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The long-standing collaboration between influential NYC DJ Eli Escobar and critically acclaimed singer-songwriter Nomi Ruiz has produced a collection of timeless club gems. Now after years of featuring on one another’s records, they launch their latest joint project Eli & Nomi, revealing their first production as a duo, ‘Dance 4 Love ‘99’ on Classic Music Company. As they continue to work away in the studio on their full-length LP, this 12” delivery debuts Eli & Nomi’s funk-laden, disco infused style with this glorious ode to the dancefloor. The release also features ‘Dub 4 Love ‘99’ for those in search of something a little deeper and club-focused.

Carlos Benedetti, a Colombian house producer and live performer from Cali, has steadily become one of the standout names in today’s underground dance scene. Following multiple vinyl releases on the acclaimed German label Disco Disco, Benedetti’s productions have earned widespread praise and support from respected figures including deep house icon Cinthie.

Specialists, selectors and collectors alike have described his records with comments such as:
“fabulous 12-inch”
“This is the most wild dance record to come out this year so far”
“Cannot formulate the words to capture how this one sounds and makes me feel”
“Listen close and behold.”

With this latest EP for SUPREME STRIKER, Benedetti once again delivers a collection that feels destined to become a future underground classic.
The record opens with Nostalgia Blues, a soulful and deeply textured piece channeling the spirit of Larry Levan’s legendary dancefloor energy, somewhere between disco’s emotional golden age and modern club functionality.
On Bellavista, Benedetti dives deeper into high-energy territory, layering powerful black grooves, hypnotic rhythmic tension and rich percussive movement into something both vibrant and timeless.
Pyramid follows with soaring arpeggios and delicate melodic flourishes, recalling the euphoric sophistication of Todd Terje at his most inspired, while maintaining Benedetti’s raw dancefloor sensibility.
Closing track How High The Moon nods toward Patrick Cowley’s pioneering synth work, injecting the EP with cosmic disco pressure, futuristic funk textures and a strange late-night sensuality.

More than a simple collection of tracks, the EP unfolds as a fully coherent journey through house, disco, Italo and high-energy mutations, balancing emotional depth, machine-driven grooves and timeless dancefloor instinct with remarkable naturality.

Nu Vision is the latest project of Duke Cooper, band leader and label boss of Nation, Kode and DirtyBlends. There are three humans who make up Nu Vision, and they all have their own stories and discographies, records released on labels you might know, gigs played in Chicago or Berlin or someone’s loft, lives lived, friends made, sleep lost - fighting for theirart, standing by truths, defending voices, honoring progenitors, whilst pushing a new paradigm. Time is both fleeting and heavy for us all, but it is not without receipts.

Nu Vision is a band in the classic do-you-believe-in-alchemy sense - equal parts rhythm, damage, and deep feeling. Drenched in nostalgia and futurism, The Seed is a singularity of sound + vision; as if heavily rotated by VJ Dave Kendall on MTV’s 120 Minutes but materialized via today’s technology.

The Seed 10 inch provides additional music inspired significant icons Section 25, Liaisons Dangeruses and Adrian Sherwood having paved the way with their prior successes..- this package of The Seed is no freshman effort; but rather, a masterclass in continuing sonic education, delivering a unified experience from beginning to end. A NU VISION.

The Seed 10 inch provides additional music inspired significant icon band: Section 25 from the period of 1981-1984 with a more electronic-dance direction, process which culminated in the album ' From the Hip ' and remix single "Looking From A Hilltop", both released in 1984 as "Insecure Man is about being true to manhood with Robert Lane leading the charge with his vocabulary message of the current state of society.

Insecure Dub focuses on the period of 1981-1984 with an alternative electronic-dance direction process as an inspired blueprint from Nu Vision inspired from Adrian Sherwood having paved the way with his individual success.

Inspired from electrifying songs produced by Chrislo Haas (DAF) and Beate Bartel (Mania D. / Matador) reinforced by Krishna Goineau’s French and Spanish Speech-Attack-Lyrics Liaisons Dangereuses created a unique style anything other than a Berlin or Düsseldorf ‘thing’ – that was propelled to an international underground phenomenon of fame.

Nu VIsion was inspired to create a blueprint from the period of their productions of 1981-1982 with an electronic-dance direction paying homage with passionate craftsmanship utilizing what equipment was possible in the studio at the time of this recording featuring new members; Zoe Murphy & Fletch The Stranger on vocals and James Chazz on Saxaphone with a Ring Modulator.

Crafting another beautiful experience in sensorial delight, fleet.dreams returns to Vinezza with the label’s 3rd offering “A Voice Without Color” - born from an ever-deepening practice of groove-powered depth tech melded with realms of dubwise kineticism, enchanted cognition, and expressive, dreamlike synthesis.

“A Voice Without Color” finds fleet.dreams’ music in its most rave-activated mode yet, crafting 4 pieces of infinitely mixable spectral matter - all part of their own universe beckoning to be heard under the glow of stars in the night sky, or floating amidst the mesmerizing fog & lights pumping out of the system on your favorite dancefloor.

Awash in kaleidoscopic splendor and psychedelic intrigue, “A Voice Without Color” finds kinship in everything from the best of expansive dancefloor kineticism, time dilated wonder, and the vivid reverbations of the natural world floating in the mix. At once quintessential, contemporary, and ubiquitous is fleet.dreams’ own remarkable production technique, each track unfurling in seemingly endless swells of simmering rhythm and hypnotizing atmospherics - new memories of circadian entrancement in their molten essence, designed to blissfully guide you deeper and deeper towards the primordial exhilaration of movement. Undulating with vivid pulsations and clarion calls for the hips and mind echoing across a spiraling gyre, the sprawling waltz of “A Voice Without Color” glides through dazzling chroma and effulgent radiance greater than the sum of its parts.

Painting with bold, prismatic strokes of iridescent friction amidst the listless gray of our increasingly dispassionate timeline, fleet.dreams delivers another EP of style, substance, and vision for the dancers and DJs alike - a future classic of a possible world ready to be activated together.

*words by Kiernan Laveaux

Early support from: Kiernan Laveaux, Daniel Rincón (NAP), Scott Zacharias & Amelia Holt

A Modern Revisit to a Cult Classic: A fresh "Twentysix Mix" of the 2016 underground staple In Your Body, updated for 2026 dancefloors with contemporary BPM and sharp remaster.

Ten years after defining the early sound of his own label, Berlin-based electronic explorer Cosmin TRG revisits a cornerstone of his discography. In Your Body (Twentysix Mix) sees the Romanian-born producer breathe new life into the 2016 underground anthem that helped cement the Sportiv label's reputation for high-end, functional techno.

This updated iteration retains the propulsive, hypnotic spirit of the original while sharpening the edges for a contemporary club environment. The package is rounded out by the driving, industrial-tinged cuts "Erodat" and "Iradiat," plus an exclusive digital remix by mysterious newcomers TRYL. Delivered as a classic hand-stamped white label, this release continues the Sportiv tradition of marrying stripped-back, high-impact club aesthetics with meticulous sound design.

Influential UK Jazz/Funk/Disco outfit THE COOL-NOTES' biggest hit 'Spend The Night', originally released in 1985, is back on Dafia Records with a set of brand new, never before released remixes by French Disco icon DIMITRI FROM PARIS.

The original, which reached #11 in the UK Top 40 in the Spring of 1985, is regarded as a mid-tempo UK classic by many since its first appearance. Known for his luxurious, groove-driven productions and remixes, Dimitri From Paris has reworked tracks for artists including Björk, Quincy Jones, Chic and New Order, while helping define the sound of modern disco and house music in a way only he can.

When he got the chance by Dafia label head Mannix to get his hands on the original multitrack tapes, he didn't hesitate to deliver two classic DFP revisions in the making. His Main version leaves all the essential elements of the timeless Original, highlights the parts that have deserved more exposure whilst adding crisp beats and nice effects to the game. The result is a greatly updated version that surely will have many fans within the Soul/Funk/Disco scene.

On his Dub Dimitri Form Paris delivers a spaced out stripped back version with great use of vocal snippets to great effect on any dancefloor.

Brownswood Recordings presents Brownswood Remix Editions 010: SAMURAI Edits, a new 12-inch/digital release that reboots a much-loved classic from the early 2000s for a new generation of dancefloors.

At the centre of the release is “Samurai”, originally released on 12-inch in 2003 as the B-side to Jazztronik’s ‘Dance With Me’. More than two decades later, the track remains a cult favourite within the jazz, broken beat and dance music continuum, it’s a record that helped bridge the worlds of Japanese nu jazz and the bruk scene emerging from West London in the early noughties.

For collectors, the timing is particularly apt: the original 2003 12-inch has become increasingly sought after, with copies commanding significant prices on the secondary market. SAMURAI Edits offers a new way into a record that has long circulated among DJs and collectors, and a chance for a new generation to discover these incredible edits as well as the iconic originals.

For the label's latest, Oath is proud to present 'Honey Tangerine', the newest mini-album from producer extortionaire Olsvangèr, who serves up his signature blend of hyper-kinetic, ever-shifting dance music.

Olsvangèr's sound and musical journey are forever rooted in the liminal spaces that make up the broad-reaching and ever-shifting electronic music landscape, with his records consistently channeling that in-betweenness that imprints lasting impressions. A classically trained musician with a profound passion for house and techno, Olsvangèr's sonic palette is one of both broad and delicate brush strokes, applying an array of compelling motifs within amorphous arrangements that blend and blur perspectives. His records seek out the faraway fringes as much as focusing on the intensity found in the detail, creating cavernous soundscapes that are impeccably tuned and effortlessly free-flowing. Seemingly genreless, his records are anchored in all that is known and loved, yet due to the music's perspective situated at the intersectionality of electronica, a beautiful anticipation resides within every stanza of his tracks at what may come next. His musical language has found him releasing on the likes of Kalahari Oyster Cult, Hooj Choons and Craigie Knowes, and follows through within his imprint Tofistock, which has been pushing some of the most forward-thinking dance music of recent times.

'Honey Tangerine' touches upon the classic motifs of Olsvangèr's sound, and as always, the room for growth within the record's parameters remains truly endless. Over six tracks, Olsvangèr lays bare the directions of travel, with paths unravelling that feel well trodden yet with some that branch out towards new horizons. 'Source of Thought' opens up proceedings with a captivating ambience, where twinkling hues and lively tones paint the parameters of sound. The chuggy breaks that land deep within the mix drop in and out of view, allowing a deft balance between pure ambiance and rhythm to exchange dialogue between one another. 'In a Nutshell' shifts gears in atmosphere and energy, with all eyes placed upon the club. The shifting rhythm section lifts the acidic melodic features up above, with driving bass notes and a euphoric vocal like lead linking the depths to the heavens. 'Tulpa Nine' swings into heads-down territory, where the drums swing slow and the throbbing bass hits heavy. The auto-tune vocal line up above creates an atmosphere of hazy, smoke-filled rooms, where the party yearns for downtime in anticipation of the next shift in energy.

'Sunrise on the Lips' gives over further chill out room vibrations, where the lights remain low, and smiles reside all around. The enriching drums provide the basis for sitars and glossy keys to glide across the top ends, with the mind invited to dip deep within this enthralling ensemble. 'Zoom It Out' provides the release into the room, with the ante upped. A breaky house leaning number, this cut grooves through its chiming melodic section and groove-laden bass line, with the polyrhythmic drumming pattern doing much to keep the energy residing very high indeed. The record is wrapped up with 'Some Air', which gives over one final jaunt through the airy, slowed-down slipstreams. A wondrous beat is complemented by melodic elements that chime, absorb and quiver, glowing through the night with such charm and feel. An engrossing composition that demonstrates what Olsvangèr is all about - a crafter of sound, where adventure is sought and found, never wavering but curating new connections, feelings, and tones, with an eye on what might come next.

Whether softly undulating or boundlessly expressive, Olsvangèr's music remains a beautiful enigma that serves up both the glorious knowns and the captivating unknowns - 'Honey Tangerine' is yet another chapter in his glorious discography.

Carl Cox drags Renegade Soundwave’s “The Phantom” back onto the dancefloor with a fierce, high-pressure rewire built for peak-time systems. Running at 130BPM, the mix combines pounding techno kicks, snapping breakbeats and metallic percussion with dark, rolling bass and flashes of rave-era synth energy. Chopped vocal chants and distorted samples cut through the rhythm, steadily increasing the tension before the track erupts into a relentless, warehouse-sized groove. Raw, physical and deliberately uncompromising, it preserves the original’s rebellious industrial spirit while giving it the weight, momentum and modern production power of a full-blooded Carl Cox club weapon.

Mr C breaks into Renegade Soundwave’s “Probably a Robbery” and escapes with a hypnotic, acid-soaked rewire designed for the darker reaches of the dancefloor. Opening with clipped percussion and shadowy vocal fragments, the track gradually locks into a muscular groove as a snarling 303 line twists, bubbles and mutates across the mix. Layers of machine-funk rhythm, metallic drums and psychedelic electronics steadily intensify, creating a raw tension that rarely lets up. Spacious enough to draw DJs deep into the journey but relentlessly physical when it hits full force, this is classic British electronic mischief rebuilt as a tripped-out, late-night acid workout.

GRAMMY® Award-winning reggae icon Buju Banton returns to familiar ground with renewed purpose, setting the tone for a bold new era. Officially reunited with longtime partner VP Records, this full-circle moment reconnects one of Jamaica’s most influential voices with the label that helped define a pivotal chapter of his career. “Butterflies” serves as the first offering from his upcoming al bum, arriving Summer 2026. Produced by internationally acclaimed hitmaker Supa Dups (Rihanna, Drake, Bruno Mars), the track delivers a vibrant, feel-good sound anchored on a re-lick of the ‘Answer rhythm.’ Buju’s unmistakable cadence glides effortlessly across the track, blending classic dancehall energy with a modern sonic edge. The single exemplifies a confident return, one that bridges legacy with evolution while reintroducing the essence of dancehall to a new generation!

Pleasurewood return with 'Electric Telepathy', their second full-length LP offering Simla Space Funk, Psych-Library and Vintage-Cinematic Raga-Rock grooves.

This new offering from the band embraces more of their vintage Hindi Cinema soundtrack influences — "Chump Change", "The Hoverfly" and "RAMMM" could easily fit into the middle of an R.D. Burman score, each with their incongruous synthesis of different genres, infectious percussion, classical modes and funk chops.

There is also a slight sweep across a too-slow-to-disco tempo and feel with the moody Johnny Guitar Watson-esque slow burn of "Good Falcon" up to the nonchalant four-to-the-floor of "Last Dance Saloon" with its lyrical warning of digital over-saturation in our social-media saturated world and a foreboding of the mini-monoliths sat in the palms of our hands that in a Kubrickian way threaten to cosmically absorb us all as a species into their individual jet-black abysses.

And then, coming into focus like a sweet slice of disjointed, lo-fi, 8 bit space disco, "Mojave Desert" is a slacker-strut with telephone vocals dub guitars, dry cosmic synths and futurist Farfisa organ driven by an almost Acid-Jazz meets Post-Punk Bass line. The song is autobiographical in its account of an excursion along the 29 Palms Highway reflecting on an escape from the City of Angels not so far away, up into the stark psychedelic desert realm.

There is a lot to unpack in this record and yet more to discover so it will be best to allocate 40 minutes in a comfortable dimly-lit room with eyes closed and maybe a cognac in hand, to have a deep-dive into its well-travelled and esoterically funky grooves.

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

Across the past decade, KAS has established herself as a unique voice in experimental electronic music, a composer and synthesist whose work dissolves the boundaries between ambient electronica, contemporary classical, composition, and immersive sound design. Her new album “Ruin: It’s Not Just Music” arrives with a distinctive gravitational pull. The record moves with greater physical force, placing rhythm and impact at the centre of its architecture, revealing a more confrontational and embodied dimension of KAS’s musical language.
The first single “Ruin” arrives May 22nd, with the full album released October 2nd via SOMEONE SPECIAL the new label co-founded by KAS.
Where much of KAS’s earlier work explored harmonic environments, the forthcoming album is built around tension and release. Inspired by the sound of drum and bass, breakbeats fracture through dense fields of synthesis, percussive patterns and her signature melodic fragments – motions that feel closer to the kinetic language of club music than the meditative spaces often associated with her past catalogue. The result is a body of work that feels both recognisably hers and newly charged, music that moves through the body as insistently as it engages the mind.
For listeners who first encountered KAS through the glowing synthesis of “Ears” (2016) or the intricate experimental pop of “The Kid” (2017), this direction may feel initially surprising, yet the shift has been quietly unfolding across the past several years. KAS’s practice has steadily expanded beyond the expectations placed upon experimental electronic artists, moving between orchestral composition, audiovisual installations, film scoring, and large-scale commissions while retaining the unmistakable sonic signature that defines her work.
The 2022 albums “I Could Be Your Dog / I Could Be Your Moon” (2022) and “Let’s Turn It Into Sound” (2022) explored a deeply immersive approach to composition, expanded her reputation and instinct for constructing detailed sonic ecosystems while continuing to blur the lines between experimental electronics and contemporary pop structures. KAS’s most recent output has continued to widen that field including the rhythm oriented electronic album “Gush” (2025) and her return to more orchestral roots with “Thoughts on the Future” (2025). Together these releases underscored the breadth of her practice.
Her prolific collaborators and creative partners have ranged from Patti Smith and Suzanne Ciani to Danny Elfman, Tycho, Glass Beams, RY X, Caribou, Four Tet, Reggie Watts, and Max Richter, while her compositions have appeared in projects with Apple, Chanel, Meow Wolf, the BBC Orchestra, and major film and television productions.
On “Ruin: It’s Not Just Music”, that vocabulary becomes more kinetic than ever before. The record draws energy from jungle, drum and bass, and dance-floor focused electronic music while retaining the intricate synthesis and tonal curiosity that have defined KAS’s work from the beginning. The result is a record that feels equally at home within club culture, contemporary composition, and the experimental spaces that have long championed her artistry.
On May 27th KAS will present a major performance at London’s Barbican Centre alongside the London Contemporary Orchestra, marking the ten-year anniversary of her landmark album Ears. The evening will trace the arc of her creative evolution while also introducing material from the new album.

Loveface are back once again with four more dancefloor ready edits. Starting things off is a Unique Dancefloor Rework of 80’s Post Punk Classic. Following on from that is a Complete remodel 0f 90’s alternative dance/rock hit. Now flipping over to the B side is a House groove with sensual monologue diva vocal. Last but not least we are treated to an Uplifting 90’s flavoured italo house/garage vibe track.

Frequency of Love, out ​October 2nd, marks a new chapter for Victoria Monét - timeless, elevated, and utterly commanding. Weaving R&B with the romance of classic cinema and the energy of the dance floor, the album is a sensory experience that speaks to love, vibration, and the full breadth of who Victoria is as an artist. Victoria Monét is a multi-hyphenate superstar and 3x Grammy Award winner whose debut album JAGUAR II made her one of the most celebrated artists of her generation - earning seven Grammy nominations, placement on Best of 2023 lists from Barack Obama, Jay-Z, Rolling Stone, TIME, and Vogue, and praise from Beyoncé, Janet Jackson, Bruno Mars, and more.

Battlefield sees No Ice Cream Sound knock on the door of the real foundations of Roots Reggae and Dancehall culture with a heavyweight, riddim-focused multi-vocalist release.

The release perfectly balances a bold and fresh contemporary sound while retaining the spirit; energy and rawness of the classic riddims we all know and love. Battlefield creates a sturdy platform for the carefully curated selection of vocalists to showcase their respective styles and patterns.

At the heart of the release is a unique vocal link-up that reflects the ever-growing globalisation of the Reggae Sound-system culture. Each of the men behind the microphones invites us to embark on a journey; connecting the dots on the map that represent the places they call home. We start in The South West of England and track across country to Southend-on-Sea; from here we make the mission all the way down to Madrid before taking a bearing on the North Star to guide us over hills and valleys to Scotland.

Where the riddim creates a constant, the vocals provide variety. Made by design the track allows them a spacious environment for the individual styles and messages to come across with precision and clarity.

Hailing from different backgrounds; accents of different origins, insights and perspectives drawn from their own stories all come together over one sound. This could be seen as an analogy of the ethos and motivation behind Reggae music itself. Reggae music as a genre tells the same story, Reggae artists tell their version of the story. Via this timeless format we are always building on the teachings of yesteryear while simultaneously learning something new. The gift that will forever more continue to give!

Duality makes his debut on Up Ya Archives with a single rooted in the foundations of 90s jungle but shaped distinctly by contemporary sound design, epitomising his unique take on modern junglism. Intricate breakbeats and classic jungle textures are anchored by weighty 808s that guide the flow of the track, while influences from footwork, hardcore and drum & bass sets the track firmly into the space of progressive junglism. When asked on the single, Duality said

“R U Mine is the lead single from my latest project, Brainstorm. It balances luscious pads and playful synth lines with relentless drum breaks and 808s. Topped with ethereal vocals, this is one to open a set with or close out the night”.

A rising star in Bristol’s underground dance scene, Duality is staking a claim within the new wave of jungle.

“‘Brainstorm’ is exactly what the name suggests. A glimpse into the ideas that occur in my brain as a producer. Each track is a different element of my jungle inspirations, from raregroove sample-based production to 4x4 rave stabs. Ready and waiting for the dancefloor!”

Aside from his own productions, he also runs Bristol-based record label and events crew Intaception, which has hosted parties across the UK with iconic figures including Source Direct, Tim Reaper, Double O, and many more. Moving fluidly across production, promotion and musical direction, Duality continues to push the sound and culture of contemporary junglism forward.

Second chapter in the Alkaline series. Five electro cuts and one techno excursion, crafted by two artists with decades of dedication to electronic music.

On Side A, Raakel Bloody Raakel brings decades of discipline and formal training into a sharp, uncompromising sound. Active since the late 90s and rooted in both classical education and underground culture, his work reflects precision, intensity and structural control.

On Side B, Roi delivers three focused electro pieces forged through years of experimentation and dancefloor experience. His approach blends coherence, tension and forward motion, driven by a continuous commitment to evolving the language of electronic music.

Two trajectories. One alkaline framework. Built for those who understand the craft.

Cosmic Tribe · Research & Development in Sound.

Baxter Dury’s eighth album, 'Allbarone', seemed to be done and dusted after release last autumn, yet super-producer Paul Epworth (Adele, U2) decided it was a good idea to work on extensions of five of tracks from the album. Not just extensions - full on electro-disco mixes that take tracks apart from the edges and reorder them into relentless dance floor tools built to perfectly soundtrack the small hours.

Each track finds a groove and takes its journey right through the middle of the original track, to create classic 12" extended remixes, adding a whole load of echoing dub over flickering percussion tracks, madly addictive basslines and gloriously languid disco rhythm tracks. From 'Kubla Khan’s hefty low-end groove to 'Alpha Dog’s deconstructed nightclub dub via 'Schadenfreude’s Eurodisco bass and fizzing hi-hat pulse, Paul Epworth’s phenomenal new mixes lift Baxter’s tracks up to another level.

Gigi D’Agostino and Molella, two icons of Italian dance
music whose names need no introduction, revisit two
timeless classics of Italian pop. Presented together for the
first time ever on a single vinyl release

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

Rakete returns with its fourth release from Minneapolis-based producer and DJ, Baher.

The Cairo-raised artist has spent years carving out club-focused hardware-driven sounds that drift between different shades of techno, house, and the spaces in between, drawing inspiration from old school rhythms, underground culture and distant memories.

The artist’s debut EP on Rakete, Fragments, is a reflection of those moments. From the desert winds of Cairo to the intimate warehouse raves of Minneapolis, each track from the founder of Rakete carries an emotional imprint and raw energy onto the dancefloor, shaped by the artist’s diverse and wide-reaching influences that feel distant yet familiar.

Fragments EP is the founder's first complete body of work stitched together with precision through classic drum machines and old school synthesizers. Music full of soul, movement, and energy, made for the dance floor.

RKT04 release

Tooloop Records celebrates its tenth release with "Orbis EP", a four-tracker from label affiliate Stab9. The record captures a moment of evolution in both Stab9’s sound and the label’s sonic identity, reflecting a broader vision of the Tooloop universe through expanded arrangements, deeper exploration and a more immersive presentation.

Opening the EP, ‘Source’ establishes its atmosphere through a constantly evolving arrangement, moving through several distinct phases while maintaining a sense of fluid progression. Carefully shifting textures, unexpected bass changes and subtle variations in dynamics reveal new details with each turn. Title track ‘Orbis’ shifts the EP towards warmer tones, built around classic house-inspired sounds, melancholic pads and polyrhythmic bass movement. Its rolling low-end and intricate percussion subtly tilt the track towards techno territory, reflecting the circular motion suggested by the track’s title. ‘Beastro’ gradually ascends through a restrained growling bassline and fractured hi-hats, dropping into an engine-cut moment in the middle of the track - a brief suspension before the groove returns, pulling the track back into motion. ‘True Story’ unfolds through a walking bassline, intricate hi-hats and smeared percussion, creating a sense of movement through a world of morphing textures and atmospheres. Its restrained melody embraces the idea of “less is more”, closing the EP with the bittersweet beauty of mono no aware.

With "Orbis EP", Stab9 presents a deeply personal approach to electronic music, where detailed studio craftsmanship meets the physical energy of the dancefloor - the label completing one full turn, and opening the next.

‘Va Va Voom’ – “Turbo-driven melodies and bittersweet vignettes”, The Times – was the debut album from Cinerama but, of course, not the debut from the band’s protagonist – David Gedge. Originally released in 1998, it was David’s first musical project outside of The Wedding Present, who, by then, had released five albums and established themselves as one of the UK’s most uncompromising and influential indie rock bands.

To be released in three formats, this celebratory re-imagining of ‘Va Va Voom’ sees David revisiting that remarkable debut. The Deluxe Edition consists of two coloured vinyl LPs and two CDs containing both a full studio re-recording of the original album together with a live recording of the album from August 2023, which can also be viewed on an accompanying DVD. A Double CD + DVD set contains both these recordings, along with the aforementioned DVD, while a Picture Disc also features the studio re-recording. All sets boast stunning new artwork.“In 1997, I took a break from being in The Wedding Present and began exploring the idea of writing songs on my own at home, using the new technology that had recently become available. That gave me the freedom to explore writing in the style of different kinds of music, such as the classic pop records of the 1960s and 1970s and the work of film composers like John Barry and Ennio Morricone. I used samplers and sequencers for the demos and session musicians in the studio, so there wasn’t a Cinerama ‘band’, as such, until we started playing live after ‘Va Va Voom’ had been released. Last year I decided to mark the 25th anniversary of that release by playing the album in full at my annual Brighton festival, ‘At The Edge Of The Sea’. I was struck by how different ‘Va Va Voom’ sounded, being played by a live band as opposed to those studio session musicians – there’s more vibrancy and energy – so I decided to re-record it!” - David Gedge

Djrum's first release since 2019, the Meaning’s Edge EP is an introduction to a whole new world. For the artist also known as Felix Manuel, it was created in the final stretches of six rather traumatic years work. Having carefully honed his techniques and aesthetics, and learned some hard-won emotional lessons over this time, finally he began to work in a quicker, lighter fashion – and to cleanse his palate a little by bringing in a fresh ingredient: his own flute playing. For listeners, though, it will serve as an appetiser, a way into the delights and complexities of this new phase of his creativity.

It’s a serious work in its own right, mind. The use of flutes – including Bansuri, Shakuhatchi, Western Classical, and synthesised all blending and blurring into one another – gives it a coherence and a sense of airiness that unites the five tracks over half an hour, however divergent their beats get. And as in all his music, Felix’s whole life is in here. Ethnomusicology studies, untold hours of DJing everywhere from the gnarliest squat raves to the most rarefied deep house clubs, explorations of his own neurological and emotional makeup, and the technical finesse of someone who is never not creating music or art, all roll into an experience that’s dazzling, delightful and keeps on giving.

Just the opening track ‘Codex’ alone touches on OG dubstep, Aphex Twin-like braindance, post-classical exploration, movie themes and more. The gentle tones and melodies that rise up out of it perfectly conjure Felix’s running theme of a protective bubble that provides a sense of safety and tranquillity even as the beats and acid gurgles and spurts all around it conjure up the slings and arrows of life’s difficulties.

The tone set, the EP moves through ultra-rarefied glass-like percussion in an almost ambient setting, hints of grime’s counterintuitive patterns, and even more hectic patterns influenced by Tanzania’s hyperspeed singeli style of dance music – but always with that perfect balance of chaos and control, unpredictability and protection. It rewards playing and replaying endlessly, it’s a profound and often joyous experience… and it’s only just the beginning. This is the return of a master craftsperson more focused than ever on his vision and vocation and ready to blow your mind all over again.

Mastered and cut on 140g black vinyl by legendary mastering engineer Matt Colton at Metropolis Studios, London. Pressed at optimal media, Germany.

Dez Andrés, Detroit’s underground legend and genre-blurring maestro is back with another batch of reworked old skool bangers.

Since the late '90s, Dez has built a respectable catalog that blurs the boundaries between genres. One of motor city’s most prolific artists, his music can be summed up in one word: quality. Now he returns to DFM with a two-sided heater.


Dez flips Odyssey’s classic Native New Yorker into a gritty dembow style club weapon. With iconic vocal lines and signature piano riff, Dez injects his signature bounce and percussive punch, turning this disco anthem into a raw dancefloor destroyer.
Diving deeper, Dez revives Dr. Buzzard's Original Savannah Band’s classic Sun Showers, transforming it into a rhythmic, power groove tailor-made for sweaty basements, rooftop sets and smoke filled dance floors on red-lit nights that refuse to end.

Yore Records proudly welcomes back DJ Alone Again from NYC for a second journey into timeless House aesthetics.

Across four cuts, DJ Alone Again moves effortlessly between raw, uplifting New York energy and deeper late-night moods. From classic swinging drums, dusty stabs and peak-time pressure to warm chords and smoother hypnotic grooves, this EP captures different shades of the unmistakable 90s house spirit.

Stripped-back, soulful and driven by pure dancefloor functionality, these tracks feel both familiar and refreshingly honest — a tribute to the golden era without sounding trapped in the past. A sincere nod to classic underground House Music and another statement by yours truly YORE RECORDS.

Breakbeat Paradise Recordings returns with another heavy dose of raw funk and breakbeat pressure in the ever-growing Toxic Funk series – this time bringing together two seasoned groove specialists: The Fritz & Funkanizer. On Toxic Funk Vol. 21 the duo delivers two party-starting cuts packed with vintage breaks, heavyweight basslines and undeniable dancefloor energy.

Opening the A-side, Big Crush rolls in with chunky drums, infectious funk guitars and a soulful groove that feels tailor-made for packed club floors and sweaty late-night sessions. Flipping over to the B-side, Respect 900 turns up the heat with crisp breaks, old-school attitude and a driving funk workout loaded with signature Toxic Funk flavor. Both tracks blend classic funk roots with modern breakbeat production, perfectly capturing the spirit of the series.

With Toxic Funk Vol. 21, The Fritz & Funkanizer continue the tradition of delivering timeless DJ weapons for funk heads, breakbeat lovers and vinyl collectors alike. Another essential 7-inch release from Breakbeat Paradise Recordings, guaranteed to keep the grooves spinning and the dancefloor moving.

Limited Edition ( 300 )

Heavy 180g Vinyl & Download Token Inside & Hype Sticker.

Full Colour Inners & Contextual Images
Curated & Sleevenotes By John Kertland Of CTR (English & French)

France-the 1980s. A local radio and studio system almost unsurpassed in Europe - add brilliantly inventive labels and producers with a sense of fun & adventure & the result ?

A golden age of Synth-Pop – Post-Disco..inventing the future ..celebrating the chanson of the past. Updating that for a new generation & a new dancefloor.

Virtually neglected until now - only the heads knowing...

Presented in the classic 45 (Quarante Cinq) 7" format - the way that these great records were produced for the radio and were meant to be heard at that moment..

Now, the "savoir" is yours also.

Hard to find 7"s by elusive artistes...

Glorious vocals ,soaring synths and irresistible basslines it’s all here ..

Bon écoute !

NOW Music is proud to present the newest addition to the ‘Yearbook’ series: NOW – YEARBOOK 1982. 3 LPs of 44 defining tracks that ruled the charts in 1982.
Featuring number 1s, including ‘Eye Of The Tiger’ (Survivor), ‘Ebony And Ivory’ (Paul McCartney), ‘Town Called Malice’ (The Jam), and 1982’s biggest seller ‘Come On Eileen’ from Dexys Midnight Runners.
1982 saw the first huge hits from a wealth of new artists including Culture Club, Wham! and Tears For Fears, as well as an incredible line-up from artists who had established their chart presence in the prior 18 months and would produce some of the greatest tracks of the decade; Duran Duran, Spandau Ballet, ABC, Haircut 100, Soft Cell, The Human League, and a newly solo Adam Ant.
‘Fame’ was the TV phenomenon of the year, and Irene Cara’s theme from the original 1980 film enjoyed massive success.
As ABBA released their last singles for nearly 40 years, pure-pop from Bucks Fizz, Blondie, and Madness is celebrated alongside synth-pop gems from New Order, Simple Minds, Visage and Japan.
Leading artists from the punk scene enjoyed continued and renewed success, including The Stranglers, The Clash and Pretenders, whilst Foreigner, Meat Loaf with Cher, and Steve Miller Band provided radio-favourite rock and power ballads.
1982 saw a huge chart presence for dance music – from the hi-NRG of Boys Town Gang, to the electro-infused beats of Malcolm McLaren, and Rockers Revenge, the 1980’s disco of Shalamar, alongside soul classics from Marvin Gaye and Donna Summer… plus stellar ballads from Elton John, Lionel Richie, and Roxy Music.

Repress !

In 1991 Coil released the third of their early classic full-length albums “Love’s Secret Domain”, seemingly casting aside the gloom and funeral beauty of its predecessors in favour of a painstakingly multi-layered hallucinogenic electronic beast, which unlike some of their fellow ex-industrial contemporaries’ releases of the time wasn’t an attempt at easy accessibility or (the-gods-forbid) danceability, but a vibrating psychedelic masterpiece unrivalled in their discography and still a landmark album. artwork by Steven Stapleton released in co-production with Infinite Fog Prod.

When the first JIM album Love Makes Magic was released in 2023, it was the end product of an experiment that had begun during the strange days of the pandemic. Cooped up in his studio, James Baron started fiddling about with an as-yet unnamed new album idea. It became Vicious Charm’s first LP release. Labelled variously as Balearic, folktronica, blue-eyed soul and Laurel Canyon, Love Makes Magic was perhaps all and none of those things: a record rooted less in Californian mythology than in Baron’s own musical world, somewhere between Sherwood, Nottingham, classic songwriting, electronic soul and the no-nonsense good times that have long run through his work under his other monikers (principally the anagrammatic Ron Basejam and, of course, Crazy P) One thing was indisputable, it connected with people... and still does.

The album was a minor hit, appearing in many a Best of 2023 chart and voted Album of the Year in Bill Brewster’s Furtive 50. A tour and a few memorable festival appearances – his 2024 We Out Here Festival being one of those wonderfully timed ‘moments’ - perfectly captured the horizontal vibes on the album, while injecting some live energy into its delivery. While there was a follow-up remix album for Love Makes Magic, JIM was already preparing a sophomore LP: “I wrote the majority of The Curious Case Of Existence in a couple of months at the beginning of 2024, then it was just a case of making the record over the next couple of years in between everything else.”

Jan Kincl, a Croatian producer, DJ and live performer with releases on BBE Records, Far Out Recordings, Sonar Kollektiv, and Get Physical, returns to his own Cycle Records with "Lights Out", the label's sixth release. Written and produced at Cycle Studio in Zagreb, it arrives in Main and Alternative mixes. The remixes come from Trinidadian Deep, a deep house producer and DJ mentored by Ron Trent, with releases on Neroli, Vision Recordings, Toto and Makin' Moves, as well as his own Native Bush - Many Moods of Music imprint. "An appropriate title. This is definitely a tune you want to hear when you closes your eyes on the dance floor, the vibe gets deep and you the lights go down." - said DJ Kemit. Intergalactic Gary called the record "Deep, atmospheric and emotional", while DJ Lady D summed up the contrast at the heart of the release: "Love the original, gives classic house vibes and TD offers a modern deep take." Early supporters include DJ Deep, Volcov, Ian Friday, DJ Kemit, Intergalactic Gary, Michael Reinboth, DJ Lady D, Bill Brewster (NTS Radio), Iron Curtis, Delfonic, ?me, Rohan Rakhit (Worldwide FM), Laani (Rinse FM / Worldwide FM / Jazz re:freshed) and Sebastian Hampf (ByteFM), among others.

It’s time for Ahad’s biggest move yet: his first full-length album, P*KI. Powerful, deeply personal and unapologetic, the album is rooted in the dancefloor and in Ahad’s belief that club culture is a space where he can “exist completely authentically.” By reclaiming a word he has personally been confronted with, Ahad transforms P*KI (pronounced Pee-Star-Kay-Eye) into a statement of joy, pride, celebration and self-love. The album’s singles capture that spirit: ‘Put That Banger On Next’, featuring London MC Capo Lee, brings a high-voltage grime energy; ‘Make Space’ is a euphoric tribute to the diverse communities who find solace in London nightlife; while ‘Left / Right’, made with Dismantle and Jam-akabi, delivers a dark, futuristic breaks sound built for warehouse dancefloors. Across the record, Ahad’s signature UK club sound is pushed further, with tracks drawing on everything from gqom and drum’n’bass to South Asian classical instruments, Punjabi folk and devotional music such as qawwali.

They say 3 is the magic number so here we are with Part 3 of our 'Back To The Old School' 12" series. Four cuts of the finest Disco-Rap remixes by Dave 'Love' Lee, we start things right off with some uptempo disco in the shape of Eddie Cheeba's " Lookin' Good" with it's clav stabbing & synth jabbing funk, ready to rock any dance floor with it's brilliant part-rapped, part-sung vocal play. Two versions are included of the B-Boys early 80's breakers anthem 'Rock The House'. First up is the breakbeat underpinned 'Magic Funk' mix that utilises one of the funkiest basslines of all time. On the flip the 'Roller Rink' mix is a mid tempo floor filler reprising a much loved 90s r&b jam to great effect. Finishing affairs is the 'Maximus Boogie Mix' of Maximus Three, leaning heavily into the classic disco-rap sound of fat Good Times bass, squelching synths under the bragging raps of TJ Swann and Pee Wee Mel.

2026 Repress

Italian-Iranian DJ/producer Sciahri lays down a deeply hypnotic seven- track EP on return to Mutual Rytm. Heading up the agenda-setting Sublunar label, which is one of Mutual Rytm boss SHDW's personal favourites, Sciahri has been deep in the scene for more than a decade ever since he turned heads with a debut on Ilian Tape in 2014. Well respected for his carefully balanced love of the classic sound with new school influences, always delivering cuts with a refined and personal touch, highlighted and showcased via his widely-loved ‘Pareidolia’ release series. Returning on the label following his appearance on the ‘Federation of Rytm IV’ compilation, he lands with a freshly evolved EP that kicks off with the much hyped ID, ‘Moonwake’. That cut is built on robust, rumbling drums and layered up with flashy synths that bring stark futurism to the dance floor. ‘Liminal’ follows a similar linear path with musical drums and synths that twist and twitch, firing your synapses while your body is locked to the rhythm, before ‘Night Sentinel’ transports you to a more eerie world of anxiousness and tension - the synths are spooky, and the sonar pulses keep you on edge as immersive drums race nonstop. ‘Unmoved’ lands heavy, the bulky kick drums coming on like a storm with howling synth winds adding to the all-consuming atmosphere. ‘Too Much Time’ closes out with a wall-rattling groove and subtle synth motifs that creep in the shadows. As always with the label, digital cuts ‘Silent Frontier’ - which gets dancers on their toes with a backlit synth glow - and ‘Louisiana’ - which brings a more psychedelic energy and hard, hammering groove, rounding out a stylish, meticulously produced offering.

With a sound that draws from the energy of classic disco, touched-up for modern clubs, Kridelka, Chanda & the Passengers come with a scorching contemporary cut that is primed to light up dancefloors this summer - with staying power to become a future dance floor staple.

Music On Vinyl celebrate their 100th 12" release by releasing a classic!

Greece 2000 is a classic international house tune by Dutch progressive trance duo Three Drives. It peaked at number 12 in the United Kingdom and number one on the UK Dance chart.

The original 1997 extended mix defined an era with its hypnotic melody, warm groove, and Balearic vibes.

Vintage Culture deliver a deep, melodic, and emotionally charged club weapon. The Max Styler rework elevates the original theme into a 2026 peak‑time banger. KREAM brings their signature big room future‑progressive sound. The Sebastian Davidson & Melosense remix is a warm, organic, and melodic downtempo mix.

This release celebrates nearly three decades of dance music history.