like the soundtrack for an imaginary spy thriller with the powerful lyrics and hypnotizing voice of Jaz Summers.
Legendary producer Youth teams up with Lx yet again on a psychedelic rocker with spellcasting vocals by Lara Smiles, and this is just the beginning! Boasting an all-star lineup, the compilation includes many of our scenes most esteemed electronic music producers such as Coldcut, David Harrow, Sendelica and Gaudi as well as the ambient blissed out vibes from the enigmatic DF Tram, Duende India Collective and The Gyuto Monks of Tibet, this collection offers up such the variety to appease even the most dedicated Orbsessives and music connoisseurs

Creole Culture is the triumphant return of Dawn Richard’s King Creole era. Steeped in history but with its flag planted firmly in the future, Creole Culture pulls elements from Richard’s heritage as a Black and Native American woman who has spent a lifetime making and engaging with music. Following New Breed (2019) and Second Line (2021), Creole Culture is akin to a panel of a triptych: a fully-realized sonic and narrative universe in which Richard, as King Creole, rebuilds her hometown of New Orleans in her image. She not only honors her city for what it was or what it gave her, but stakes a claim for it as a cradle of global culture now and for all time.


Creole Culture follows two acclaimed avant-garde R&B albums with composer Spencer Zahn — the later of which, 2024’s Quiet in a World Full of Noise, found Richard exorcising the specters of grief and trauma in the wake of her father Frank Richard’s health struggles and the killing of her cousin Cisco. It is a softer take on the brass-soaked swagger of Richard’s previous King Creole efforts, an evolution brought about when she realized she had left a crucial viewpoint out of her exploration of New Orleans: her own. “New Breed was the story of New Orleans through my father’s eyes,” Richard explains. “I used his samples, his music, his cultures, his work with Chocolate Milk, his side of the family. Second Line was my mom — her interludes riddled the album with her depiction of what is meant to be a Creole woman in New Orleans. The masculine and feminine sides of King Creole had expressed themselves through them, but the story felt unfinished, like my version of the story was untold.”
That story is, for lack of a better word, complex: at turns triumphant and tragic, sexy and mournful, braggadocious and contemplative. Creole Culture presents Richard’s New Orleans as a utopian soundscape — an intoxicating blend of R&B, soul, hip-hop, pop, and jazz — that’s survived and thrived despite the dystopian circumstances visited upon it. Richard presents the melange of influence and artifact on Creole Culture with the care of a botanist nurturing new hybrids in a rose garden.


What emerges from that care is at once delightful and unexpected, enlisting a crew of guest stars including Big Freedia, Anjelika “Jelly” Joseph, Tarriona “Tank” Ball, and Durand Bernarr for features that play against type. Tank’s turn at spoken word verse on “l v r” serves to add dimension to King Creole’s New Orleans, as does Joseph’s undeniable voice on “chuuuurch.” “I’m not normally a features girl,” says Richard, ”but King Creole can’t build a world from scratch without help. What’s beautiful about the features here — which is also true of my band and producers — is they come from people who understand the materials of the world they’re from, they’re people I love, and they’re people who are just extraordinary at what they do. They’re part of the atmosphere of this place. You need them for the record to breathe.”
In the end, that’s what King Creole creates: a space where Dawn Richard can breathe, can be at peace with herself, and let loose with others. From finding love in opening single “enough” to relishing in the Afrocaribbean futurism of “fiesta,” Creole Culture is a tremendous, freeing breath of fresh air. It captures the resolve of a woman and a place who’ve survived the unimaginable and sees the future not as something to be endured, but as something to be created. Dawn Richard has been making that future one album at a time over the course of her career. Creole Culture is her most stunning one yet.

Creole Culture is the triumphant return of Dawn Richard’s King Creole era. Steeped in history but with its flag planted firmly in the future, Creole Culture pulls elements from Richard’s heritage as a Black and Native American woman who has spent a lifetime making and engaging with music. Following New Breed (2019) and Second Line (2021), Creole Culture is akin to a panel of a triptych: a fully-realized sonic and narrative universe in which Richard, as King Creole, rebuilds her hometown of New Orleans in her image. She not only honors her city for what it was or what it gave her, but stakes a claim for it as a cradle of global culture now and for all time.


Creole Culture follows two acclaimed avant-garde R&B albums with composer Spencer Zahn — the later of which, 2024’s Quiet in a World Full of Noise, found Richard exorcising the specters of grief and trauma in the wake of her father Frank Richard’s health struggles and the killing of her cousin Cisco. It is a softer take on the brass-soaked swagger of Richard’s previous King Creole efforts, an evolution brought about when she realized she had left a crucial viewpoint out of her exploration of New Orleans: her own. “New Breed was the story of New Orleans through my father’s eyes,” Richard explains. “I used his samples, his music, his cultures, his work with Chocolate Milk, his side of the family. Second Line was my mom — her interludes riddled the album with her depiction of what is meant to be a Creole woman in New Orleans. The masculine and feminine sides of King Creole had expressed themselves through them, but the story felt unfinished, like my version of the story was untold.”
That story is, for lack of a better word, complex: at turns triumphant and tragic, sexy and mournful, braggadocious and contemplative. Creole Culture presents Richard’s New Orleans as a utopian soundscape — an intoxicating blend of R&B, soul, hip-hop, pop, and jazz — that’s survived and thrived despite the dystopian circumstances visited upon it. Richard presents the melange of influence and artifact on Creole Culture with the care of a botanist nurturing new hybrids in a rose garden.


What emerges from that care is at once delightful and unexpected, enlisting a crew of guest stars including Big Freedia, Anjelika “Jelly” Joseph, Tarriona “Tank” Ball, and Durand Bernarr for features that play against type. Tank’s turn at spoken word verse on “l v r” serves to add dimension to King Creole’s New Orleans, as does Joseph’s undeniable voice on “chuuuurch.” “I’m not normally a features girl,” says Richard, ”but King Creole can’t build a world from scratch without help. What’s beautiful about the features here — which is also true of my band and producers — is they come from people who understand the materials of the world they’re from, they’re people I love, and they’re people who are just extraordinary at what they do. They’re part of the atmosphere of this place. You need them for the record to breathe.”
In the end, that’s what King Creole creates: a space where Dawn Richard can breathe, can be at peace with herself, and let loose with others. From finding love in opening single “enough” to relishing in the Afrocaribbean futurism of “fiesta,” Creole Culture is a tremendous, freeing breath of fresh air. It captures the resolve of a woman and a place who’ve survived the unimaginable and sees the future not as something to be endured, but as something to be created. Dawn Richard has been making that future one album at a time over the course of her career. Creole Culture is her most stunning one yet.

You know the pattern: someone calls their album "Balearic," and you immediately expect chill-out terraces, pan-flute samples, and the umpteenth return of the Café del Mar sunset. Devi G. refuses this reflex almost maliciously. The title is a trick—an invitation to disappointment for those hoping for postcard exoticism. What is actually being negotiated here is erosion, but that of the body itself: the abrasion one inflicts upon oneself in the excess of the night, when partying turns into wear and tear, and a rush becomes a graze that only becomes visible in the morning. No backdrop, then, but a wound one has voluntarily acquired.

Instead of the usual Ibiza xylophones, Devi G. digs into the rift between idyll and wear. The result reads like a séance—less José Padilla, more as if Kevin Martin had re-recorded a Manuel Göttsching record on a dying four-track deck. The target area lies somewhere between the waterlogged ambient sketches of Huerco S. and the faded dub-afterglow of Actress, but Devi G. remains consistently on his own, grainier frequency.

Balearic Abrasions (title track) opens without haste, demanding almost without impatience: no motif, no rhythmic handhold, just a slowly tilting balance between warm texture and rough surface. The grain never feels forced—it is not a lo-fi costume, but an integral part of the statics themselves. Where other ambient producers strive for perfection, Devi G. consciously seeks the breaking point. Rhythm remains a tool, never an ambition. Those expecting quick resolution will be disappointed; those willing to listen will receive a depth effect that is rarely this vivid.

Exit Through Thee Gift Shop tips into harder territory: dub-techno reduction meets industrial edge, carried by a stoic kick drum that knows no mercy. Metallic textures slice through the sub-bass, while repetitive chords hypnotize like a defective loop. Central to this is a rare Terence McKenna recording, which functions less as spoken-word ornamentation and more as a disruptive spirit between memory and media archaeology. The title—Banksy reference included—turns this into a biting punchline: radical electronic abstraction positioned against the hyper-commercialized art world.

Morning Depth pushes the claustrophobia further, somewhere between post-industrial and deep-sea dub. The track refuses any peak-time logic, preferring to disintegrate into itself, subcutaneously, methodically. At the end, a casual, almost banal vocal sample (“i defiantly prefer chocolate”) breaks into the cool machinery—a small, profane fissure that makes the coldness of the rest of the piece all the more apparent.

Desiré Algorithmic is the album's most calculated moment: a stoic, repetitive bassline as a foundation, topped with fragile melody fragments that flash like glitches in faulty code. The title reads like a promise from nightlife—a figure that suggests much and delivers nothing, because behind the façade there is simply nothing, only simulation. The track carries exactly this principle: promise without substance, desire without body, just rendering. Only in the final third does a melancholic saxophone break into the sterile structure—organic, imperfect, and for that very reason more credible than everything before it. It is the moment in which the real briefly flashes through the surface of the dummy before it closes again.

All-inclusive Residue concludes the album as sedimentation rather than dramaturgy: dub-techno remnants, industrial patina, salty ambient surfaces that settle rather than compose. The refusal of consumption as a sonic principle—brittle, stubborn, with a gravity that lingers long after.

Verdict: Balearic Abrasions is not easy listening with a sea view, but an exercise in patience and friction. The restraint with which Devi G. avoids climaxes will frustrate some—for everyone else, that is exactly where the record's strength lies. No sunset. Rather, what remains on the rocks afterward.

Since its inception, Isness has developed its own identity alongside Analogical Force, focusing on atmospheric and introspective electronics. For its third release, the label welcomes Kid Bucle, the new alias of Ibrah PM, formerly known as Malsum within the d&b scene. Memorabilia marks both his debut on the label and the beginning of a new creative chapter. Across six interconnected tracks, the Memorabilia EP explores memory, landscape and emotion through fluid compositions and richly detailed sound design. Echoes of labels such as Merck or Chocolate Industries can be felt throughout, alongside traces of classic IDM, yet the result remains fresh and distinctly contemporary. Rather than seeking immediate impact, the EP rewards attentive listening, gradually revealing new layers with every return. Deeply immersive and emotionally resonant, Memorabilia further reinforces Isness as a platform where atmosphere, narrative and emotional depth take center stage.

Following the passing of our dear friend DJ Romain earlier this year, we've spent a long time reflecting on when to share some of the new music he entrusted to Hard Times Records. The incredible response to 2024’s 'The Lost D.A.T.S.' EPs reignited Romain's creative spark at a time when, unbeknownst to many, he was quietly battling serious ill health. After relocating from his beloved New Jersey to Cleveland, the studio once again became his sanctuary, inspiring a remarkable new chapter of music. The 'New Jersey' and ‘Cleveland’ EPs were the first recordings from that period.

Funky Streets completes the first trio of new EPs, but it is also just a glimpse of the wealth of music Romain crafted before his passing. His final studio sessions became an escape from his daily battles, inspiring a remarkable outpouring of new material that he was determined to finish, knowing his beats would continue to warm dancefloors and further cement the legacy of one of house music's true masters.

Opening with the horn-driven swagger of the title track, the EP moves seamlessly into the soulful groove of 'I Like To Boogie' before culminating in the deep, organ-led dancefloor energy of 'This Is Where I Wanna Be’. Romain signs off with 'The Chocolates’ - an uplifting, guitar-laced boogie jam filled with warmth, joy and unmistakable soul.

Beautifully crafted from beginning to end, Funky Streets stands as a lasting testament to DJ Romain's extraordinary talent, timeless musicality, and enduring contribution to House music. His legacy lives on in every groove.

Long considered a "Holy Grail" of Latin vinyl, The Booga Mambo Beat (1967) by Steve Hernández y Su Orquesta Latinoamericana returns.

This LP has puzzled collectors for decades: who was Steve Hernández, the shadowy figure behind this powerful orchestra including top Puerto Rican and New York musicians?

Arranged by Ray Santos and featuring vocalist Vitín Avilés, the album delivers a unique mix of mambo, boogaloo, descarga, proto-salsa and 1950s big-band swing. A rare bridge between the Palladium sound and the emerging salsa era. Originally self-released and barely promoted, the record became a cult favorite among DJs and collectors.

Sourced directly from the original master tapes, discovered in outstanding condition, this edition is pressed on 180-gram vinyl and includes extensive liner notes by Pablo E. Yglesias (DJ Bongohead).and a digital download code.


A must-have archival release for collectors, DJs, and anyone fascinated by the hidden corners of Latin music history.

“Heldeep Records celebrates a decade of dancefloor dominance with its first-ever vinyl release: Best of 10 Years. This exclusive double-sided collector’s edition brings some of the label’s most iconic tracks to wax for the very first time — from HI-LO’s Renegade Mastah, Oliver Heldens & Lenno’s This Groove and PBH & JACK’s Lose CTRL to MOGUAI & Kai Tracid’s DT64 and James Hype’s Say Yeah. A landmark release capturing ten years of Heldeep history, energy, and evolution. This is a must-have piece for every Heldeep Records fan.”





e B2 - Vato Gonzalez - Bump & Grind (Bassline Riddim) feat. Scrufizzer

An album like a film, a childhood like a journey.



With Rêves, Senbeï unveils the most intimate and ambitious work of his career. Known for his unique blend of electronic music, hip-hop, and Asian sounds, the beatmaker reinvents himself here in an orchestral and cinematic universe, a far cry from his previous albums.


Inspired by the great soundtracks of children's adventure films—The Goonies, The Neverending Story, Charlie and the Chocolate Factory—Rêves is a sonic immersion where childhood nostalgia meets the emotional power of an orchestra.



A unique symphonic production.



For the first time, Senbeï has called upon a 15-piece orchestra, recorded in conditions close to those of film music. Strings, wind instruments, and electronic textures echo each other to create a rich, evocative universe, filled with luminous melodies and magical tension. This album is not just a collection of tracks: it is an adventure to be listened to like reading a story or watching a film.

Craving wild trips and faraway skies? This record is like a fancy piece of chocolate for your ears — pure endorphin rush! Snack on it anytime and get a front-row seat to a sea of dreamy mist. It’s bursting with colors, waves, and epic getaways. Think sunset vibes turned into sound. Big shoutout to the magic mushroom squad and all the amazing talents on this EP!

Daryl Systems: The Wall Street Investor Turned Synth Maestro_
Daryl Systems, a former Wall Street stockbroker, found his true calling in music after a successful career in finance. Born and raised in the heart of New York City, Daryl made his fortune in the high-stakes world of stocks during the booming 90s. By the mid-90s, he had amassed significant wealth, allowing him to retire early and turn his attention to his lifelong passion: music.
Daryl relocated to Sweden, a country known for its rich history of electronic music, and began amassing a vast collection of vintage synthesizers. Inspired by the analog sounds of 70s and 80s synth music, Daryl became deeply immersed in the world of electronic production, creating lush, nostalgic melodies with a modern edge. His music blends the warmth of classic synths with innovative soundscapes, capturing a sense of retro-futurism.
Daryl's work is rooted in the tradition of vintage synth music, drawing influences from early electronic pioneers, while adding his own contemporary twist. He quickly gained a reputation within the underground scene for his impeccable taste in synthesizers and his ability to weave intricate, atmospheric tracks. His unique background and sound have made him a sought-after producer within the global electronic music community.

Mr. Fantasy: The Latin Italo Lover and Synth Collector
Mr. Fantasy is a true embodiment of the Italo disco movement, with a deep love for the genre and a keen passion for synthesizers. Hailing from Latin origins, Mr. Fantasy’s music is a vibrant tribute to the golden era of 80s Italo disco, blending nostalgic melodies with rich, rhythmic layers. With a particular obsession for collecting vintage synthesizers, Mr. Fantasy's music brings the analog warmth of the past into the present, creating a captivating blend of melodic hooks and captivating synths.
He grew up listening to the Italo disco classics, developing a fascination for the genre's distinctive sound, which he now incorporates into his music. Mr. Fantasy’s tracks are filled with pulsating beats, dreamy synths, and smooth basslines, all influenced by the golden age of Italian disco and electronic music.
His passion for synthesizers is matched only by his dedication to creating the perfect track. By blending his Latin roots with the shimmering sounds of Italo disco and the energy of modern electronic dance music, Mr. Fantasy has carved a niche for himself in the underground electronic scene.

The Collaboration: "Sensazione Elettronica" EP
In a highly anticipated collaboration, Daryl Systems and Mr. Fantasy have teamed up to release a new EP for the Italian record label Maledetta Discoteca. This collaboration brings together their shared love for vintage synthesizers, the Italo disco influence, and a passion for deep, atmospheric electronics.
Sensazione Elettronica features four electrifying tracks that blend retro vibes with fresh, forward-thinking production. Drawing from their unique backgrounds—Daryl's transition from the world of finance to full-time music production, and Mr. Fantasy’s deep connection to Italo disco—they have created a sound that is both nostalgic and innovative.
The EP showcases their mastery of classic synthesizers, with catchy melodies, driving basslines, and smooth, atmospheric textures that transport listeners to a world of neon-lit discos and timeless electronic rhythms. It’s an exhilarating project that marks the beginning of an exciting new chapter in both of their musical journeys.

To coincide with its 20th anniversary, Clint Mansell's haunting score to Darren Aronofsky's 2000 film, Requiem for a Dream, performed by Kronos Quartet, returns to vinyl. This was Mansell’s second of several collaborations with Aronofsky, following 1997’s π, and features arrangements by David Lang of Bang on a Can. The film stars Academy Award-winner Ellen Burstyn, Jared Leto, Jennifer Connelly and Marlon Wayans, and was adapted from the 1978 novel by Hubert Selby, Jr. (Last Exit to Brooklyn), who also wrote the screenplay with Aronofsky. Set on the rusted mean streets of Coney Island, Brooklyn, Requiem for a Dream tells the parallel stories of four people pursuing their dreams of better lives. The reissue features the original soundtrack, plus two bonus tracks.

Clint Mansell, a musician, composer, and founding member of the band Pop Will Eat Itself, first worked with Darren Aronofsky on the score for his 1998 film π. Also released by Nonesuch are Mansell’s scores for Aronofsky's The Fountain (2006), nominated for a Golden Globe, and Noah (2014). His other scores include The Wrestler (2008), Moon (2009), Black Swan (2010), Filth (2013), Stoker (2013), High Rise (2016), for which he received an Ivor Novello nomination, and Loving Vincent (2017).

For more than 40 years, San Francisco’s Kronos Quartet – David Harrington (violin), John Sherba (violin), Hank Dutt (viola), and Sunny Yang (cello) – has combined a spirit of fearless exploration with a commitment to continually re-imagining the string quartet experience. In the process, Kronos has become one of the world’s most celebrated and influential ensembles, performing thousands of concerts, releasing more than 50 recordings, collaborating with many of the world’s most eclectic composers and performers, and commissioning over 850 works and arrangements for string quartet. A Grammy winner, Kronos is also the only recipient of both the Polar Music Prize and the Avery Fisher Prize. Most recently, in 2019, Nonesuch released Kronos’s ground-breaking collaboration with composer Terry Riley, Sun Rings, and, in 2017, Folk Songs, featuring Sam Amidon, Olivia Chaney, Rhiannon Giddens and Natalie Merchant.

Here at Mr Bongo we have been inundated with people asking us to reissue this release. Ana Frango Elétrico's petit cult classic masterpiece 'Little Electric Chicken Heart' from 2019, which was only ever released on vinyl and CD in Brazil and Japan, has fast become a collector's item.

Well received by fans, DJs, and reviewers on release, The Needle Drop expressed "Ana Frango Elétrico's authentically vintage fusion of chamber pop, rock, samba and jazz is a real blast!" listing it as one of its Top 50 Albums of 2019. The album's reputation has been slowly building ever since, gaining a Latin Grammy nomination in 2020, and now solidly cementing itself as a gem of contemporary Brazilian music.

Across the albums nine tracks, Ana blends elements and influences from MPB, Tropicália, indie rock, punk and pop, forging them together with a sumptuous dose of her signature style. The finesse of 'Saudade' kicks off the LP, one of Ana's most known tracks to a non-Brazilian audience. A sublime opener, beginning with a spellbinding piano solo before transcending into a beautiful dream-laden slice of warmth, complete with luscious jazzy horns and deft vocal delivery. ‘Promessa e previsões’ follows, the only track on the album not to be written by Ana, instead being penned by Chico França. It’s a swelling and sweeping twilight groover, building and breaking across absorbing peaks.

Other highlights on the album include the anthemic 'Chocolate', which was a firm favourite with a packed sing-along crowd when we heard Ana perform it live. Elsewhere, 'Se No Cinema' hits with its quirky allure, charm and catchy melodies before transforming into a carnival spirit.

Tapping into the richness of Brazil’s new wave of musical energy, the album also includes a heavyweight lineup of collaborations with artists such as Dora Morelenbaum (Bala Desejo), Tim Bernardes, Antonio Neves and Guilherme Lirio to name but a few.

A short, sweet and refreshing record, that leaves nothing to waste, marrying playful ideas with poignant themes. 'Little Electric Chicken Heart' is a future classic and will beguile fans of ‘70s Brazilian recordings, Gal Costa, Mac DeMarco, Stereolab, Superorganism, Caetano Veloso and more.

Soul, funk, jazz, Brazilian, Latin music... P-VINE's Groove-Diggers series has unearthed quality records that transcend genres, nationalities and ages since the series was launched in 2006. Now, we have decided to release a compilation album containing a selection of great sound sources from our vast collection. It is no exaggeration to say that this compilation, which includes a wide selection of previously overlooked finds and popular tracks that everyone has probably heard at least once, would not have been possible without the Groove Diggers team.

Entdecken Sie zum ersten Mal auf Vinyl, das 4. Album der großartigen Crew von Yellow Productions: Africanism All Stars. Unter der Leitung von Bob Sinclar und mit dJ Spen, Federico Scavo, Roger Sanchez, Eddie Amador, Bt&Baker, Martin Solveig, DJ Gregory...

2024 Repress

Following the Recent Dip Into the Theo Parrish Archives That Was the Twin Cities, Phil Weeks' Robsoul Imprint Looks to Another One of Detroit's Adopted Sons in the Form of Rick Wade. Like That Recent Parrish Reissue, Weeks Re-Releases Another Three Tracks From Wade's Bulging Discography. the Upbeat Disco Loops of "Players Theme" Was Originally Released on French Label Funky Chocolate in 2002 and Still Sound Fresher Than Anything Being Plied by the Soundcloud Dwellers Today, While "Can't You See" From 2003 Provides a More Soulful Take on House Music. on the Flip, the Tracky Funk and Cascading String Melodies of "I Feel Good" Originally Graced Wade's Own Harmonie Park Imprint in 1998, but Sound No Less Vital Today. Essential....

Two little ducks, it's 22! You asked so we have delivered, with this mind and groin boggling 12''. Kicking things off with some monsterous uptempo garage courtesy of Grant Nelson’s Remix of Dave & Omar 'Starlight'. Next up is a forthcoming DJ Fudge production ‘Everything' by Chocolate Fudge Band, featuring lots of live instrumentation and a Curtis Mayfield style vocal.

Flip it over for Dave’s super soulful 4/4 workout of 'Look at the Stars' featuring Maurissa Rose and the brand new Opolopo - 'Looking For You', a deep and bouncy cut filled with soulful Motown vocal chops and an Organ workout worthy of any Sunday service. Take your trousers off, lie back and enjoy.

In the mid-70s, Bob Shad’s cult New York Jazz label Mainstream Records turned to the burgeoning underground Disco scene and released a handful of great singles produced by the likes of Tommy Stewart, Jimmy Roach or Bert DeCoteaux. Featuring artists from the early Disco hotbed including South Side Coalition, Chocolate Syrup and Three Ounces of Love, these singles, proving Shad's great flair, accompanied the rise of the New York club and block party culture that was going to revolutionise the musical landscape a few years later. Most of the singles are officially reissued here on vinyl for the first time, with Three Ounces of Love's "Disco Man" full mix previously unissued on vinyl. Remastered by Colorsound Studio in Paris, with liner notes by Charles Waring and artwork by Thomas C. Bradley

Funk and Soul in the early 70s were mutating to a new sound spearheaded by such labels as Philadelphia International Records (PIR), Scepter and Salsoul: Early Disco was taking off and Its sound was earthier and more urban, mixing the nascent Disco beat with strong funk and soul elements. New York was at the epicentre of the phenomenon, thanks to its thriving club scene and also to a new wave of DJs from the Bronx who started playing the music at block parties along with James Brown and Mandrill. bubbling under was a cohort of small independent labels that released some great music on 7" singles to meet the growing demand. Industry veteran Bob Shad and his label Mainstream Records started investigating this new scene and asked his circle of independent producers to bring him their latest production for release. For the occasion, he set up two sub labels, IX Chains and Brown Dog.

Among the producers who'd heard Shad's call were Tommy Stewart who came up with The South Side Coalition's funky '(Don't You Wanna) Get Down Get Down' in 1975 and Prophecy's 'What Ever's Your Sign' a year later. Seasoned arranger/producer Bert DeCoteaux (Patti Austin, Maxine Brown, The Main Ingredient) brought Lenny Welch's soulful 'A Hundred Pounds of Pain' and the superb mid-tempo instrumental 'Nothing Between Us' by The Electric Ladies. Arranger Jimmy Roach came with his latest single with The Dramatics ('No Rebate on Love') whom he'd worked with at Volt and with Three Ounces of Love on their aptly titled single 'Disco Man,' whose unissued long version merging Side 1 and 2 is released here on vinyl for the first time. The sister group would go on to sign with Motown in 1978 and release their sole album self-titled 'Three Ounces of Love.'

​Other highlights on 'Mainstream Disco Funk' include The Grand Jury's 'Music is Fun To Me' with its languid funky rhythm arranged by Ted Bodnar, a producer and studio engineer who'd work with Sir Joe Quarterman, Blair and Al Johnson. Also featured on the set is Crystal Image's superb 'Gonna Have a Good Time (part 1 & 2) which typifies the blend of urban funk, glitzy strings and metronomic beat that were signature elements of early Disco.

​The style would keep getting more commercial over the years and reach overkill in the late 70s but the block party scene which more than embraced this breakbeat-filled genre would soon morph into hip hop in the second half of the 70s with the help of a few key industry figures such as Sylvia Robinson (Sugar Hill Records). By that time, Bob Shad had ceased releasing records and relocated in Los Angeles but he left behind a small treasure trove of superb obscure singles which are now making their LP debut on 'Mainstream Disco Funk' for the delight of all funk and disco lovers.

transparent yellow vinyl LP

Remastered 2022

A great and classic euro/italo disco gem from 1981 completely remastered and re-pressed on limited edition yellow vinyl, this is the Jimmy Ross' biggest breakthrough indeed. James Albert Ross, also known as Mel Turner , was a singer from Trinidad who teamed up with Kano's founders Luciano Ninzatti and Stefano Pulga, to write this iconic album

It includes the massive hit "First True Love Affair" which reached #7 on the Dance music Charts and the song reached #90 at the US Billboard and it was Larry Levan's favorite at the infamous Paradise Garage, and remixed by Levan's himself the following year. "Fall Into A Trance", "Chocolate Ice", and S.O.S. Of Love" are the other major highlights. A must-have for all collectors! Out on October 7th!

One Tribe label-owner AMÉMÉ makes his debut production appearance on Crosstown Rebels next month with the three-track Drum Beat. The EP includes a remix by longstanding US house veteran Joeski, marking a major career achievement for the Benin-born talent.

The Latin influence is experienced right from the word go on Loca, as Saharan-esque elements build alongside resonant hats and playful, Spanish-like vocals. Tribal percussion drifts in and out alongside, whilst whirring key solos feature subtly throughout. Drum Beat comes next, manifesting as a welcome slice of contemporary Afro-house that’s packed full of raw instrumentals and authentic lyrical samples, before Joeski’s remix brings things to an up-tempo, club-ready close.

Specialising in Afro-leaning electronic music, AMÉMÉ has marked himself as one of the continent’s breakthrough talents in recent years. Head of One Tribe, his productions have been supported by the pioneering figure of Black Coffee since 2019, whilst his appearances on Watergate Records, Blond:Ish’s Abracadabra imprint and the mighty MoBlack Records have been equally well-received, firmly establishing his presence as one of modern dance music’s rising stars.

Joeski’s trajectory can be traced back to 1991, when he burst onto the NYC house scene as a founding member of The Chocolate Factory DJ collective. Since then, the US veteran has garnered a worldwide following thanks to his Maya label, which was first incepted in 2001, as well his keen ear for production that has seen him release on Crosstown Rebels, Relief and a myriad of other heavyweight imprints in recent years.

repressed !

Some people are just not destined to have enough sleep.When you don't sleep enough the world appears to be a different place, compared to the way it is when the mind is fully rested. In such cases very different scenarios may occur.
Starting with a dreamy melody of Roma Zuckerman's 'Sleep not found', which inspired the entire 008 album, and ending with a thirteen minute live recording by a_000, the side project of Alex Backdrop, the entire record has a dreamy and tripped out flow. 008 continues the tradition of gatefold double EPs as conceptual album.All tracks are selected around a particular story, a trip, and presented as a continuous sonic landscape.All tracks are structured in a way that they can be mixed one with another an endless amount of times making a continuous loop, a trip, that needs only end when the party stops. Kraviz works without release dates or deadlines, enabling her to achieve a certain sound bank to shape the story, unmasking the thoughts and unravelling like a dream. A1. Roma Zuckerman - Sleep Not found (North Edit) Apart form the fact that he leaves in Krasnoyarsk in the middle of Russia, very little is known about Roma (short version of the name Roman). But listening to his music and engaging in random short conversations late at night makes it clear that there are really a lot of things going on Romas mind... Minimalistic yet emotionally complex, his music always stands out with it's murkiness and signature moodiness that Roma creates like nobody else.
A2. Deniro - G Deniro continues the record's journey with his new live cut that like pretty much everything he did so far is a beautiful sparse atmospheric groover. He says he wanted it to be angry and it its done with triggering synths from the tr909 and tr808.
B1. Maayan Nidam - Infinite Rattle
Maayan was born in Tel-Aviv. She does not like computers and prefers to record her music live using hardware only. In order to do so she built her incredible studio in Berlin where she recorded "Infinite Rattle'.There is much more to come from Maayan on
B2. Bbbbbb - Prins Polo Caramel milkshake.
Side project by Bjarki-bbbbbb. Like any other normal Icelander, Bjarki really likes ice cream. In Iceland they are absolutely crazy about it.They walk the streets, ice cream in hand, even when its freezing cold outside. But even more than that Icelanders like Milkshakes with all sorts of added cookies and candies. Bjarki's favourite is called Prince Polo after the name of a chocolate bar. He always believed Prins Polo was an Icelandic brand but a couple of months ago somebody proved him wrong.
C1. Exos- dub jazz
In Iceland Exos is a legend. Everybody knows him there. He's been playing incredibly powerful and technically advanced techno sets since the late 90s and releasing delicious dub techno on Icelandic label Thule. Nina always appreciated his subtler, dubbier side, and this short recording a the continuation of it.
C2. Maaayn Nidam - Justice for some
This second live recording was a perfect fit for this album. Maayan has managed to create a particular mysterious night time dreamer here. Sound wise it's even more unique. It took a few times to get the master right, because we wanted to keep the original breathing of the machine that has captured a seriously freaky vibe. Maayan has always been one of Nina's favourite DJs as they share a similar attitude towards music. But after this tune she has also reserved a place in Nina's collective of favourite producers. D1. A_000
This is a side project of Italian native Alessio Meneghello (Alan Backdrop) & Enrico Voltan. . A beautiful 13-minute sonic journey.

Mariá Portugal has been active in the music scenes of Brazil and Europe as a drummer, composer, singer, and music producer. After graduating in composition, she has focused her research on free improvisation and its possible intersections with popular song. This exploration resulted in her acclaimed album EROSÃO (2021) and in the formation of two groups: the EROSÃO Septet and the EROSÃO Percussion Trio, both based in Germany.

She is also a member of the group Quartabê and has toured and recorded around the world with various artists, moving between pop, free jazz, free improvisation, and Brazilian popular music. She has performed and recorded with artists such as Elza Soares, Anthony Braxton, Joe McPhee, Fred Frith, and Tomeka Reid. She is a member of Fire! Orchestra, Fire! Trio, Endless Breakfast and MONSTER.

In 2020, Portugal was the 13th Improviser in Residence at the Moers Festival. As a curator, she has participated in the Soundtrips-NRW in Duisburg and currently coordinates the concert series “TOMA CHOCOLATE!” in Berlin, besides being the guest curator for this year's unlimited Wels festival. She also composes music for dance, theater, and film, including the award-winning soundtrack for the film “1976”, which earned her the Chilean Film Academy Award in 2025. She was nominated for the 2025 and 2026 German Jazz Prize in the drums and percussion category.
Emilio Gordoa is a Mexican sound artist, percussionist, and composer whose work focuses on sound and performance as primary means of expresion. Based in Berlin since 2012, he has been an active contributor to the city’s Echtzeitmusik scene and is involved in the international avant-garde music community.

His projects include solo and ensemble performances, sound installations, and compositions for film, theater and dance. He has collaborated with a wide range of artists, including Jérôme Noetinger, Ingrid Schomliner, Yuko Kaseki, Burkhard Beins, Don Malfon, John Butcher and Sabiene Vogel. Gordoa’s approach combines experimental percussive techniques with electronic elements, leading to invitations to perform at events such as the Moers Festival, Meakusma Festival in Belgium, A’larme!, and Maerzmusik in Berlin.

He founded WildSonico, a platform for experimental music, and has been part of artist residencies at institutions like the Akademie der Künste and Kunststiftung NRW. He also worked as the Improviser in Residence for the Moers Festival. His discography includes albums such as Substantial Myths (2022), Balderi Variations (2019), and GRIFF (2021), which reflect his ongoing engagement with music. His work has been supported by organizations such as the Goethe-Institut, Musikfonds e.V., and INM - initiative neue musik berlin, and he has received recognition, including an Honorary Mention at the Prix Ars Electronica.

Burkhard Beins was born in 1964 in Lower Saxony and has been living in Berlin since 1995. He is considered a stylistically influential percussionist as a composer/performer, due to his individually developed playing techniques. Additionally, he works with analog synthesizers and live electronics, plays electric bass, and has created various sound installations.

He collaborates as a soloist, as well as with artists such as Chris Abrahams, Keith Rowe, Sven-Åke Johansson, Axel Dörner, Andrea Neumann, and many others. He is also a member of several ensembles including Sawt Out, Activity Center, Polwechsel, The Sealed Knot, Zone Null, Perlonex, Trio Sowari, Vertigo Transport, the NoWave/Krautrock band Slurge, and the Berlin Splitter Orchestra.

Since the late 1980s, he has performed concerts and participated in international festivals for experimental and contemporary music across Europe, America, Asia, and Australia. He has released more than 70 CDs and LPs in collaboration with various artists.

Burkhard Beins has been an Artist-In-Residence at the Künstlerhäuser Worpswede (2009), EMS Stockholm (2014), Muong Studios, Hoa Binh/Vietnam (2015), the Robert Rauschenberg Foundation, Captiva/Florida (2017), as well as at DAR, Drsukininkai/Lithuania (2018), and the Agosto Foundation, Prague (2019).

René ter Horst (DJ Zki) and Gaston Steenkist (Dobre), credited here as René et Gaston, are a DJ and music production duo from Haarlem, Netherlands. Their stage names include Chocolate Puma, Klatsch!, Jark Prongo, The Good Men, and Riva.

Their most notable productions are "Give It Up" (1993) credited to The Good Men, "I Wanna Be U" (2001) credited to Chocolate Puma, and "Who Do You Love Now?" (2001) credited to Riva, and featuring Dannii Minogue.

Vallée de L'Armes became a massive international club hit in 1993. Throughout the years, multiple remixes were released. The best remixes are now bundled on this exclusive 12".
Andre Zimmer reworks Vallée De L’Armes into a modern dance floor weapon. and receives support by Danny Howard,, Green Velvet, Peggy Gou and many more.

Andrew Dum created a swerve-inducing Afrohouse remix as well. The new rendition preserves the emotional depth that made the original resonate through the years, while giving it a fresh contemporary edge.

The 2026 Marco Lys remix transforms the original’s iconic melodic hook into a high-energy House production tailored for contemporary sets. The remix replaces the 90s-era breakbeat elements with a driving, tech-influenced rhythmic foundation, ensuring the emotional resonance of the original melody remains functional for peak-time modern dancefloors.

Vallée de l’Armes remains an essential house tune. This exclusive 12" features all the extended mixes and is available as a limited edition on orange vinyl.

Miles Davis embraces yet another form of modern music: Hip-Hop in collaboration with Easy Mo Be

Whodamanny expands the Biloba catalog with a new double‑single: two cuts that echo the energy of Onda Biloba while opening a fresh chapter. Italo disco meets Spanish tones and Latin rhythm in a crisp, memorable blend.

“Vamos” delivers mid‑tempo late‑80s private‑press heat; “Energia” fires upward with a classic driving bassline in pure Cerrone spirit.

The release also includes two alternate, differently titled versions — “Chocolate Dub”, a dubbed‑out excursion built on delay‑feedback spirals, wild send‑return abuse, and live mute‑solo action on the mixer, and “1,2,3,4!”, a more percussive, stripped‑down take

Newly signed to indie heavyweights Heist or Hit (Westside Cowboy, Her’s) EP two: ‘Marionette’ has been produced by Daniel Fox (Sprints, Melts, Psychotic Monks, Naked Lungs, Nerves, Ronan Group) and it’s set to be seminal. A set text for future musicians with aspirations of innovation. “The theme of the marionette is present throughout each song, involving some aspect of a power struggle and a lack of control within oneself.” Opener ‘Chocolate’ bounces in on a synth line as slippery and hyperactive as anything Aphex Twin ever cooked up. Crispy offbeat electronic cymbals play counterpoint to atonal guitars and pugilistic drumming before the track dry-wretches its way into a nauseating cacophony of euphoria. It’s a tale of crippling social anxiety and a preference for an unflattering, lonely reality. The muted guitar pluck in the intro to ‘Crows’ is the sonic equivalent of biting one’s nails. An anxious, involuntary tic that speaks to the theme of guilt, especially surrounding digital culture: “children can watch what they please, just with viewer discretion.” The track lurches between textures, weaving themselves in and out of focus. Guitars blare like sirens, interrupting paranoid urban centres at 2am, while the bass sounds like the inside of an insomniac’s head on day four of a REM drought.

The metallic intent of ‘Discipline’ squats on the chest as though Steve Albini is your sleep paralysis demon. The pain of accountability spews from the industrial regularity of the beat, apt to the narrative of a soldier coming to terms with the lies that made him commit atrocious, violent acts. EP closer ‘Servant’ starts like a Spectrum loading screen. Dial-up modem-coded, it pauses for moments of white-noise-vomit and existential bloops. Fitting for a more abstract take on the idea of the power struggle filtered through religious imagery and self-awareness of one’s own actions, coupled with an inability to exert control over them. The band pile on the textures with sadistic glee until the evil is exorcized and the modem melts. Connection severed. Across the EP, vocalist Joseph has a tendency to hyper-fixate on themes of control and unhappiness. Creating rooms in which doom and isolation ricochet. Not that it’s all bad news “we like to think that by shedding light on the negative, it commands a sense of hope.” Influenced as much by the liminal-space horror and uncanny dread of Silent Hill as the existentialist theatre of The Twilight Zone or the absurdity of Twin Peaks, they occupy a space between unease and impulse. Makeshift Art Bar are not a band interested in being liked. They’re a band interested in being necessary. There’s so much eating and drinking in their work that multiple listens simply don’t satisfy; something new reveals itself on each return visit. Audacious. Idiosyncratic. Vital. A young band carrying identity, defiance and an uncompromising vision as if it isn’t a rare cargo.