Cerca:d’or

Grad_U returns to his legendary Redscale imprint with a re-press of one of the label’s most sought-after 12-inches. Originally released as part of the series that helped define modern dub techno, Redscale 02 showcases the Lithuanian artist’s unmistakable sound, deep, analog, and endlessly evolving.
Both sides carry Grad_U’s signature weight: hypnotic low-end movement, rolling chords, and perfectly balanced textures that blur the line between club tool and meditative listening piece. Once again, Redscale reminds us why it stands as one of the most respected labels in the global dub techno scene: no hype, no compromise, just deep, timeless sound.

80 g vinyl + 60 x 60 cm poster of original Big city life artwork)

Stirring the cauldron of sound. From the acclaimed album Big City Life, artists that Smerz admire put those songs through themselves, to become a friendly mirror and or an alternative documentation.
With Yrdloop, Astrid Sonne, NEW YORK, Haloplus+, Molina, Erika de Casier, Fine, They Are Gutting a Body of Water, MIKE, Zack Sekoff, Elias Rønnenfelt, Fousheé, ML Buch, Clarissa Connelly, Cezinando, Toxe, VVTZJ and Clairo.

Trippy Journey presents Night Club EP the next chapter in the cosmic saga of Dollar the cat. Continuing his interstellar quest for sound, Dollar now finds himself drifting into the neon haze of a galactic nightclub, where the spirit of the 2000s meets futuristic frequencies.

A Side 'Night Club' fuses trippy tech energy with a garage-style bassline, acid-infused details, and a hypnotic cut built for deep late-night floors. The release also includes a huge remix from Liquid Earth, an artist who needs little introduction. His interpretation elevates the original with driving momentum, injects high-octane energy and experimental textures, pushing the original into new cosmic trip.

B Side 'Grand Hotel' delivers a darker minimal house mood a tight and built around classic synth tones that echo the essence of Trippy Cat’s sound. The EP is completed by a remix from Lisbon-based Nebulaee, who transforms it into a raw, atmospheric trip filled with experimental elements and deep textures.

Trippy Cat Wax continues to expand the sonic journey of Dollar the cat exploring the hidden corners of the universe where past, present, and future meet with new galactic sounds.

Mastered At Time Item Studio

Scott Pilgrim EX, the newest video game from the Scott Pilgrim franchise developed by Tribute Games, is out now with an all new original soundtrack from Anamanaguchi. The sprawling soundtrack, which accompanies a brand-new storyline co-written by series creator Bryan Lee O’Malley, perfectly connects the band's legendary electronic past with their fuzzed out garage rock present while maintaining their unmistakable punchy style. Known for resonant world building across past projects, the depth of emotion and the range of styles displayed on Scott Pilgrim EX are uniquely Anamanaguchi while delivering a host of melodically anthemic and new energetic hooks that are sure to pack a punch for both newcomers and old school fans of the band alike.

Anamanaguchi's collaborative relationship with the Scott Pilgrim universe goes back to the early days of the band. After cutting their teeth programming music with playable Nintendo cartridges and helping to bring a wider audience to a largely internet based 8-bit chiptune scene, the band was brought in to score the fan-favorite soundtrack for Scott Pilgrim vs. the World: The Game. The success of this game soundtrack would help them to launch an early crowdfunding success story with their campaign for their debut album, 2013's Endless Fantasy. From there the band would go on to collaborate with virtual pop star Hatsune Miku (resulting in the perpetually viral, Fortnite featured hit, “Miku”), and later develop the intricately soundscaped compositions displayed across their second album, USA, but throughout it all the connection between the band and the Scott Pilgrim universe would remain a pivotal source of inspiration.

After being brought in to score the animated Netflix series, Scott Pilgrim Takes Off, in 2023, band members Peter Berkman and Luke Silas would credit the live kinetic energy they channeled when writing songs for the in-universe garage band Sex Bob-Omb with helping them get back in touch with the roots of how they learned to play music even before Anamanaguchi's earliest releases.  This process would eventually lead to Peter and Luke alongside the remaining two band members — Ary Warnaar and James DeVito — flipping their typically meticulous digital writing process for the more collaborative, straight to tape, distorted angst that can be found on 2025's Anyway, marking another significant evolutionary turn for the band to come out of their relationship with Scott Pilgrim.  

Now fresh off the heels of a nationwide tour in support of Anyway, Anamanaguchi have returned to the 8-bit beat em up world of Scott Pilgrim with a relentlessly high energy and genre defying original soundtrack for Scott Pilgrim EX.  A return to form that comes with a depth of knowledge and innovative skills that have allowed the band to continue to evolve and grow alongside the characters in the Scott Pilgrim universe and the multi-generational fanbase that continues to follow along with them.

The new soundtrack for the latest installment in the Scott Pilgrim franchise, Scott Pilgrim EX

You may be excused if, seeing the dazzling China Moses on stage, online, or on-air, you thought that she, fabulous and French, an orchestra trailing her, with one of those light-up-a-room smiles you only hear about in myth, was someone who might only be singing cheery songs about her glamorous musical life. Not so. It’s complicated… vibrates with the joy, wistfulness, ambivalence, and wisdom of a woman who’s been on many journeys, down many paths, and landed here, in your ears, on purpose, with something to say.

Through these songs, China captures the many hues of grown Black womandom: her choices, her regrets; her place in society as both citizen and observer. Her voice is girlish and playful; gritty and growly; truly prismatic, as Anthony Peyton Young’s cover art suggests, to reflect the many lives she’s lived. And she does all this with vulnerability, a quality that transcends and supersedes genre, taste, or ability. Of all the tools a singer-songwriter could possess, it might be the most important one. Though there is bravado here (“I can be happy”, the song and the video, are the best example), this is an album that taps into the full, resplendent spectrum of human experience, its many facets hewn into these 10 gems before you.

It’s complicated… and it’s complex. How could it be anything else?

— Kyla Marshell

Do Da Doo' Returns with New Life on Definitive Recordings
SPECIAL VINYL ONLY RELEASE

Definitive Recordings revisits one of its most iconic releases with a fresh reissue of Robotman feat. Marshall Jefferson - 'Do Da Doo', originally released in 1992. A cornerstone of the label's early catalogue, the track returns with newly re-recorded vocals by house legend Marshall Jefferson, bringing renewed energy to a timeless classic.

Robotman, a moniker of Richie Hawtin (aka Plastikman), represents an essential chapter in the evolution of house and techno. As one of the most influential figures in electronic music, Hawtin helped shape the sound of acid and minimal techno while co-founding the legendary Plus 8 label alongside John Acquaviva. His forward-thinking productions and groundbreaking DJ sets have defined generations of dance music culture.

On this release, the original Plastikman Acid House Mix stands as a true highlight. Spanning 12 minutes, it delivers a deep and hypnotic acid journey driven by classic TR-909 drums and a signature TB-303 bassline. The instantly recognizable vocal 'Got the Do Da Doo' sits prominently within the groove, creating a powerful and timeless club moment that defined an era.

On the flipside, Detroit's DJ Minx brings a fresh perspective with a groove-heavy house interpretation. Known as the 'First Lady of Wax' and a key figure in Detroit's scene, Minx reshapes the vocal into a rhythmic element, layering it into a shuffling and classic house framework. Her version adds warmth and swing while staying rooted in the track's original spirit.

With this reissue, Definitive Recordings celebrates a landmark release that continues to resonate across generations, combining legendary artists, timeless production, and the enduring energy of house music.

Collecting Orders For 2026 Repress

It's safe to say that Mark E is something of a master when it comes to doing a hell of a lot, with not very much at all.
Back in 2011 'Call Me' was heard everywhere, especially the splendid Dixon edit, which teased out the drama and made the most of that spoken Ms Ross vocal.

It's testimony to the staying power of this track, and the fact it's quite rightly regarded as a Deep House classic that it's had a recent revival, largely from Luke Unabomber across his head-spinning summer tour schedule. We started getting video clips from the curious..."Do you know this track, sounds like Carl Craig remixing 51 Days ?"

Given that we sold out the initial run in a matter of days back then, we thought it was high time we put the call in for a reload.
So here you go, the classic 'Call Me' backed with a truly wonderful new jam from Mark, which is another zinger in a catalogue choc full of 'em...

2026 Repress

With this new remix EP, The Lovers explore different shades of disco and house through a carefully balanced and personal approach.

The opening track sets the tone with a playful and hypnotic groove, built around arpeggiated patterns and a steady modern rhythm. A female spoken vocal, instantly recognizable from Italian television culture of the 1980s, takes center stage, while a smooth saxophone line adds a sensual, cinematic layer.

The second cut moves into deeper emotional territory. Beginning with a restrained atmosphere, the track slowly builds tension through a rebuilt bassline and a solid house pulse, eventually opening into a more expansive and powerful moment on the floor.

A warmer disco-driven piece follows, focused on groove and feeling. The original spirit is preserved, while a heavier low end gives the track new confidence and presence within a contemporary club setting.

The EP closes with an elegant house reinterpretation inspired by French pop sensibility. A melancholic melodic theme and subtle references to tango shape the final moments, blending emotion and rhythm with a refined sense of flow.

A concise collection of remixes for selectors drawn to groove, memory and understated elegance.

Limited obi strip edition, exclusively in our store!

To celebrate the 10th anniversary of Salty Nuts, label head Fabe returns with his first EP of 2026.

The record captures the unmistakable signature of the label: groove-driven drum work, punchy basslines, and razor-sharp sample chops, all coming together to form the infectious sound Salty Nuts is known for.

Across four carefully crafted club tracks, Fabe delivers music designed to work at any moment on the dance floor. Each cut carries peak-time energy while remaining versatile enough to set the tone in early hours or drive the floor deep into the morning.

“Alle Sorgenti Delle Civiltà Vol. 3 - Africa, Australia, Nuova Zelanda” (1971) is the third and final chapter of a triptych of folk-based sound recordings released by Folkmusic. The album contains a total of fourteen tracks by Braen and Raskovich, i.e. the a formidable multi-instrumentalists Alessandro Alessandroni and Giuliano Sorgini, each grappling with seven different compositions characterised by a tribal mood. Among the grooves of this record, repressed on vinyl for the first time by Musica Per Immagini, it is possible to discern an in-depth study of one of those forms of popular culture referring to a specific geographic area, comprising the types of traditions often handed down orally and concerning knowledge, beliefs, fairy tales, legends, myths, narratives linked to the dimension of the fantastic, customs and traditions, namely music. Festivals and propitiatory rites, fights and dances, magical and sacred representations were all expressions of life whose sound and rhythm contributed to an appropriate description of the environment. Alessandro Alessandroni and Giuliano Sorgini have chosen some of the most significant musical characters that even belong to specific ethnic realities scattered across two distant continents, where the use of some of the typical instruments has favoured the realisation of sonorities of considerable interest.

For over two decades, FLOX has been shaping a unique musical
identity - a vibrant blend of roots reggae, dub, electro, and
nu-soul. This French-British artist h a s become a cornerstone of
the alternative scene, known for his genre-bending productions
and powerful live performances. With seven studio albums and
countless shows a c r o s s Europe, FLOX h a s carved out a distinc-
tive path, merging analog warmth with digital precision.
crédits

Dutch composer and pianist Xavier Boot, also known as XA4, joins Philip Glass for the second release on the New York-based record label Orange Mountain Music, owned by Philip Glass.

“Xavier is really a wonderful pianist, and I am thrilled by how he now tackles my compositions, with that elegant electronica touch.” – Philip Glass

The Sea Above features not only Glass compositions but also several original pieces by Xavier: “I recorded this album inspired by all the musical influences I’ve experienced in my life, including classical, electronic (club) music, ambient, minimal, and even Indonesian music. The title track of the album is inspired by Philip Glass’s composition Mad Rush. He told me that he wrote this piece for an event with the Dalai Lama, where it was unclear when the Dalai Lama would arrive. That’s why Mad Rush was composed to last either five minutes or an hour. I tried to convey this idea of timelessness in my music, embodying this endless portal of time and space, which was also scientifically described by Albert Einstein. Another track on the album, Train I, is a reworking from Philip Glass’s opera Einstein on the Beach. You can experience the music on this album as a kind of journey, a trip where you are energetically drawn in at the beginning and later enter more of a fantasy world where dreams and unconscious elements of your mind can emerge.”

Credits:
Tracks 1 & 3 are original compositions by Philip Glass remixed by XA4
Tracks 2 & 9 remixed by XA4 and Jaro.
Tracks 4, 5, 6, 8,10 are original compositions by XA4
Track 7 is composed by XA4 and Tenzin Choegyal.
Vocals track 1: Julia Rosenhart.
Remix, production and playing: XA4.
Piano arrangement track 3: Michael Riesman and XA4.
Remix, production track 2 & 9: XA4 and Jaro.
Production assistance track 3: Jaro.
Mixing: Studio Karakterbak.
Mastering: Laura de Rover.
Cover foto: Angelina Nikolayeva.
Graphic design: Yesser Khalefa

Pure Devotion, benannt nach der gleichnamigen Live-Reihe von 2024, markiert einen weiteren Entwicklungsschritt für Overmono. Hinter dem Projekt stehen die Brüder Tom und Ed Russell, die bereits seit Jahren in der britischen Elektronikszene aktiv sind - sowohl gemeinsam als auch über ihre Solo-Projekte Tessela und Truss. Diese Erfahrungen aus dem UK-Underground bilden die Grundlage ihres Sounds bis heute. Das Album vereint bewusst Unschärfen, technische Imperfektion und zufällige Momente mit einer klaren künstlerischen Haltung. Über elf Tracks hinweg erweitern Overmono ihren Produktionsansatz und greifen dabei auf ungewöhnliche Mittel zurück: analoge Synthesizer aus den 70er- und 80er-Jahren, alte Lautsprechersysteme oder experimentelle Klangbearbeitung. Das Ergebnis wirkt kontrolliert, organisch und immer treibend. Auch die Vocals tragen zur Atmosphäre bei - unter anderem von John Joseph Holt, Kindora und Ruthven. Insgesamt legt Pure Devotion den Fokus stärker auf Emotionalität und Klangtiefe als auf reine Funktionalität im Clubkontext. Das Projekt entwickelte sich aus einer Neujustierung ihrer Live-Show und gewann parallel zu ihren Touraktivitäten an Form. Nach dem Erfolg ihres Debütalbums Good Lies (2023), welches ihnen größere Aufmerksamkeit und internationale Auftritte einbrachte, spielten Overmono zahlreiche Festivals und eigene Shows, darunter Glastonbury und Alexandra Palace in London. Während dieser Phase entstand neue Musik, die später in Rückzugsorten wie Spanien und Island weiter ausgearbeitet wurde. Die Single "Lockup" steht exemplarisch für die Herangehensweise des Duos: direkte, rhythmisch präsente Strukturen treffen auf zurückhaltendere, emotionale Elemente. Pure Devotion wirkt damit weniger wie ein Bruch als vielmehr wie eine konsequente Weiterentwicklung - geprägt von Erfahrung, Neugier und dem Anspruch, den eigenen Ansatz weiter auszuloten. Overmono sind eine neue Größe in der internationalen Club-Kultur.

Pure Devotion, benannt nach der gleichnamigen Live-Reihe von 2024, markiert einen weiteren Entwicklungsschritt für Overmono. Hinter dem Projekt stehen die Brüder Tom und Ed Russell, die bereits seit Jahren in der britischen Elektronikszene aktiv sind - sowohl gemeinsam als auch über ihre Solo-Projekte Tessela und Truss. Diese Erfahrungen aus dem UK-Underground bilden die Grundlage ihres Sounds bis heute. Das Album vereint bewusst Unschärfen, technische Imperfektion und zufällige Momente mit einer klaren künstlerischen Haltung. Über elf Tracks hinweg erweitern Overmono ihren Produktionsansatz und greifen dabei auf ungewöhnliche Mittel zurück: analoge Synthesizer aus den 70er- und 80er-Jahren, alte Lautsprechersysteme oder experimentelle Klangbearbeitung. Das Ergebnis wirkt kontrolliert, organisch und immer treibend. Auch die Vocals tragen zur Atmosphäre bei - unter anderem von John Joseph Holt, Kindora und Ruthven. Insgesamt legt Pure Devotion den Fokus stärker auf Emotionalität und Klangtiefe als auf reine Funktionalität im Clubkontext. Das Projekt entwickelte sich aus einer Neujustierung ihrer Live-Show und gewann parallel zu ihren Touraktivitäten an Form. Nach dem Erfolg ihres Debütalbums Good Lies (2023), welches ihnen größere Aufmerksamkeit und internationale Auftritte einbrachte, spielten Overmono zahlreiche Festivals und eigene Shows, darunter Glastonbury und Alexandra Palace in London. Während dieser Phase entstand neue Musik, die später in Rückzugsorten wie Spanien und Island weiter ausgearbeitet wurde. Die Single "Lockup" steht exemplarisch für die Herangehensweise des Duos: direkte, rhythmisch präsente Strukturen treffen auf zurückhaltendere, emotionale Elemente. Pure Devotion wirkt damit weniger wie ein Bruch als vielmehr wie eine konsequente Weiterentwicklung - geprägt von Erfahrung, Neugier und dem Anspruch, den eigenen Ansatz weiter auszuloten. Overmono sind eine neue Größe in der internationalen Club-Kultur.

Pure Devotion, benannt nach der gleichnamigen Live-Reihe von 2024, markiert einen weiteren Entwicklungsschritt für Overmono. Hinter dem Projekt stehen die Brüder Tom und Ed Russell, die bereits seit Jahren in der britischen Elektronikszene aktiv sind - sowohl gemeinsam als auch über ihre Solo-Projekte Tessela und Truss. Diese Erfahrungen aus dem UK-Underground bilden die Grundlage ihres Sounds bis heute. Das Album vereint bewusst Unschärfen, technische Imperfektion und zufällige Momente mit einer klaren künstlerischen Haltung. Über elf Tracks hinweg erweitern Overmono ihren Produktionsansatz und greifen dabei auf ungewöhnliche Mittel zurück: analoge Synthesizer aus den 70er- und 80er-Jahren, alte Lautsprechersysteme oder experimentelle Klangbearbeitung. Das Ergebnis wirkt kontrolliert, organisch und immer treibend. Auch die Vocals tragen zur Atmosphäre bei - unter anderem von John Joseph Holt, Kindora und Ruthven. Insgesamt legt Pure Devotion den Fokus stärker auf Emotionalität und Klangtiefe als auf reine Funktionalität im Clubkontext. Das Projekt entwickelte sich aus einer Neujustierung ihrer Live-Show und gewann parallel zu ihren Touraktivitäten an Form. Nach dem Erfolg ihres Debütalbums Good Lies (2023), welches ihnen größere Aufmerksamkeit und internationale Auftritte einbrachte, spielten Overmono zahlreiche Festivals und eigene Shows, darunter Glastonbury und Alexandra Palace in London. Während dieser Phase entstand neue Musik, die später in Rückzugsorten wie Spanien und Island weiter ausgearbeitet wurde. Die Single "Lockup" steht exemplarisch für die Herangehensweise des Duos: direkte, rhythmisch präsente Strukturen treffen auf zurückhaltendere, emotionale Elemente. Pure Devotion wirkt damit weniger wie ein Bruch als vielmehr wie eine konsequente Weiterentwicklung - geprägt von Erfahrung, Neugier und dem Anspruch, den eigenen Ansatz weiter auszuloten. Overmono sind eine neue Größe in der internationalen Club-Kultur.

Welcome to the second instalment of the collaboration between THE REFLEX’ DISCOLIDAYS label and BECAUSE MUSIC in Paris, remixing gems from the ZAGORA catalogue.

Created in 1975 by producer Daniel Vangarde (father of Daft Punk’s Thomas Bangalter), the Zagora label created some of the most exciting disco music in France, ranging from cult underground artists Who’s Who and Starbow, to massive international hits by the Gibson Brothers, la Compagnie Créole and Black Blood.

On this 12’’, we’ve got two first time ever remixes from LA COMPAGNIE CREOLE, one of the most successful acts in France during the 80’s who expertly mixed tropical sounds from the West Indies with pop and disco to staggering record sales.

With tapes thought to be long lost, a chance find of stems from two of their songs not only makes this release possible, but also perfectly showcases two sides of the band with ‘Le Bal Masqué’ which was a huge hit commercially in 1984 and ‘La Nuit Des Requins’ which is probably their least known and most underground track, both masterminded by songwriters DANIEL VANGARDE and JEAN KLUGER.

‘LE BAL MASQUE’, now devoid of its cheesiest sections, puts the focus on that infectious groove adorned with percussions and electronics but with its singalong chorus intact and stronger than ever. A guaranteed tropical disco floor filler at 122bpm, regardless of your knowledge of the French language!

‘LA NUIT DES REQUINS’, an ode to session musicians found regularly in Paris studios back in the day, gets a complete overhaul by putting the exhilarating drums and killer bass line of the original to the fore into a brand new 124bpm version that is destined to rock the most discerning dance floors the world over.

Released on 180g vinyl with custom artwork on card sleeve designed by AL KENT / MILLION DOLLAR DISCO.

With Morocco Palace, Cybercafé aka Adam Dirk’heim delivers his very first full EP on Sequence Records - a record that balances raw energy and melancholy, blending emotional depth with a strong, forward-thinking dancefloor edge.

The EP opens with Electroskit, driven by an electric, almost extraterrestrial voice, before diving into raw electronic textures that set the tone. Dance & Control marks a first shift with its slow tempo, massive modulated synths and stretched tension. Then comes Nightshade, where the energy rises further through a rhythmic and emotional build-up carried by deep, melancholic, yet dancefloor-oriented synth lines.

On the B-side, Don Dolor flirts with instrumental EBM influence, while What Am I Talking About? closes the record with a hypnotic groove that stays with you long after the last note.

Morocco Palace lays the foundations of Cybercafé’s universe: a subtle balance between introspection, intensity, and dancefloor energy.

As he’s been known to do, Caserta takes something old and flips it on its head—or, in this case, its rear. He gives arguably the biggest crossover pop hit of the new millennium the MFSB/Larry Levan treatment on the A-side, while giving the DJ Sneak/Armand T.L.C. on the flip.

Vitamin Of The Moon launches as the new label and artistic platform of Toulouse-born, Berlin-based producer Lenny Mailleau, also known as one half of Zendid. The Question marks both its inaugural statement and Lenny’s first release under the new imprint. It is a focused, groove-driven record that moves between house, dub, techno, minimal, and space-disco. The tracks are delivered with quiet confidence, sophistication, and clear dancefloor intent.

The opener, “The Question,” establishes a taut, hypnotic framework. It features crisp 707 drums, syncopated movement, disco-tinged basslines, and a subtle, paranoid tension that relentlessly draws the floor in. “Saturday Déboch” stretches the energy further. It is built for late-night or early-morning moments when time dissolves into rhythm, using dub-inflected textures, highly detailed spatial echoes, and a patient, locomotive four-to-the-floor drive. On the flip, “Schönleinstrasse Caval” sharpens the architecture with stripped-back techno percussion and a rolling, functional pulse, clearly shaped by Mailleau’s time on Berlin floors. Closing the EP, “La Femme” (ft. Ariachi) adds a warmer, more playful and emotive layer by weaving vocal fragments and melodic accents around a minimal-tech core.

With The Question, Lenny Mailleau introduces Vitamin Of The Moon through restraint and clarity — positioning it as an extension of his personal language and refined club sensibility. A first chapter that honours minimalism’s roots while quietly pushing it forward, proving once more that focus, rhythm and atmosphere remain central to imagining contemporary club music.

With Cliknopium I, Dr.Nojoke opens a new 12-inch series marking 20 years of CLIKNO — the artistic concept built entirely on field recordings and found sounds. Since its foundation in 2005, CLIKNO has focused on transforming everyday sonic fragments into electronic microcosms, guided by a strict manifesto: no presets, no templates, no classic machines, and every sound crafted from scratch. This approach has shaped Dr. Nojoke’s unmistakable aesthetic — detailed, tactile, and rhythmically unconventional.

Influenced early on by the click-and-glitch lineage of Villalobos, Jan Jelinek, Akufen, and Alva Noto, Dr. Nojoke has long expanded his palette to include dub-infused basslines, delicate percussions, and hypnotic textures. The result is a body of work he describes as “CLIKNO,” where organic sounds meet electronic precision.

Treguja opens the record with a playful, slightly wonky funk, evoking the atmosphere of a clandestine backyard rave. Gragada shifts into deeper territories, its bird calls and floating chords unfolding like a memory of a vanished paradise. On the B-side, Wesikwa propels the listener into a dreamlike, ritualistic groove, carried by Jew’s harps, murmured voices, and a steady, immersive pulse.

Twenty years after the concept began, CLIKNO remains as vital and imaginative as ever. Cliknopium I is both a celebration of this legacy and the beginning of a new exploratory chapter — an invitation to flip the record and let the trip continue.

TSTD NEO returns with smooth slow disco remixes for three tracks, originally featured on THE SUNSET MANIFESTO Volume 2:
One of the standout tracks of THE SUNSET MANIFESTO 2, the super smooth Westcoast inspired "Hands of Love" gets an even smoother remix treatment by Liverpools BEN JAMIN, perfectly suited for your next late night bar dj sets.
Stockholm meets Mexico City! TSTD resident producer Monsieur Van Pratt returns from remixing Poolside on The Sunset Manifesto 2, and comes back with a romantic slow disco version of Kimchi's "Do You Ever"
Last but not least UK producer Matt Hughes already did a funky electro disco remix for Goodvibes Sounds' "Stay For One More Night" on The Sunset Manifesto 2. Looks like the original tune didnt leave his head, so he returned to his studio for new remixes. Here you can find the "Echo" version of his new 80s cinema sounding "Late Night Radio Remix", which would sit well in the soundtrack oft he Stranger Things TV series. The long version of this remix will be relased later digtially.

Two pdqb tracks that will never be released were processed and discarded by AI.
What remains is a machine reconstruction.
It is precise, efficient, emotionally reduced.
Any comparison to the originals is impossible.

Pressed on green flexi. A soft, unstable medium for a rigid machine output.
An attempt to re-inject fragility.

Finally, finally, FINALLY! After many years of fruitless praying, a true collector grail can finally grace every turntable the world over. Bright And Shining is a miraculous leftfield library classic from the genius mind of Barbara Moore. It's Highly Addictive Happiness Music TM and one of the coolest records to come out of anywhere...ever! With originals almost impossible to find - and, when they do, going for over £300 - you already know how crucial this beautiful reissue is.

Recorded in 1981 for Sylvester Music Company, Bright And Shining is breezy, dreamy and funky in a perfectly smooth jazzy-soul-groove fashion, with Moore's patented celestial male-female vocal harmonies this time benefitting from the addition of Fender Rhodes and pumping bass lines.

As one particularly enthusiastic Discogs user put it: "If Eno is responsible for Music for Airports, Moore is responsible for Music for Holidays." Indeed, this is brilliantly unique, "maximum happiness music". If you miss the sun-dappled soft-psych soul of Koushik, the heavenly vocal arrangements of the great Library Music doyenne Barbara Moore - her depth, richness, sophistication and warmth - will see you just right.

The gigantic title track, "Bright And Shining", gallops out the gate, all sophisticated, jazzy leisure-soul with sax and guitars backing Moore's effortless vocal swag in this relaxed, mid-tempo head-nod strut. Worth the price of admission alone. Up next, the sunny, vibey "Fly Me High" features strolling, "unworded" vocals (aside from the refrain of the title) alongside breezy alto sax and electric guitar. Pastoral and perfect. The slow'n'sultry "Affluence" presents a moody elegance, a classical "downlifting" gem. Another crucial highlight is the breezy "Going On Holiday". It's happy. It's sunny. It's lively. It's cool and happy. Did we say happy? A mid-tempo, romantic sax workout, "Alto Sex"presents smooth jazzy funk before the first side closes out with the soaring, jazzy "Stay With Me". Seriously uplifting.

Side B opens with "Feel Fine", an excellent uptempo and bright jazz groove. Up next, "Canon" is wracked with refinement, a peaceful, smooth vocal harmony over repeating bass making for an elegant, late-night classic. It's followed by the laconic "Smooth And Soft", a laidback, casual sophisticated soul and easy-feeling jazz gem. The jazzy "Real Thing" is another exercise in strolling sophistication, complete with wordless vocal harmonies. The fairly self-explanatory "Voice Over Sax" sounds precisely how you would expect; a relaxed sax number with heavenly vocal support! To close, the carefree "Feeling Free" is a pleasant, light and breezy mid-tempo groove.

The audio for Bright And Shining has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. We'll grant the final word to MillionDollars. on discogs from about 10 years ago: "If you listen to the record on a sunny day you feel like going out surfing in a white linen suit with a blunt on your lips, catching a cool breeze."

Samurai Music offshoot SAIBAI welcomes legendary producer ASC to expand upon the label's widescreen strain of electronic music plumbing the depths between techno, electronica and broken beat.

ASC is the flagship project for James Clements, a prolific veteran of the scene who started releasing his distinctive twist on drum & bass back in the late 90s. Across a variety of aliases and many different label projects and collaborations, Clements has retained a strong artistic identity defined by steely atmospherics, rhythmic intrigue and precisely sculpted sound design. He brings those qualities to SAIBAI3.

On 'Raijin' the tempo prowls at 90 BPM, all the better to carry the bass snarls and haunted melodies hovering in the middle distance. 'Rasetsu' meanwhile hides its much sprightlier 150 pace behind a half time construction punctuated by a tactile, almost organic set of percussion. 'Kyubi' sinks into a deep, inky well of spatial sound design with just a light smattering of percussion and a weighty kick for guidance. 'Shigure' completes the picture with a mesmeric tapestry of shifting textures and brooding melancholy.

Clements has devoted much time recently to his ambient output, and it shows in the richness of the space he shapes around his needlepoint patterns, while his roots in more propulsive club music show their hand in subtle, understated ways. It's this balance that makes the release the perfect addition to SAIBAI's evolving story.

Limited to 200 copies

Vinyl finally here!

The Pieces EP showcases Wraz's versatility across five tracks that blend dubstep with orchestral influences, techno rhythms, and psychedelic sound design.

'Pieces' opens with a cinematic, classical-inspired intro that gradually builds into a dark and evolving bass-heavy journey.

'Tech' follows with a fusion of 4x4 techno and dubstep grooves-minimal yet impactful on a sound system.

'Lurch' brings relentless analog bass pressure and Wraz's signature raw energy, already proven to do serious damage in live sets.

'The Crypt' rounds out the EP with a more introspective feel, featuring shifting synths and hypnotic arpeggios that create a deep, trippy atmosphere.

This release marks a major milestone for the Canadian producer, celebrating his debut on DEEP MEDi.

(Wraz 2025)

Long-awaited repress of Fabrizio Lapiana's 1002B and 1003B. Originally released in 2014 on the legendary M_Rec LTD 10" series, these two timeless cuts have become cult favorites over the years. Now brought together on a single 12", the reissue also features a brand-new edit of 1002B, making it an essential return of a modern classic.

In the late ’90s, Trance Induction, the project of Tjeerd Verbeek, established a truly unique sound by fusing acid house, ambient, techno, world music, breakbeats, and industrial new wave. Now, three carefully selected tracks from his extensive catalog are being remastered and released on vinyl.
The A1 track, “Join The Circus Of Dr. Lao 2,” has been a long-time favorite of label owner Tomoki Tamura, frequently featured in his DJ sets over the years. A2 delivers a deep, bouncy groove laced with trippy acid sounds that take the floor on a hypnotic journey. On
the B-side, you’ll fi nd the original version of “Join The Circus Of Dr. Lao” — appearing on vinyl for the first time ever.
Step into a sound world only Verbeek can create. This is a release not to be missed.

A great name. A great cover. And - of course - outstanding library music.

Soul City Orchestra's Meal Ticket houses titanic funk, mellow groove and symphonic disco-soul.

Released in 1977 on Rouge, a subsidiary of the prestigious and long-established British library label Music De Wolfe, Meal Ticket was crafted by the studio band Soul City Orchestra (a pseudonym for the De Wolfe in-house composers Chris Rae & Franck McDonald).

The driving instrumental funk-rock of the A Side is enhanced with strings and no little drama. However, it's undoubtedly the peerless flipside that makes this record an essential part of any collection.

Head straight to highlight "Chamber Maid"; insistent, conga-driven funky rock with lashings of string-heightened drama. It's sophisticated, classical and deeply classy.

The majestic, powerfully emotive "Sore Head" contains an excellent intro drum break and sultry slo-mo disco breaks throughout. It's low-key stunning. With a few melodic switch-ups, it's symphonic soul heaven and is comfortably the best and most beautifully crucial track on Side A.

The breezy, Philly soul-tinged "Short Change", its intense strings reminiscent of the Salsoul Orchestra and TSOP, presents an easy-glide funk that's just irresistible.

The funky, cool and slick AF "Wheeling And Dealing" is laconic flute and string-propelled sophisticated mid-tempo disco soul. It's worth the price of admission alone.

The breezy, mellowed out disco-funk workout "The Jam" is a deliciously slinky and sophisticated soul strut. Try not swaggering into the club with this in your head next time you venture into the murky world of "the night". Just ace.

The crowning glory is the sweeping, sublime symphonic disco breaks of horn-infused "Soul City Drive", an absolute monster of radiant heavy soul-funk à la Barry White with great string & brass arrangement.

Basically, this is essential for all groove-aficionados.

The audio for Meal Ticket has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Great Day is one of the very best albums on the Music De Wolfe label and certainly one of the most sought after library records, full stop. It's been sampled by such heavyweights as Madlib, LTJ Bukem, El-P and The Alchemist (among many others). You likely already know all this. If you don't, get to know. One listen through and the £350 asking price for a VG copy starts to all make sense...

Originally released in 1972, it's credited to Music De Wolfe legends Simon Haseley (real name Simon Park) and "Peter Reno" (a collaborative alias used by composers Clifford "Cliff" Twemlow and Peter Taylor) Confused? No matter. It's one of the most consistent libraries you'll ever hear, packed with heavy blaxploitation-esque drama-funk break themes.

It opens with the feel-good, breezy piano beat number "Little Big John" before switching up to modern sweeping orchestral with heavy drums on the warm, deeply emotive "Summer Friend". Total highlight "Hammerhead" is as heavy as you'd want, from a track so-titled. It's a driving, imposing, orchestral funk-rock monster, famously used by The High & Mighty for their classic "Dirty Decibels" and, also, it was used as the backing for Beyonce's ace "Woman Like Me".

Up next, "Crimson" is melodic, plaintive and moodily introspective; a soft, oboe-enhanced instrumental of delicate beauty. Again, ace beats and breaks abound. The expansive title track, "Great Day" is melodic and bold; a horn-fuelled, mid-tempo rhythmic workout which builds to rather big end. Rounding out this first side, "Hard Crust" ups the ante with thrilling wah-wah funk-rock, a dramatic, pounding and aggressive thriller. Killer!

Side B opens with the steady, stealthy crime-funk of "Highball" before segueing brilliantly into the Hammond-laced relentless flute-funk of the driving "Bora". The powerful wah-wah wonderful "Hold Back" is haunting orchestral funk-rock, sampled by Madlib, El-P, Rakim, Sean Price and The Alchemist. It's easy to see why. Swaggering and staggering.

The cop show funk of "Silver Thrust" is fast, purposeful and persistent. Is it a cover version of the godlike "Stepping Stones" from Johnny Harris's Movements album? Either way, with up-tempo drums, bongos and flute you're going to be thrusting all night. The dynamic "Convoy" is a brassy, organ-fuelled sports-soundtrack b-boy breaks monster. Super Bowl Soul! Essential. To close out this quite extraordinary set, the insistent "Barracuda" presents dramatic rock feels over a persistent funky flute beat. It was sampled by LTJ Bukem for his classic "Sunrain" from 2000.

The audio for Great Day has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Stepping up for Punctuality number 8 is the dynamic duo of Ciel and Matthis Ruffing. Needing little introduction, both artists are prolific producers and collaborators across tempos and genres. Toronto-based Ciel has released music on labels like NAFF, Peach Discs, and !K7, while Berliner Matthis Ruffing’s work can be found on International Chrome, Infinite Drift, and Strictly Strictly, to name just a few.

Bonding over a shared love for the techno stylings of Claude Young and early 2000s tech/prog house from labels like Future Groove and Slide, the duo’s collaboration began with a spontaneous jam in Ruffing’s Berlin studio during the summer of 2022. With an organic studio chemistry, the pair continued to jam over the following years. Hot Squid is the result of these studio experiments: five tracks of sleek, muscular, contemporary tech house that fluidly distill the creative visions of both artists—slick, shimmering grooves, heavily weighted for the dancefloor.

The title track, Hot Squid, weaves dubbed-out waves of FX and low-end sonics around metallic, staccato drum bursts, sci-fi pads, stuttered vocals, and syncopated snares that flit and flicker around a rolling bassline reminiscent of golden-era UK tech house from the late ’90s. Roza Terenzi’s remix flips the original into a modern, low-stepping tek roller—a mind-bending re-fix that puts more focus on the snaking vocal groove and a sparser percussion arrangement, filled out with lustrous textures and razor-precise sound design.

On Little Voice, glossy synths and spiraling atmospherics cascade around a mesmeric vocal line, while tightly wound, minimal drum loops give way to a swaggering bassline that barely relents throughout the track. The result is a satisfyingly boshy, groove-driven roller, fit for the dancefloor at any time of day.
Late Summer maintains the EP’s high-grade production standard in the form of a dreamy, electro-leaning tech house number, resplendent with deep, pummeling kick drums, woozy low-end, and organic sonics. Its plucked melody and introspective pads nod to halcyon-era IDM and the Detroit techno that inspired the duo in creating Hot Squid.

The release culminates in Bong Bong—a meditative dancefloor tool suffused with ASMR-like nature documentary samples that lend the track a psychedelic intimacy. Careening percussion lines and swooning chord stabs anchor the rhythm, while the title’s “Bong Bong” mantra hums beneath the surface, carried along by barely perceptible sub fills and ultra-processed percussion. A cohesive, unique, and enduring take on seminal tech house and Detroit techno from Ciel and Matthis Ruffing.

Chris Liebing and Charlotte de Witte announce their second-ever collaborative release, 'Symphonie des Seins' (Symphony of Existence). The release, taking in an original alongside a Dub mix from Liebing, follows 2019's 'Liquid Slow' from the pair and marks the second release ahead of Chris Liebing's 'Evolver EP' releasing in late-March.

A surging acid-beast channelling mid-90s techno energy, 'Symphonie des Seins' sees de Witte delivering a tweaky, spoken
vocal comprising the hallucinogen-fuelled diaries of ayahuasca and DMT trip reports that Liebing stumbled upon online. Crisp
but heady, old school but utterly contemporary with its delivery, 'Symphonie des Seins' sees two techno artists with very
di?erent formative eras converge perfectly with a razor-sharp piece of dancefloor mayhem.

Following January's 'Roy Batty' EP, Chris Liebing and Charlotte de Witte's 'Symphonie des Seins' is the last single before Liebing's thirteen-track 'Evolver' LP lands on March 27th. The 'Evolver LP' features additional collaborations with Luke Slater, Speedy J, The Advent, The Alte Stuben Modular Ensemble aka Daniel Miller, Terence Fixmer, and Pascal Gabriel and is Liebing's first solo Techno LP, having focused on long-form electronica output alongside co-writer Ralf Hildenbeutel for 2018's 'Burn Slow' and 2023's 'Another Day' for Mute Records, and the André Walter co-produced 'Evolution' in 2002.

WRWTFWW Records is ecstatic to announce a limited edition vinyl release of the remarkable PONYBOI (Original Motion Picture Soundtrack) by Chilean-born composer, arranger, music producer, and multi-instrumentalist Cristobal "Cristo" Tapia de Veer (The White Lotus, Utopia, Smile, Black Mirror, and many more).
This collector's edition presents Tapia de Veer's complete original score for the critically acclaimed feature film PONYBOI - a bold, genre-defying neo-noir tale directed by Esteban Arango and and starring filmmaker, actor, screenwriter, model, and intersex rights activist River Gallo who also wrote the movie. The soundtrack arrives as a deluxe audiophile vinyl LP, housed in a luxurious 350gsm gold cardboard sleeve, cut with utmost precision by Sidney Claire Meyer at the legendary Emil Berliner Studios, home to Deutsche Grammophon's world-renowned legacy.
Vivid, seductive, gritty, dreamy, tender, and sometimes heart-pounding in its tension, the PONYBOI soundtrack is a sinuous creature of its own - an emotional, atmospheric, and deeply textural listening experience. Tapia de Veer fuses shimmering electronics with haunting melodies, raw rhythms, shadowy ambience, and surges of romantic intensity, perfectly embodying the film's world of danger, desire, identity, and survival on a single wild New Jersey night. It's daring, intimate, stylishly noir, and unmistakably Cristo: music that refuses boundaries and speaks directly to the pulse.
The LP showcases Cristobal Tapia de Veer's uncanny ability to blend experimental sound design with narrative emotion - a talent that has earned him global acclaim and numerous awards, including four Primetime Emmy Awards for The White Lotus.
This new WRWTFWW edition celebrates his artistry in its purest form: warm, rich, analog, and physically stunning. A must for soundtrack fanatics, ambient and experimental music lovers, and rare memorabilia collectors.

James Curd and Osunlade. After years of playing back to back DJ sets and collaborating in the studio, they decided it was time to create something that could represent both the music they make together and the shows they play. Their sound is a natural meeting point between deep house grooves and soulful roots, reflecting both artists’ histories and shared love fortimeless dance music.

The first single from Nomadic’s is “Better Man”. The track was originally signed to Defected Records,but after creative differences about how the release should be presented, the contract was voided. That decision gave James and Osunlade the chance to put the music out exactly as they envisioned, and the song now finds its proper home on Pronto Records. The package includes the original alongside a set of remixes from some of the most exciting names in underground house.

Dutch producer Frits Wentink delivers a remix in his unmistakable style – raw drum programming, warm analogue textures, and the kind of off kilter groove that has made him one of the most respected names in Europe’s house scene. Mr Ho, co-founder of the cult label Klasse Wrecks, adds his own twist with a version that nods to classic rave and electro energy, while keeping things firmly locked for the dancefloor. Finally, LA based duo Too Easy bring a mysterious touch, layering live instrumentation with electronic drive, showing why they’re quickly becoming ones to watch.

With its story of creative independence, heavyweight remixers, and the credibility of two deeplyrespected artists at the helm, “Better Man” is both a club record and a statement of intent for what Nomadic’s represents.

2026 Repress

Al Kent needs no introduction when it comes to being one the most prolific kings of disco in the UK. He reimagines hidden treasure and takes inspiration from the glory days of 70’s dancefloor nuggets to create modern day classics. Come Back Home (Again) is probably his most popular track to date and here he re-works it with his Disco Love Orchestra updating this disco gem for a new generation. A Philly style musical sound-bed with hooks galore topped by one of the most rousing, soulful male vocals you’ll hear in a long time.

Repress 2026

NEOCLASH is DJ Hell's new work.
The Electroclash of the early 2000s is reconstructed here, its characteristic codes extracted and reshaped into a modern, reflective form.
NEOCLASH is a cultural experiment - music as a medium of reflection, a structure for space and time, and a vehicle for exploring the tensions between technology, the body, and perception.
Electroclash now - or a manifesto for the aesthetic relevance of electronic club music, combining strong old-school references with a new understanding.
DJ Hell, a.k.a. Helmut Josef Geier, delivers a contemporary reinterpretation of the Electroclash genre.
International Deejay Gigolo Records was the pulse of the movement 25 years ago - and Hell, its very namesake. Godfather of Electroclash reloaded.
25 years and many milestones later, DJ Hell returns to his roots with NEOCLASH, proving that Electroclash in 2025 can sound not nostalgic, but forward-thinking and visionary.
NEOCLASH builds a bridge between past and present within electronic dance culture and club music.
Italo Disco, New Wave, Indie Dance, Disco, Pop, Chicago House, Acid, Detroit Techno, and Avantgarde Music merge here into a bold new interpretation.