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Oslo based house pushers ́badabing diskos ́ follow up their hyped first release with a four tracker covering a fine specter of modern house vibes. A solo jacking house trip from label honcho Vinny Villbass, followed up by mexican/norwegian percussive collaboration of Picotropico and Vinny give you a full summer club journey The secret alias Smalltownboy ejaculates an eminent homage to sweaty dance floor flirts, while house orchestra LAFT shows off club muscles with a minimal studio escapade.

Electro don Carl Finlow dropped 'Convergence' under his Random Factor alias back in 2005. It was a definitive showcase of the talent that continues to stand him out two decades on and is completely devoid of samples. Every note is carefully crafted as part of an emotional electro-pop classic that track gained legendary status thanks to Craig Richards, who has made it a regular in his sets at Fabric and Houghton Festival. John Tejada injects glitchy textures and stuttered vocals into his rework, and this reissue includes a subtly remastered version with improved fidelity and brand-new artwork by Finlow himself.

A brainchild of YAKO440 & GODBODY108, 'Dub In Full' began with a series of studio visits between two artist-musicians who saw themselves reflected in each other's work. From those early conversations came an idea rooted in instinct and a shared reverence for musical innovation: a mighty dub reinterpretation of golden-era hip hop classics.

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

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

5 ausgewählte Italo Disco Maxi Singles in einer Box.

Eine limitierte Sonderauflage für unsere vielen treuen Italo Disco Fans.

Lectric Workers feat. Funny R
Dario Dell‘Aere
Delanua
Claudio Mingardi
Art Fine

Ein Highlight zu einem unschlagbaren Preis!

Kerri Chandler begins a brand-new chapter with the launch of his self-titled label, Kerri Chandler, and its debut release; the Downtown EP Pt. 1.

The release includes four tracks reconnecting with the spirit of Kerri’s iconic Downtown Records era while offering something fresh for the next generation of listeners. 3 of the tracks come straight from that timeless catalogue and firm favourites among Kerri’s community, now beautifully presented on vinyl once again.

Part 1 also features one brand-new, exclusive track, giving fans something truly special: a glimpse of Kerri’s sound, and an invitation to join him on a journey through his remarkable catalogue. This release marks the start of an ongoing celebration of Kerri’s music, his evolution, and the sound that continues to inspire house music lovers around the world. Every detail, from the sleek new sleeve design to the thoughtful presentation, reflects Kerri’s care and respect for his music and the people who’ve supported it. It marks the beginning of something bigger; it’s a series of reworks, reissues, and rediscoveries that will guide listeners through the depth of Kerri’s catalogue and his lifelong love for house music. For long-time followers and new listeners alike, Downtown EP Pt. 1 captures everything Kerri Chandler represents, soulful, honest, and made with nothing but heart.

Packaging: 1x Black 140 Grs Vinyl, 'Dufy' Sleeve with textured card & gold Pms, printed inner sleeve, marketing sticker. Vinyl cut at half-speed.

DJ support: ALOK, Sam Feldt, Nicky Romero, Barry Can’t Swim, Gorgon City, Arielle FreeAFROJACK, Martin Garrix, Oliver Heldens, Tiesto, Claptone, Fatboy Slim, Dombresky, Mau P, John Summit, Danny Howard, Joel Corry, Oliver Heldens, Low Steppa, Tita Lau and more.

Toolroom’s next Sampler showcases 4 big releases from Martin Ikin, Sian-Lee, Illyus & Barrientos, Sharam Jey, Marco Lys and Weiss.

Ring The Alarm! Nach der Neuauflage von Sister Nancys „Bam Bam“, die eine reißenden Absatz fand, folgt nun der nächste unverzichtbare Track auf dem Stalag Riddim vom verstorbenen, großartigen Tenor Saw. Dies ist die ultimative Soundsystem-Waffe und ein Muss für jeden Selector, der etwas auf sich hält. Zurück mit dem entscheidenden Original-Keyboard-Workout von Ansell Collins Stalag 17, aufgenommen für Techniques, ist Stalag einer der Eckpfeiler der Reggae-Musik, der von einer ganzen Galaxie von Superstars der Musikwelt verwendet und genutzt wird, darunter Big Audio Dynamite, Public Enemy, Run DMC, Alicia Keys, Kanye West, Sublime usw. Ein Original Twin-Killer-Doppelsider – limitierte Auflage in illustrierter Hülle. Verpassen Sie es nicht!

Neon Castle hones in on a fleeting sub-genre of early to mid-’80s folk-rock. For a brief moment, glistening slide guitar, fretless bass, satin floating over drum machines intertwined with ethereal female voices, conjuring a sound at once familiar and otherworldly—pop structures touched by myth. Some songs sway with the warmth of open ranch-land, crystal visions beneath thundering skies; others shimmer with candlelit mysticism, as if born in a pagan stone tower, crafted with the very staff Kate Bush might have wielded. Together, these pieces reveal a singular cloth.

Compiled by Charles Bals—now in his third collaboration with Smiling C—Neon Castle affirms his rare gift for storytelling through sound. Each track unfolds like a scene from an imagined film: castles glowing with noble gas, kingdoms awash in purple haze, white horses roaming free, hair cascading to the waist. The collection sketches a realm both new and upon a time, a world where fantasy takes shape through music. With Neon Castle, attentive listening becomes narrative.

Huge and uncompromising experimental techno jams from Finland. Prominent percussion elements combine with otherworldly synth jams to create epic, hypnotic vibes from the land of endless forests and deep lakes. Half A Map makes, performs and releases experimental music. They're especially fascinated by rhythms outside 4/4. They attempt to combine catchiness with surprise, and roughness with gentleness. They relish sampling various objects and weaving them into their sound.

40 Years Techno Club – The 80s Vinyl Edition (Limited Coloured Double Vinyl) Following the huge success of the 4-CD compilation 40 Years Techno Club, which thrilled countless fans with over 60 club hits, the eagerly awaited vinyl edition is finally here: ‘The 80s Vinyl Edition’ – a strictly limited, coloured double vinyl for lovers of electronic music.

This special edition pays tribute to the beginnings of the legendary techno club with iconic 80s tracks by Kraftwerk, Yello, Soft Cell, Tears For Fears, Front 242 and other artists who shaped the electronic sound and influenced an entire generation. The exclusive collage cover, accompanying band
poster and high-quality coloured vinyl pressing make this release a unique collector‘s item for connoisseurs and music lovers.

‘40 Years Techno Club – The 80s Vinyl Edition’ – vinyl that makes history – right on your turntable.

Mit Selenites, Selenites! präsentiert Jimi Tenor das erste Album seiner neuen Band - ein Meilenstein in der Karriere des finnischen Multiinstrumentalisten, der 2025 seinen 60. Geburtstag feierte. Tenor, bekannt für seine genreübergreifenden Visionen, vereint hier Afrobeat, Electronica, Spiritual Jazz und experimentelle Klangwelten zu einem kraftvollen, organischen Sound. Seit den 1990er Jahren prägt Tenor die internationale Musikszene mit Veröffentlichungen auf Labels wie Sähko und Warp Records. Seine Zusammenarbeit mit Künstlern wie Tony Allen, dem UMO Helsinki Jazz Orchestra und Florence Adooni zeigt seine Offenheit für musikalische Kulturen und seine Fähigkeit, scheinbar Gegensätzliches zu verbinden. Die JIMI TENOR BAND entstand in Helsinki und besteht aus fünf virtuosen Musiker:innen, die ihre Stücke live erprobt und verinnerlicht haben. Die Aufnahmen spiegeln diese Energie wider: Direkt, roh und voller Spielfreude. Die Songs wirken wie Live-Mitschnitte - spontan, intensiv und nahbar. Mit Selenites, Selenites! gelingt Tenor ein Album, das nicht nur musikalisch überzeugt, sondern auch seine Rolle als stilprägender Künstler unterstreicht.

Berlin-based Tresor New Faces host ABRAX returns with four raw cuts on his self-titled imprint – recorded in one take. A1 Resistance – gnarled corrosive assault A2 Antidote – classic techno homage stripped to the bone B1 Counter Impulse – offbeat, rolling, fractured percussion B2 Defy – slow-burn cinematic tension, no release

Drumcode launches a new V/A series ‘DC4’ inspired by their popular A-Sides compilations. ‘DC4’ showcases a quartet of sure-fire heaters from the label’s extended family of artists. The EP features two mainstays of Drumcode, Timmo and Mark Reeve, while fleshing out the techno sides of Kaufmann and Goom Gum (in collaboration with rising London artists RDNK) after they debuted on Truesoul in recent times. Kaufmann’s curiously titled ‘Broncho’s Sandman’ kicks things off, a punchy slice of dancefloor tackle marked by a catchy vocal line, with a foot in techno and progressive alike. Timmo follows up last year’s tidy contribution to A-Sides Vol.13, with a technicoloured techno cut that bubbles with bags of personality, as any cut titled ‘Miami Vice’ should! The Bulgarian has poured plenty of hours into the creation of the track, which espouses an otherworldly celestial energy. It's been four years since Mark Reeve’s last contribution on Drumcode, with the excellent mini album ‘Breathe’. The Frankfurt-based British producer makes a timely return with the storming ‘Stop, Go’, that fuses together elements of techno, hard trance and pop for an inspired five minute dancefloor workout. Goom Gum & RDNK team up for the first time ‘It’s Time To Get High. The track begins life as a crisp melodic cut, before transforming into a trippy slab of psychedelia in the second half. This is begging to be rinse in an outdoor party setting.

2025 Repress

The most luxurious of re-edits comes rolling round once again, with the 6th Volume in LUXXURY’s rework series set to hit those platters. Disco from another dimension in its various forms and facets, re-tweaked for the modern dancefloor. All killer no filler, you can’t go wrong here.

Molecular Recordings Presents "Structure Series 2" — Continuing a Legacy of Techno Innovation

Following the success of the first volume, Molecular Recordings returns with Structure Series 2, the next chapter in its celebrated vinyl series that honors the label’s enduring influence on underground techno.

This 12" release deepens the label’s exploration of forward-thinking sound, pairing iconic names from the Molecular archive with groundbreaking contributions from the new vanguard of producers. Each track reflects the uncompromising spirit and sonic evolution that have defined the label for over three decades.

Structure Series 2 is both a continuation and a progression — a curated fusion of past and future that underscores Molecular’s role as a pioneer and incubator of techno culture. It stands not only as a collector’s item but as a bold artistic statement.

With Structure Series 2, Molecular Recordings reaffirms its commitment to pushing boundaries while remaining rooted in the authenticity that has shaped its legacy since day one.

UK producer Tom Carruthers returns with a scorching 5-tracker for Skylax Records, diving headfirst into the primal roots of jackin’ house, proto-italo, and early machine funk. Known for his raw MPC-driven grooves on L.I.E.S., Clone Jack For Daze, Syncrophone, and Craigie Knowes, Carruthers channels the energy of the underground circa ’86—pure drum machine soul for the dancefloor faithful. Side A kicks off with the title track “Neutralise”, all sharp snares, warped synths and hypnotic repetition—a jack track in the truest sense. “Deep North” follows with ghostly pads and relentless drum programming, while “No More” brings metallic tension and stripped-down funk with a heavy nod to Chicago’s original blueprints. On the flip, “Pascals” weaves cosmic arps through rugged percussion, merging italo sensuality with bleep-era minimalism. The closer, “Cosmic Ride”, is exactly that: a journey through spacey chords, dusty rhythm boxes, and that unmistakable feeling of warehouse euphoria at 4 a.m. Neutralise EP is a raw, timeless record that strips dance music down to its essence—jacking, emotional, physical. To match the sonic purity and timeless aesthetic of the release, we enlisted the iconic H5 studio—a name synonymous with visionary design in music and culture. Known for their groundbreaking work with Daft Punk, YSL, and numerous award-winning visual campaigns, H5 brings a level of artistic sophistication that elevates this EP into a complete sensory object. Their clean, modernist design echoes the stripped yet futuristic vibe of Tom Carruthers’ sound—a perfect fusion of form and function, underground and high art. Vinyl only. No digital. No compromise. For fans of: Virgo Four, Baby Ford, Larry Heard, early Warp, Mr. Fingers, and Beppe Loda.

Originally released in 2005, OK Cowboy, Vitalic’s first album, is celebrating its twentieth anniversary with a reissue in several formats (box set, double vinyl, CD, digital), enriched with rare tracks and previously unreleased versions. OK Cowboy is a landmark album in electronic music, a pivotal record between eras. It perfectly captures that period while also anticipating the raw, abrasive new sounds of French Touch 2.0 (the movement led by Justice and the artists of the Ed Banger label). Twenty years later, the impact and power of this major album still mark it as a defining release of the mid-2000s, retaining its full sonic relevance today.

The electronic producer Franz Kirmann returns to Bytes for his eighth solo album. The “Almadies” are long wooden boats used by Senegalese fishermen. It is also the name of the neighborhood where Kirmann grew up, in the suburbs of Dakar, Senegal, near the Atlantic Ocean. "These new compositions are the result of sound experiments conducted over the past few months and reflections on the concept of mind-constructed geographies," Kirmann explains. "The way memories and souvenirs shape an image of a place or country that is part reality, part fantasy, part cliché, yet also deeply personal. This experience is influenced by education, social background, history, and other socio-economic factors. " The ten tracks are crafted from collages of electronic sounds blended with field recordings from various places Kirmann has visited — from Dakar to the Caribbean, as well as London and Paris. His aim is to blur the line between electronically generated sounds and real soundscapes, creating music where it becomes difficult to distinguish the real from the constructed. All the sounds on the album were produced using synthesizers and field recordings. No drum machines, percussion or traditional acoustic instruments were used. Influences include Brian Eno and John Hassell’s Fourth World, Vol. 1: Possible Musics (1980), described by Hassell as "a unified primitive/futuristic sound combining features of world ethnic styles with advanced electronic techniques" , which also works in the context of Almadies. Another big influence was Ariel Kalma’s Le Temps Des Moissons (1975) as well as artists including O Yuki Conjugate and Robert Aiki Aubrey Lowe to Susumu Yokota and Michael Banabila.

Swimming Paul’s music has always lived in the push-and-pull between euphoria and melancholy; the rare kind of electronic music that can make you cry while your body keeps moving.



On Smiling Through the Pain 2 (out October 24 via Headroom Records), the French-born, London-based producer doubles down on that emotional duality, delivering an album that feels as much like a diary as it does a DJ set.

Over the course of 15 tracks, Paul stitches together late-night catharsis, suburban nostalgia, and the jagged tenderness of early adulthood. The record is sequenced like an unbroken night out: the giddy anticipation, the sudden moments of reflection, the quiet comedown as the sun edges in. It’s an album that refuses to treat joy and sadness as opposites, they coexist here, often in the same chord progression.



“I don’t want to escape the feelings, I want to bring them with me” Paul says. “If you can’t stop thinking about something, you might as well dance with it.”

That philosophy runs through the singles: the emotional release of Holly (with Junior Simba), the aching nostalgia of Different Time, the hypnotic haze of Hard 2 Sleep, and the house-driven Drinking to Get Drunk, a bittersweet ode to nights spent outrunning your own thoughts. Elsewhere, Liza M1 folds heartbreak into an almost triumphant piano hook, while Shine a Light urges listeners to take risks and live without hesitation—as if youth’s boldness could be bottled.



Since debuting in 2023, Swimming Paul has quietly built an empire on emotional resonance: 150 million streams across platforms, 1.9 million monthly listeners on Spotify and more than 50 editorial placements (including Dance Party, Crying on the Dancefloor, Electronic Rising….), 10,000+ radio spins worldwide, and sold-out tours across Europe and North America. His sound has earned co-signs from BBC Radio 1, Triple J, KCRW, Sirius XM and a wave of DJs who value melody as much as momentum.

But Smiling Through the Pain 2 isn’t chasing charts, it’s chasing connections. Paul’s global fanbase, nurtured through a lively Discord community and nights on the road, has become a two-way conversation, with fans’ stories feeding back into the music’s emotional core.
This autumn, Paul takes the album to stages that match its ambition, from London to a string of US club dates, festivals and intimate pop ups designed for shared release.



Smiling Through the Pain 2 is an invitation to feel everything at once. To sweat through the sadness. To let your guard down under strobe lights. To realise that the best nights out don’t make you forget; they help you remember.

A DJ, producer and prolific collaborator, Greg Paulus’s musical career has led to a truly enviable discography. Born in Minnesota and now an essential part of New York’s sprawling musical landscape, Paulus has taken the foundations of an organic childhood education by his father, the composer Stephen Paulus, and seen it blossom into an unpredictable musical journey encompassing house, soul, jazz and hip-hop.

While touring as a trumpet player with indie band Beirut, as well as in Matthew Dear’s live ensemble, back home he was helping to redefine New York’s underground dance scene as one half of No Regular Play. Alongside childhood friend Nick DeBruyn, the pair brought their deeply musical sound to no less than fifty countries across the world. A decade on, and Paulus arrives on Seth Troxler’s Slacker 85 imprint for his long-awaited debut solo LP, ‘Close To Home’, a deeply felt long-play celebration of his personal cornerstones; family, trust and hope.

From the opening, organic swell of ‘Perot’, arranged with Seth Troxler himself alongside John Camp, ‘Close To Home’ introduces itself as a focused, conscious trip, it’s languid trumpet spilling over into the reflective ‘World Keeps Changing’, which introduces Paulus’s philosophy of music as a constant. ‘Midtown Mirage’ meanwhile leans into the idea of the city itself as a collaborator, resisting pressure and finding its own restful groove. Back over the river, ‘Bond’ roots itself in Brooklyn with a contribution from resident Dillon Cooper, flipping rap standards amid psychedelic flourishes.

Paulus nods toward his dancefloor form on ‘NRG’, a slinky, lo-slung club groove that seamlessly evolves to meld the artist’s nocturnal and studio instincts. In contrast, ‘Real Job’ switches the tempo on Paulus’s MPC to embody an old-school, beatdown flavour, subtly teased out alongside composer and sound designer, Taylor Bense. Doubling down on this languorous groove, ‘Hat Down’ introduces a full-scale No Regular Play reunion, the first of two collaborative tracks that recall the duo’s imperial phase of confidently minimal productions, while evolving their craft.

Following a few missed calls made with love taken from Paulus’s answering machine on ‘$1000’ the minimal, reflective arrangement of ‘Hold Dear’ finds the artist stripping back his layered sound for a skittering, vulnerable exploration of intimacy and life’s devotions.

For a memorable finale, Paulus recruits jazz prodigy Michael Feinberg to deliver upright funk on the deliciously rich ‘Sometimes It’s About Us’. A purely celebratory collage of bopping rhythms and vocals, sharply plucked guitars and archive samples, ‘Close To Home’ concludes with Paulus leading his friends, ensemble and many influences in rare harmony.

Alex Puddu returns to the origins of his first sound that launched him with the original soundtrack of The Golden Age Of Danish Pornography presenting us with a new work inspired by the music and soundtracks of hard and erotic films of the late seventies and early80s with the new album
“I Desideri di Sadie (Piaceri Tropicali)"
is the new concept album written, arranged, produced, performed and conceived by Alex Puddu, It is the first album of the erotic/hard series Sadie.
A heroic female character fantasized by Alex Puddu of a rich and charming young woman, sexy, strong, brave and free with a great spirit of adventure, always traveling around the world in search of new experiences in the erotic and dark world that surrounds her.
The music is inspired by the soundtracks of adult movies of the late Seventies and early Eighties.The story takes you into a journey set in the countries of South-East Asia and the Pacific islands, in exotic landscapes, among jungle, lush vegetation and enchanting tropical beaches. A magical trip among temptations, on the islands, to discover the beauty of the "Erotic World" of Alex Puddu

Esteemed soul man of Panama Mr. Ralph Weeks has in recent years been enjoying a much overdue retrospective of his remarkable six decades-long musical journey with the help of Names You Can Trust. Now onto their fifth record release together since 2019, the label has covered both Weeks' original holy grail material as well as re-cuts and reimagining of some of his rarefied and unreleased songs.

One of Mr. Weeks' two iconic 45 releases on Panamanian label Sally Ruth was a funky soul side called "Let Me Do My Thing," originally recorded in 1971 as Weeks' answer to Charles Wright's big tune "Express Yourself," which had just hit the airwaves in 1970. Weeks' musical response would help define his legacy. He was gonna express himself, he was gonna Do His Thing. This golden age ultimatum recorded with the Dynamic Exciters of Panama as the backing band was a simple, straight ahead number with a defining message that would be carried on throughout Weeks' independent career. The funkified air and creative freedom of the original tune is a prime example of the crossover Combos Nationales sound that flourished in the prolific Panama recording industry of the era, and in the ensuing decades Weeks' tune would live on as a cherished rare groove for souleros, funk fans, and bootleggers alike.

Fast forward to 2023, when Ralph Weeks and Names You Can Trust prepared for a Bay Area appearance at the wonderful Latinos Con Soul weekender put on by San Francisco's Discodelic record shop, the groundwork was laid in the studio for a revival, a reawakening of Weeks' funky fan favorite. A spectacular ensemble of NYCT's All-Star artists and alumni was convened in the studio, including Caito Sánchez on drums, Victor Axelrod (Daptone Records) on clavinet and Sam Day Harmet (La Banda Chuska) on guitar. Anant Pradhan (The Skatalites), Eric Biondo (The Budos Band) and Alex Asher (Los Cumpleaños) occupied the brass section, and Ralph Weeks even lent his still formidable chops on electric bass and keyboards, a little OG flare to back up his silky voice with a deft musical touch. What came out of the sessions was a chance for NYCT to pay homage to Weeks' iconic original, without replacing it, and build a brand new version from the ground up with the maestro and composer himself!

Verb T – Homer Loan 1 & 2 (Half 'N Half Splatter Vinyl Release)
UK hip-hop veteran Verb T returns with the long-awaited vinyl release of Homer Loan 1 & 2. A definitive collection capturing two distinct creative periods from one of the scene’s most respected voices.

Originally released digitally, the Homer Loan series has become a cult favourite among Verb T fans, offering an intimate glimpse into his trademark balance of sharp lyricism, dry humour, and unfiltered honesty. The vinyl release brings both volumes together for the first time, celebrating the evolution of a prolific artist still pushing his craft forward. Homer Loan 1 is entirely self-produced, showcasing Verb T’s production skills and ear for soulful textures and lo-fi warmth. Built around introspective rhymes and smooth, laid-back beats, it reflects the self-contained creative process that defined its making.

With Homer Loan 2, the palette expands — featuring production from Cuth, Farma G, and Forrest Moon, each contributing their distinctive sonic fingerprints while complementing Verb T’s unmistakable flow and storytelling. The result is a cohesive yet dynamic project that bridges the personal and the universal, the underground and the timeless. The Homer Loan 1 & 2 Yellow and Purple Half 'N Half Splatter vinyl release stands as both a collector’s piece and a testament to Verb T’s consistency and artistry within UK hip-hop’s ever-changing landscape.

Legendary Mello Music Group producer Apollo Brown's feature packed album including Oddisee, Evidence, Freddie Gibbs, Masta Ace, Vinnie Paz, Westside Gunn, Sean Price and more! 19 full boom bap classics. A celebrated fan favorite with over 20 million streams is finally back on vinyl with this special double lp olive green edition.

Side A takes us across the pond for a British funk-rock classic: “Give It To You” from UPP’s 1975 self-titled LP. Already sacred in sample lore, its breakbeat (written by drummer Jimmy Copley) has fueled Eric B. & Rakim, Gang Starr, Jeru, Del, DJ Shadow & more. This edit amplifies the raw pocket — drums, fills, transitions — pushing them forward w/o losing grit. Produced by Jeff Beck, UPP’s LP fused funk, fusion & rock, giving the break shimmer & weight beyond pure drum programming. For DJs, this is precision-built: roomy enough to drop hats, scratches, or vocals, yet solid enough to ride raw.

On the flip, the S.S.O. Orchestra’s 1977 gem “Faded Lady.” Lush, cinematic textures — strings, vocals, bass, pads — laced in funk/soul arrangements. Sample lineage runs deep: Diamond D (“I Went for Mine”), Busta Rhymes’ “New York Shit,” Nas’ “Something Foul.” This edit doesn’t destroy or over-chop — it finds the sweet spots, letting the horns, pads & mood breathe. Not a break tune but a vibe: atmosphere & weight for DJs to lean into.

Together, these 2 sides deliver a powerful juxtaposition:

From the soulful underground of Argentina comes a new chapter on Abuelo Negro Limited, the Taylor Fass EP. A beautifully crafted release that bridges emotion, groove, and timeless aesthetics. Each track unfolds with subtle depth: warm pads, dusty percussion, hypnotic basslines, and that unmistakable deep-house pulse that feels both classic and fresh. It’s music for intimate dancefloors and late-night reflection, the kind of sound that connects body and soul without ever forcing attention. Taylor Fass EP embodies the label’s spirit, raw yet refined, deeply human and full of feeling. The stunning artwork completes the vision, reflecting the warmth, nostalgia, and understated elegance of the music itself. A heartfelt release from Buenos Aires to the world, for those who still believe that house music is more than rhythm, it’s emotion.

After their first outing on Future Retro London, the trio return with Sage EP for FABRICLIVE. Across four tracks they balance toughness and detail: breaks cut sharp, basslines hit heavy, but the space in the mix leaves room for atmosphere.

Charades layers wistful vocals over warm pads and low end weight. Sage drifts between dreamlike textures and hammering drums, flipping between amens and four-to-the-floor momentum - a bridge between classic jungle and jungle tekno. Magpie pushes the intensity higher - fast, tense, built for peak time systems. Golden Hour winds things down with airy pads and organic detail, easing the pace without losing presence.

Sage EP distills jungle’s grit, beauty, and power - moving both body and mind.

The album delivers masterful arrangements, inventive rhythms, rich harmonies, and a perfect balance of flute and saxophone interplay. Funk, Jazz, Gospel, Afro, and traditional elements all merge seamlessly into something unique and timeless.
Joshua Sithole (1947–1999) was a self-taught multi-instrumentalist and vocalist from South Africa who first started busking with the Kwela kids in 1959 and then went solo in 1978. He became popular in the 80’s, performing widely in Durban and Cape Town.

Originally released in 1975, this overlooked masterpiece is now reissued for the first time by Voom Voom Records — the first 500 copies include a poster of Vladimir Tretchikoff's painting, "The Pennywhistlers" which captures the beauty of Joshua's playing.

“Joshua Sithole, Errol Dyers, and Jonathan Butler come from some of the most influential and esteemed musical families in South Africa. You cannot write about Jazz in Cape Town and not mention some of these families and their contributions to the art form.” — Fanie Jason (Music Photographer - Cape Town)

"South African spiritual funk gem. slick guitar, banks of horns" - Chris Albertyn (Matsuli Records)
"Dynamic South African funk. An album that will make you want to dance from start to finish" - Franck Descollonges (Heavenly Sweetness)

Das fünfte Album der Newcastler Riffzauberer Pigs Pigs Pigs Pigs Pigs Pigs Pigs (aka PIGSx7) ist geprägt von kalkulierter Aggression und selbstzerfrleichenden Texten. Zu den verblüffenden Boni gehören verspielte Synthesizer-Arbeiten und der Auftritt eines Hip-Hop-Masters. Mit seinem Titel, der Absurdität und Ernsthaftigkeit einander gegenüberstellt, ist dies Death Hilarious. Während Land Of Sleeper von 2023 als immersives Kopfhörer-Erlebnis konzipiert war, strebten Pigs dieses Mal nach etwas direkterem, böseren. ,Wir wollten, dass es ein Schlag ins Gesicht ist", grinst Produzent und Gitarrist Sam Grant. Dieses Ziel kam zum Teil dadurch zustande, dass die Band in den letzten Jahren sooooo viele Gigs gespielt hat. Die Band fühlte sich gut geölt und reif dafür, den Zuhörern zu Hause die Art von Prügel zu verpassen, die ihr Publikum von der Bühne aus erhält. Death Hilarious bietet einige Überraschungen, vor allem der Track 'Glib Tongued', bei dem El-P von Run The Jewels als Gastmusiker mitwirkt. Als Bassist John-Michael Hedley unwissentlich das schrieb, was seine Bandkollegen als ihr Äquivalent zu einer Hip-Hop-Nummer betrachteten, setzten die Pigs ihre Ziele hoch an und sicherten sich einen fulminanten Beitrag von einem der größten Rapper der Welt. Das soll nicht heißen, dass Pigs zum Nu-Metal übergegangen sind. Death Hilarious ist eine abwechslungsreiches, straffes Album, das sich zwischen sabbathianischem Doom, grotesk minimalistischem Noise Rock und zyklischen Post-Metal-Fortissimos bewegt. Auch die Pigs treiben sich selbst weiter an. Unpassende Synthesizer-Soli tauchen dort auf, wo normalerweise Gitarren-Histrionik Platz hätte. Klaviertracks lauern im Mix und verleihen dem Klangstrudeln eine fast unterschwellige Tiefe. Stitches" ist wie Motörhead, die versuchen, Glamrock mit einem beschwipsten Keyboarder zu spielen. Und dann ist da noch das 100-Meilen-Tempo des Cosmic-Thrash-Openers ,Blockage". Verzerrte Licks fliegen aus den Verstärkern von Grant und Lead-Gitarrist Adam Ian Sykes, während die Rhythmusgruppe dahinter brutzelt. Mit all dieser Power, die durch die Adern fließt, wird Death Hilarious mit Leichtigkeit eines der besten Rockalben des Jahres 2025 sein... und das ist kein Witz!

RAWAX proudly presents Acid Jesus aka Roman Flügel & Jörn Elling Wuttke with her groundbreaking debut album called "Acid Jesus" from 1993

Following the title of the classic Ecstasy Club record - be it a direct influence or merely a coincidence - Acid Jesus was the first of many collaborations between Roman Flügel and Jörn Elling Wuttke.

Situated in Germany’s then blistering techno scene and especially a mirror of Frankfurt at the time, the early recordings are also a feedback loop to what was happening in the UK and the USA before and at that very time. With many definitions and interpretations of techno already in place, and while its triumphal procession slowly geared itself into exhaustion, Flügel and Wuttke succeeded with their own and unique take on it, that owned as much to Underground Resistance and the Belleville Three as it did to Sven Väth and Andrew Weatherall. Depicting the booster detonation of what was to become the holy label trinity of Playhouse, Klang and Ongaku, this is a collection of tracks and experiments in sound that won’t sound dated, yet classic, mesmerizing and eternal. Jesus loves the acid and vice versa.

Break 3000 - Human Nature EP

A special collaboration with Partout records from Paris. Break 3000 digged deep in the archives for this one and found some old unreleased music on his dusted DAT tapes ranging from 1993 to 2002.
Now released for the first time ever on vinyl 12” and digital.

“Human” and “Komputerok were produced in the same project in his Maastricht bedroom studio back in 2002 and reflect to great influence artists like David Caretta and The Hacker had on his sound back then, a mix of banging Electro Clash meets EBM, 80s Proto House.

“Overdrive” opens the B-side and a window to the late 90s. This track was produced together with his classic “Plastique People” around 98/99 and was an instrumental track luckily found again, Break 3000 added a new vocal and made a fresh shorter Edit. Thanks to the excellent mastering by Salz Music this one is back in todays sound standards.

The next pearl from the past is a real favourite and is the oldest track featured on this EP. “Ambizone” was recorded back in 93/94 and marks the transition from his first musical project Amazone to becoming Break 3000. Recorded in an amazing analog studio in Venray Netherlands where Break 3000 worked on a full album.
More music will follow from these old sessions! Stay tuned.

Closing out with “Nature”, a true hommage to the early Rephlex sound and produced around 97/98. Acts like Bochum Welt, D’arcangelo and µ-Ziq had an immense influence on Break 3000 and are a reason why he started to make more electro orientated music.

All tracks mastered by Salz Mastering in Cologne.

BQD050–Arno: "We Perfectly Understand Each Other Until We Start To Talk – The Remixes"

To mark the 50th release on Brouqade, we reach back into the catalog and release as a set of remixes Arno's album “We Perfectly Understand Each Other Until We Start To Talk” a work that touches on the finer problems inherent to human communication.For this unique Album, released in 2019, three distinctive reworkings offer new breath to the original tracks: Baby Ford conducts a lean and hypnotic revision played in minimal fashion, Kuyateh widens out textures with deep organic rhythms and Dana Ruh puts her distinctive groove-orientated stamp on the material.

The bonus on the release is from Arno — a meditative composition that acts as middle ground in terms of his musical language.

In operation midway between introspection and movement, BQD050 depicts the very spirit of Brouqade: depth, warmth, a timeless dancefloor poetry.