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We are pleased to announce the first FEX live album, Don't Look Back. The release features selected recordings from two concerts in Paderborn and Uelzen, both captured in 1985. All tracks on the album are previously unissued, including entirely unheard songs such as It's a Hard Life, Just Get Back, Legend, and Waiting Song, alongside a previously unreleased version of Subways of Your Mind, widely known as "The Most Mysterious Song on the Internet."
One of the most striking aspects of the album is the remarkable sound quality of the live recordings, as well as the strength of the performances themselves - particularly given that FEX were still considered a newcomer band at the time. The four-piece lineup consisted of singer, guitarist, and primary songwriter Ture Rückwardt, Michael Hädrich on keyboards and occasional second guitar, Norbert Ziermann on bass, and Hans-Reimer Sievers on drums. In 1985, the band was preparing for broader exposure through a nationwide tour organized by the small promotion company HBM-Musikbüro.
The album opens with the psychedelic Skyscraper, a track Rückwardt reportedly regarded as a personal favorite to perform. Hädrich contributes dynamic synthesizer layers, while Ziermann underpins the track with a distinctive slap bass groove. This is followed by the energetic rock number It's a Hard Life, which once again demonstrates that the band possessed multiple songs capable of matching the impact of their best known track Subways of Your Mind.
After this energetic opening, the album shifts into a more restrained mood with the synth-pop ballad I Got My Eyes On You. It is followed by Strange Feeling, presented here in a particularly compelling live version that arguably surpasses the previously released studio demo featured on the Skyscraper LP, with Rückwardt delivering one of his most expressive vocal performances. On Goldrush, another fan favorite, it is Hädrich's DX7 synthesizer work that stands out.
Don't Look Back continues to flow seamlessly, moving between styles such as new wave, synth pop, and a blues-influenced form of classic rock. On It's Good To Know, a song addressing the theme of stardom, the band returns to a heavier rock sound. In contrast, the synth-driven Just Get Back reflects on the conflict in Northern Ireland, then ongoing at the time. Lines such as "It's the money, it's the money why they come along" are directed at mercenary soldiers, while "even Sunday's a killing time" directly references Sunday Bloody Sunday by U2.
Previously known songs such as Dirty Slapstick and Heart in Danger lead into We Don't Want It No More, perhaps the band's most striking pop ballad. It is easy to imagine that the track had the potential to achieve radio success in the 1980s. The following piece, the epic Legend, explores themes of loneliness and love simultaneously. With poetic and abstract lines such as "some isolate in the falling rain" and "that's why I count all the reasons they call out for living, sadness is falling inside," it builds an almost eerie atmosphere.
One of the final highlights of the album is Subways of Your Mind, recorded in Uelzen. In this version, Rückwardt's vocal performance is even more on point than on the previously issued recording from Paderborn. Another notable moment is the driving, 1970s-inspired rock 'n' roll track Waiting Song. Both the composition and its live performance carry an energy that could easily stand alongside the repertoire of bands such as AC/DC. It was usually the track that FEX ended their concerts with, calling out each band member at the end of the song.
This leads to a broader reflection: it is striking that FEX did not achieve a wider breakthrough at the time. The performances captured here suggest a band capable of delivering consistently, song by song, note by note. It is not difficult to imagine FEX performing in large venues and engaging sizeable audiences. In reality, however, most performances in 1985 took place in front of relatively small crowds. The recordings featured on this album originate from the Roxy club in Paderborn and a small, unknown venue in Uelzen, likely in front of fewer than fifty attendees.
An essential figure behind these recordings is the engineer known only under his nickname Hase (German for "rabbit"), who was responsible for capturing not only these concerts but many other surviving FEX recordings. Bringing his own mixing desk to performances, he developed a deep familiarity with the band's material and was able to shape the live sound with precision, including the timely use of vocal effects. The original recordings existed only on cassette and required careful and extensive restoration work. Zoey Cairs was finally responsible for bringing them to their present quality.
This album marks the beginning of the Live Waves series, following the rediscovery of additional recordings that have gained international attention since November 2024, when they surfaced through what has been described as the largest "lost wave" music search to date. The title of this first live LP Don't Look Back carries a certain paradox. While the album invites listeners to revisit recordings from forty years ago, FEX themselves were always oriented toward the future. In that spirit, further releases of brand new material are already planned.
The cover artwork is once again based on an image by Magnussen from the Kiel archive, depicting the Prinz-Heinrich-Brücke. The bridge, once located in the northern part of the city, no longer exists. As a symbol, however, it remains fitting: a bridge stands for movement and connection - qualities that FEX sought to embody on tour, bringing their music to different places and audiences.

A kickstart without brakes – straight into the heart of the German-speaking rock scene with performances at Rock am Ring, Rock im Park, Lollapalooza, and more. And all of this completely independently – without a label, without a booking agency, without a producer. Because wasting time was never on the agenda for the punk & alternative trio from Frankfurt since their very first performance in May 2023 at the Warsteiner Band Contest, which they won right away. If we ended the band description at this point, everything would sound perfect. But if you take a closer look at the dozen singles that Friends Don't Lie have released in just 18 months, you'll discover a second layer: vulnerable lyrics about self-doubt, fears, and big emotions. At the same time, it becomes clear that the band also takes a political stance. It's about discontent – against racism, resentment, selfishness – against all forms of hatred. Friends Don't Lie are thus becoming the voice of a generation, as we last saw with acts like Kraftklub and Casper. In May 2026, Uncle M Music will release their long-awaited debut album, Zenit der Dramaturgie. Ten German-language rock/punk songs that set the bar extremely high and bridge the gap between Donots and Kraftklub.

Karen Morrison - stage name Bryck Rose formerly known as K Vibes on the Reggae Dancehall scene. Currently a gospel singer, songwriter, poet, and aspiring playwright and one of the younger members from Studio One of Jamaica.

Don Williams, bekannt als „The Gentle Giant“, steht wie kaum ein anderer für die ruhige, zeitlose Seite
der Country-Musik. Mit seiner warmen, unaufgeregten Stimme und einer beeindruckenden Karriere voller
Klassiker hat er Generationen geprägt – Songs wie „Tulsa Time“ oder „It Must Be Love“ sind bis heute
fest im kulturellen Gedächtnis verankert und reichen weit über die Grenzen des Genres hinaus.
Mit Epilogue: The Cellar Tapes erscheint nun eine besondere Sammlung bislang unveröffentlichter Aufnahmen, die einen intimen, fast schon privaten Blick auf sein Schaffen erlaubt. Die Songs tragen diese
unverwechselbare Gelassenheit in sich, die Williams so einzigartig gemacht hat, und fühlen sich gleichzeitig
wie ein leiser, würdevoller Nachklang seiner Karriere an. Ein Album, das weniger laut überzeugen will,
sondern durch seine Ehrlichkeit und Wärme – und genau darin seine größte Stärke findet.

A golden repress for a golden record. Luke Una has been shouting about this one from the rooftops. Declan McDermott on Delusions of Grandeur w/ remixes from I:Cube & Luke’s ‘man of the moment’ DJ Nature, who provides a killer remix on B1 which has been transcending dancefloors far n wide! Buy or cry!!

Der aus Sydney stammende Soul-Revival-Troubadour Don West veröffentlicht das erste Vinyl seiner selbstbetitelten 2024er EP parallel zu ausverkauften Tourneen durch Europa, UK und seinem Heimatland Australien.

Der aus Sydney stammende Soul-Revival-Troubadour Don West – mit knapp 3 Mio. monatlichen Spotify-Hörern - veröffentlicht sein Debütalbum "Give Me All Your Love" parallel zu seinen ausverkauften Tourneen durch Europa, UK und seinem Heimatland Australien. Australiens einziger Spotify Radar Artist für 2025 wurde bereits für die Australian Independent Records Awards in der Kategorie "Beste Soul/R&B-Veröffentlichung" und für den APRA AMCOS Award in der Kategorie "Meistgespieltes Soul/RnB-Werk" nominiert und erreichte Platz 6 der australischen ARIA-Charts.

"Wenn Sie sich ein Gedankenexperiment gewünscht haben, das berauschend sinnliche Soulmusik aus der Blütezeit von Stax und Motown mit dem Charme eines angesagten Frauenschwarms verbindet, dann hat Don West die harte Arbeit für Sie erledigt; er ist die Antwort." – Onestowatch

Some tracks don’t need fixing. They just need a bit more room. South African composer and keyboard wizard Don Laka has been quietly sitting in DJ bags for years, especially with people who like their synth music warm, slightly
mysterious, and impossible to date properly. Somewhere between jazz funk, township pulse and studio electronics, but really just its own thing.
Stages was an obvious candidate for extension. Prins Thomas what he does best here: opens the arrangement, lets the synth lines breathe, stretches the groove until it starts floating a little higher off the ground. Nothing forced, nothing added for
the sake of it. Just more of a very good thing. I Wanna Be Myself gets a gentle nudge from Gerd Janson. The idea was simple: keep the personality, and give DJs a version that lands naturally in a modern set without losing the original charm. It’s still the same track, just standing a bit straighter.
And because the source matters, the original version of “Stages” is here as well. Always good to remember where the magic started. Three versions, no drama. Just strong music that already knew what it was doing.

Neu remasterte Neuauflage auf 180-g-Vinyl von Don Henleys klassischem, mit 6-fach Platin ausgezeichnetem dritten Solo-Studioalbum, erstmals auf 2 LPs. Enthält die Hits „The End of the Innocence“, „The
Last Worthless Evening“, „The Heart of the Matter“ und „New York Minute“.

Don’t rolls into its 25th year of releasing records with this insane 5 track 12” “Swagger Portraits” from one of the most interesting Techno producers out there. L/F/D/M

This is his second outing on the label and as always the message is raucous and confrontational Techno and Acid that penetrates right to the core of what Don’t is all about

To put it simply, he’s an ‘ideas man’ and his tracks are always different, always exciting and always a nice contrast/middle finger up, to the sanitised sample pack culture that seems to be rife in Techno at the moment.

Also included is an edit of ‘We Know’ by label boss Jerome Hill.

AS THE WORLD TURNS is the newly founded label by Rob Manga -- a platform created to channel his distinct sonic identity while cultivating a community rooted in shared energy and expression. The label emerges from a clear intention: to push a personal sound forward while opening space for others to connect, contribute, and evolve alongside it. It is both a statement and an invitation -- a place where sound becomes a meeting point. The first release marks this vision with a four-track EP, weaving together soulful textures, deep atmospheres, and club-driven impact. Each track reflects a different facet of the dancefloor, balancing introspection with movement, and depth with raw energy. With this debut, AS THE WORLD TURNS sets the tone -- not just as a label, but as a growing circle centered around sound, rhythm, and connection.

New album from Dutch indie pop favourites Maureens. Warm, jangly guitar pop filled with rich harmonies and bittersweet melodies. Recorded with producer Frans Hagenaars, Don't Give Up captures the band's timeless sound perfect for fans of Teenage Fanclub, The Go-Betweens, and Real Estate. Maureens craft guitar-driven pop that feels like the soundtrack to a perfect late-summer evening - warm, melodic, and quietly nostalgic. Their songs blend bright, jangling guitars with rich harmonies and a subtle undercurrent of melancholy, creating a timeless sound that feels both classic and unmistakably their own. Formed in the Utrecht music scene, the band now celebrates fifteen years together and five albums deep into their journey. At the heart of Maureens are the songs of singer and guitarist Hendrik-Jan de Wolff, whose love of melody and harmony shapes the band's distinctive sound. For their latest record, Don't Give Up, Maureens reunited with producer Frans Hagenaars, recording much of the album live in a secluded wooden cottage in the Belgian Ardennes, capturing a raw and immediate energy.

French producer Yse Saint Laur'ant is exactly the sort of artist you want to hear from as the sun begins to shine more often. He's a master of escapist, beauty, classy grooves that marry disco and Balearic into pure magic. 'Space Ride' does that on a bubbly groove with a cosmic edge and 'Saint Tropez' brings loose-limbed funk and boho percussion to a Provencal sound. 'Monaco' is bathed in sunlight and made all the more classy with some gorgeous stings and mellifluous chord work then 'Esplanade' shuts down with a dubby, flute-led sound with a whimsical charm. Twenty First release on the much sought after Vinyl Only label.

Michael J. Sheehy has been making records for almost three decades, initially as founder and mouthpiece of mid-"90s cult band Dream City Film Club, then as a solo artist and frontman of rootsy garage rock act Miraculous Mule. He has toured with the likes of Kristin Hersh, Tindersticks, John Cale and Peter Murphy, while his songs have been utilised in films such as "Intimacy" and the TV show "Deadwood". Following a six-year hiatus, Sheehy has just "Don"t We Deserve Some Kind of Love?", his seventh solo album but first for Dimple Discs. "Don"t We Deserve Some Kind Of Love?" features contributions from Fiona Brice (violin), Sandy Mill (backing vocals), Ian Burns (drums) and Patrick McCarthy (guitar). It was recorded at home over a five-year period while Sheehy was a stay-at-home father and working evenings at a bar in Camden, north London.

John Ringhofer, der Mann hinter Half-Canded Cloud, ist ebenso fröhlich und genügsam wie seine Musik. Als sparsamer Mensch zieht Ringhofer die U-Bahn dem Taxi vor, recycelt Plastik, macht sich zwanghaft Notizen und ist ein geborener Optimist. Half-Canded Cloud begann 1999 als Heimstudio-Projekt in Chattanooga, Tennessee. Ringhofer lebte später über ein Jahrzehnt lang in der kalifornischen Bay Area (wo er als Teilzeit-Hausmeister arbeitete), bevor er 2015 mit seiner jungen Familie nach Helsinki, Finnland, zog, um die linguistische Forschung seiner Frau zu unterstützen. Half-Canded Cloud versteht es, komplexe theologische Konzepte in eingängige und erhabene Kinderlieder zu verpacken, die sich weder ihrem Thema noch ihrem Zuhörer herablassend nähern.

Straight from the depths of techno, Lewis Fautzi delivers an intense EP where each track pulls you deeper into a raw, immersive soundscape.

Featuring five tracks that explore deep textures, driving rhythms, and dark atmospheres, "Ghosts Don't Text Me" reinforces his unmistakable signature style.

5 tracks. 1 identity. Pure energy from start to finish.

After years of dormancy, Stilove4music is back with a brand-new 12” from label boss Jerome Derradji — the 52nd release since the label’s creation in 2005. You know the drill: Midwest disco floor bangers made strictly for discerning DJs.

Titled “Do or Don’t”, the EP delivers three essential joints:

“Disco Don’t” is a fast-paced, floor-destroying monster built for peak-time damage.

“Jazz Do” shifts gears into a mellower, psychedelic jazz disco zone, featuring Jerome on live piano, Fender Rhodes, and Korg DV800, with additional programming for good measure.

Closing things out is “Never”, a lovely, groove-heavy floor filler bursting with Brazilian love — again elevated with extra programming from Jerome.

All tracks were produced by Jerome Derradji at the Hirsch Society For Togetherness in Chicago circa 2025.

Frenchman Franck Roger is as consistent as any of the deep house greats we have all loved and appreciated for many years. He returns to Seasons Limited with another EP of perfectly timeless sounds to back that up. Opening up this latest gem is 'Don't Make Me Wait', which is shimmering and candlelit, with wispy pads and aching vocal cries occasionally bursting out of the mix. 'The Number Track' has a more pronounced groove with lumpy kicks and this time neon chords bubble through nicely for zoned-out late-night hypnosis. 'Fast Lane' closes with a more insular and dark feel that takes you back to the early days of Chicago house with a devastating synth conveying great loneliness

The long-awaited reissue of Toba makes it clear, once and for all, to fans and industry insiders that disco music produced in Italy between the late 70s and early 80s had no chance of success. What was disparagingly called "spaghetti disco", considered a poor imitation of real American disco music, only good for Japanese cartoons. This was the main reason that prompted Italians to record their songs abroad, as Fratelli La Bionda with their pseudonym D.D.Sound in Munich. Luigi Figini, with "Supercool" and "Percussion Sundance" by Edo Martin and Pino Santapaga (the same as "Step By Step" by Koxo), claimed that Kash was a one-off Swedish disco project, a lie that came to light when an Italian test pressing from the previous year, made by GDB, was posted !!! Amin-Peck followed the trend of passing off their songs as foreign music on the intuition of their Roman producers. So ''Love Disgrace'' was released on 7'' by a label called Connection, which never really existed, created for the purpose by Giancarlo Meo, confident that this would bring success to the Bolognese duo who were already creating 'proto Italo-Disco tracks' with a new-wave trend. To make the whole operation seem real, the London agency Ellie Jay Ltd. was involved, contacting Andy Fernbach of Jacobs Studios Ltd. The vinyl was also produced in the UK, otherwise the deception would have been discovered, then imported to Italy by Best Record. Italo-Disco was officially born after this, in 1982, not before! Everything makes sense now ! Real events that actually happened and purely invented names and anecdotes. Just think, even the image of Tony Balch used for the cover of Toba was taken from Grand Theft's 1978 album "Have You Seen This Band?" and reproduced on the new redesigned cover, as were the heads of the other musicians. The idea of a real band called Toba had finally come to fruition and would lead to a second sensational success the following year. Now it all makes sense! Facts and anecdotes that really happened and names and circumstances that are purely fictional. Finally, everything adds up! Real things and invented names of musicians and collaborators. It's important to clarify what we've said above, but we haven't talked about "Make Your Mind Up" and "Don't Take It" and the two masterful remixes performed by Dave Mathmos. In short: with the original versions we'll make Italo-Disco purists happy, with the remix versions we'll please new younger followers with more modern sounds and versions more in line with today's tastes and trends.

King Tehuero features four cuts, including two dub versions on the B-side by Don Fe, who also mixed and mastered the entire record.

The record opens with the Guitar Version. Guitar as a lead in sound system culture is far from the norm, giving the track a distinctive edge shaped by Andalusian tones and echoes of ancient Iberian lore.

The remaining cuts strip the guitar away, shifting the focus back to rhythm and low end. On the B-side, both dub versions explore deep, dark territory, with the second pushing further into bass-heavy, dubwise pressure.

[a] a1. King Tehuero [Guitar Version feat. Martincore]

[c] b1. King Tehuero [Don Fe Dub]
[d] b2. King Tehuero [Don Fe Dubwise Cut]

7 Inch Dinked Vinyl in Picture Sleeve

Two seriously high-grade legends come together to mark the 30th anniversary of the cultured Seasons Limited imprint here: Don Carlos is behind one of Balearic house music's most enduring anthems in 'Alone' and Robert Owens has been voicing the genre since the 80s with his signature smoky tones. Here they cook up 'Inspired' in three different forms - there's a deep and soulful House Mix with an electric delivery from Owens, then a chord-laced and warm Classic Mix with a throwback Chicago bassline and finally a Dub Mix that strips everything back to a more breezy late-night sound that sinks you into the groove perfectly.

Third installment in our Bobby Aitken series, featuring long unavailable and previously unreleased works by one of Jamaican music's most elder statesmen. The A-side is the stuff our dreams are made of, previously unreleased melancholy minor key rocksteady, featuring a young Glen Adams on vocals and cut at WIRL where Bobby & The Carib Beats did a lot of work. The B-side is the great "Wonder Music", an upful horns instrumental featuring Val Bennett sitting in with the band, finally back after being long unavailable since it first surfaced in the 1990's.

Pressure Traxx Silver Series welcomes Martinez from Copenhagen with his four track debut.

First instalment from Silk Cuts, essential tracks from the vaults lovingly reworked by this nameless and shameless edits label, on point 7 inch ammunition for any party starter, turntablist or hip hop collector. Highly recommended and only available on limited edition vinyl, more releases to follow….. Silk Cuts indeed

Denver Cuss presents her first 7" single release and her debut with UK independent label LRK Records.

'Crossed My Mind' backed with 'You Don't Get It' is out on streaming services on the 30 January, with the 7" out on the 27th February. It follows her 2024 album 'Leaving Me', which was described as "a nostalgic masterpiece" - Sommer Zeit magazine, earning a feature in Rolling Stone Germany, and a series digital singles, which have been played on the Craig Charles Funk & Soul Show on BB6 Music as well as Noble & Heath's Soho Radio show.

Denver is an Irish, London-based musician and producer, who makes classic R&B and Soul-influenced music, having graduated as the prize-winning jazz vocalist from the London College Of Music. She has since stepped into a world of live and session singing, alongside her solo project, delving deep into girl-group harmony, Northern Soul and classic Rhythm and Blues.

For this release, she captures the essence of '60s record-making, working with collaborator/producer PM Warson and engineer Ed Deegan at the all-analogue Gizzard Recording in East London. Backed by some of London's finest young musicians, she cut her vocal live, bypassing the trend for layered productions and imitation, in favour of a direct, live and soulful approach, direct to tape. The result is two of the most authentic '60s Pop/Soul sides you're likely to hear this year

For the first time EVER on 7" single come two of Don Blackman's most classic tracks from the 1982 album "Don Blackman" for GRP. multi-keyboard wizard Blackman played with the biggest names in fusion music including Lenny White & "Twenny-nine". As a leader and featured recording artist Don's keyboard, vocal and composing talents all came to shine on the debut LP from which these two songs are taken.
Don has toured the world with his band and "The Marcus Miller Band", "The World Saxophone Quartet", with jazz and bassist Tuero Nakamura.. His work on the acoustic piano and other keyboards was recorded on Mary J. Blidge's, "Feel Like A Natural Woman" and Janet Jackson's "That's The Way Love Goes"

Der Mann hinter der Maske, Jonathan Bree, kehrt mit seinem sechsten Studioalbum "Don't Call It Love" zurück. "Don't Call It Love" kommt als Doppelalbum mit 17 Songs und ist ein erotisches Konzeptalbum, das sich mit Sexualität auseinandersetzt und Kollaborationen mit Frauen aus den Bereichen Musik, Film, Fotografie und Tanz enthält. "Don't Call It Love" klingt wie der düstere Soundtrack zu einer versteckten, mit Samt ausgekleideten Bar in einem schummrigen Keller - mal verspielt und verführerisch, mal beunruhigend und provokativ. Brees neue Songs setzen sich mit dem gesamten Spektrum der Sexualität und ihrer emotionalen Last auseinander - ein Album, das sich weigert, wegzuschauen, und sein Herz buchstäblich auf der Zunge trägt. Fans haben diesen neuen Sound bereits mit den düster-nostalgischen Klängen von New Order und Siouxsie & The Banshees verglichen, wobei Brees musikalische Entwicklung über die Jahrzehnte hinweg endlich ihr von den 80ern durchtränktes, melancholisches Ziel erreicht hat: ein melodramatisches Meisterwerk raffinierter Sleaze-Musik. Jonathans charakteristische Orchesterarrangements sind nach wie vor vorhanden und verbinden diesmal eine karge, düster angehauchte Noir-Ästhetik mit filmischer Instrumentierung und seinem grüblerischen Bariton. "Don't Call It Love ist zudem Jonathans bisher kollaborativstes Album, auf dem eine außergewöhnliche internationale Riege von Frauen einige der entscheidenden Momente des Albums mit ihren einzigartigen Stimmen bereichert. Die bei den Fans beliebte Princess Chelsea kehrt für drei beeindruckende Songs zurück ("Live To Dance", "Part Time Love", "Slow"); Neuseelands bestgehütetes Musikgeheimnis Rachel Clarke bewegt sich bei "Savour My Love" von intimer Zurückhaltung zu schwindelerregender Intensität; die französische Fotografin und Künstlerin Eloïse Labarbe-Lafon liefert auf "Chameleon" eine charaktervolle Gesangsdarbietung, die an die Tradition von Jane Birkin anknüpft; während die französische Musikerin und Schauspielerin Adah Dylan auf dem Titeltrack zu hören ist und den Leadgesang mit direkter, schnörkelloser Klarheit trägt: "don't call it love_ when we fuck." Für einen Künstler, der bereits sechs Alben veröffentlicht hat, gibt es hier eine Reihe von Premieren - sein erstes Doppelalbum, sein gitarrenlastigstes Album, sein kollaborativstes und sein bisher kompromisslosestes konzeptionelles Werk. Es wird nicht jedem gefallen, und es ist klar, dass Bree kein Interesse daran hat, es abzuschwächen. Wie er es ausdrückt: "Als ich meiner Mutter davon erzählte, schlug ich ihr vor, dieses Album vielleicht lieber auszulassen."

Carlo Troja, aka Don Carlos, from the Italian province of Varese, has been active as a DJ since the late 1970s. He
debuted as a producer in the late 1980s with the single "Alone" on Calypso Records (IRMA), which immediately became a cult hit on the global Deep House scene. His productions have always fused house rhythms with the sounds of
African-American jazz, sometimes bordering on disco, progressive, and electronic soul.
In 1992, his first album, "Mediterraneo," was released in the United States on IRMA USA, followed in 1993 by his
second, "Aqua," and several hit singles with the Montego Bay project with Stefano Tirone (Stone Inc.), all on IRMA
Records.
He reached the UK charts with Byron Stingley's production of the hit "You Make Me Feel," a remake of the classic
Sylvester song. He has performed in various European and American countries, as well as at the Ministry of Sound
and Turnmills in London.
In 2001, he released his third album, "Music in My Mind," featuring Kim Mazelle, Michelle Weeks, Taka Boom, and
Kevin Bryant.
A new album of re-edits of '90s-style songs, titled Livin' a Dream, was released in 2020, along with two compilation
volumes of Paradise House, both on IRMA Records.
With this new single, he continues to showcase his distinctive Soulful Paradise House sound, rooted in the
Mediterranean sound, as specified in the title.

A heavyweight classic! 'Don't Laugh' is one of those records, you know you've heard it, you may not who, what or where, but you know it!

The original Winx mix is a classic, often imitated, never bettered, but the real gem here is Richie Hawtin's manic, almost borderline sinister 15+ minute reworking.

Monster doesn't do it justice, tweaked out, narcotic, minimalist jacking gear. A dope combination of severe LOW end and some bracing sine waves that cut straight through. This one will surely test any club sound-system, if the venue is built for it you will know! This is one for the real heads, pure late night business oft overlooked for the more famous A-side, but trust us - Hawtin's mix will smash any dance! Oh, and there's an insane laughing acappella for those who want to mix and blend! Reissued, remastered and re-sorted for 2017 by Above Board Records with the full involvement of Nervous Records NYC.

Yogg delivers the second release on his Polarized Future label, with four deep and sub-heavy cuts on ‘Don’t You’. Produced in his new Brussels studio, the EP channels the tension between familiarity and instability. The sounds here are deconstructed, fizzing and alive, produced with a pointillistic attention to detail.

This is music built for soundsystems, with a strong emphasis on bass weight and meditative, spacious minimalism. Elements are removed to the bare essentials, at times feeling like a contemporary reimagining of the early sound of dubstep; echoing the unease of a society in the midst of a dystopian timeline.