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Supervibe returns with the next chapter of its vinyl-only series, delivering a 3-track EP from the legendary Tripmastaz. A release built for the dancefloor, blending energy, depth, and hypnotic groove.

A1. Simpatico
A fast-paced, energetic cut with tight, driving rhythms. True to its name, it hits hard and gets straight to the point, with punchy percussion and an upbeat tempo that injects instant energy into any set.

B1. 3001
A futuristic, space-driven journey featuring layered synths and atmospheric textures. The groove unfolds with a deep, late-night feel, perfectly suited for afterhours moments and immersive dancefloor transitions.

B2. Medina chronicles
A hypnotic, groove-focused tool with experimental sound design. Repetitive yet evolving, the track thrives on subtle variations, making it ideal for floor-building moments and seamless DJ transitions.

Monomoods Records proudly presents Thunder Skull, the new EP from Doctr, previously featured on Rimini Moods. For this release, he teams up with A.M. Sam on Highrider and Seppl on the title track Thunder Skull, delivering a collection that expands his sonic universe into darker, more cinematic territories, like a road trip through a post-apocalyptic wasteland. Spanning four distinct tracks, the EP moves between Indie Dance, Italo-Disco, and Hi-NRG, each painting its own scene within this dystopian landscape. ‘’Highrider’’ bursts forward with euphoric Eurodance energy; ‘’The Boys’’ unfolds as an epic, heroic tale rising from the ashes; ‘’The Last Waterfountain’’ combines intensity and emotion with an almost survivalist tension; and finally, ‘’Thunder Skull’’ stands as a true Italo anthem for the wastelands — a soundtrack for the last dance under a burning sky. Fusing raw power with hypnotic rhythm, Thunder Skull is a soundtrack for late-night journeys and fevered dancefloors, meticulously crafted with attention to detail, atmosphere, and a bold cinematic spirit.

Double Je is Hypnotique’s third release on Bordello A Parigi. Following the successes of La Pénombre and Solitude, the trio of Sergio Mesa (IAMNOTAROBOT), David and Maia Jornet have reconvened for a smouldering three tracker. Vocals scale soaring synthlines in the title piece. Melodies dip and swoop like birds in flight. A beat throbs as Maia’s lyrics sail ever higher in this tale of misguided romance and impossible answers. The instrumental version allows the track’s intricate synthwork to take centre stage. Drums snap that bit tighter, gentle pads lapping against the pulsating basslines and addictive hooks. Tempos drop on the flip, the B-Side being dedicated to “Dark.” Slender keys rise above a steady kick before a rumbling bass takes hold. Vocals take spoken word form, their message and mood shifting from resignation to resilience and then resolve as the track becomes ever more emboldened. A truly fantastic return from a uniquely talented group.

d1 Agitation (akustisch)
d2 Die Brücke (akustisch)
d3 Stegodon (akustisch)

A light yet ominous atmospheric intro opens Pugilist’s account on Waveforms, quickly showcasing the Spatial family debutant’s shrewd prowess for mid 90’s breakbeats. An instantly familiar vocal sample gunning for your mind body and soul punctuates proceedings while solid breaks lead into a crunching amen throwdown - edited superbly with tricky arrangements and glorious melodic synthwork.

Straight into the breaks without delay, a DJ-friendly intro from Pugilist quickly escalates into a scintillating amen showcase with crisp, detailed edits taking you right back to a dirty basement dancefloor rippling with underground energy in 1994. Peppered with samples and light vocal hits - not to mention the doomsday basslines ready to tear holes in your sub - Pugilist has announced himself in style to the waveforms label.

Opening with an instrumental blend of old school synthwork, delicate breaks and an inquisitive plinky melody, the track soon bursts into life with old school rave vocals joyfully screaming “everything you do”, setting this firmly in the mid 90’s, as is the Waveforms way. Trademarks of Law’s distinctive atmospheric style - heard previously on sister label Curvature - are present, toying with breaks effortlessly with a variety of effects thrown in for good measure.

Easy-going synths, washing waves and elegant bongos introduce Waveform 18, before filtered breakbeats are flecked, scattered and multiplied across a collage of samples as the breaks charge up. When the drop comes it hits hard as Law expertly chops and edits a cacophony of amen goodness, with smothering sub bass rumbling below creating a memorable, retrospective slice of old school beats.

The new CA label is back with a second offering of edited hip-hop and r&b gold. These are the sort of steam and sexual cuts that bring real heat to any slow jam session. King Most's 'Waiting 4 U' is first with slow, funky breaks and lavish strings and horns bringing a nice sophisticated and seductive feel. Things somehow get even more smoochy and loved up on the flip, which comes from DJ Homicide_. 'Playin' For Money' is a classic boom-bap sound with low slung bass, libidinous vocals and buttery smooth backing that is going to get hips bumping in no time.

Bristol-based provider of tough and sinewy drum & bass, Holsten has proved himself one to watch with successes on UVB-76 Music, Hotline and Rupture, not to mention a clutch of releases on the essential label, Droogs. This EP sees him offering up four battle weapons that lean towards the glory days of techstep. Opener 'Burn' goes for apocalyptic bass and a hardstepping outer shell, finished off with nicely unsettling sonics. 'Service Kru 2' is the roasting Amen-led roller, with Dillinja-esque sidewinding edits, kung fu samples and ravey stabs. Flip it over for 'Twisted Music', tense and edgy rather than full on blasting, while closer 'Projectiles', remixed by Overlook, steams its way to the run out groove with the kind of dystopian intensity that fans of classic No U-Turn will be very comfortable with. Producer and label alike are both on the rise, so get on it.

Irlam's dastardly duo are back with another bonza bucket of bass, breaks and badness as they fire up Studio Krust for another high octane session.
Sure to top the Fairground charts and further enrage the Hell's Angels, 'Synthetic Stupidity' sees the pair unleash their full force unabashed, as they hit a purple patch full of new found and frankly quite surprising productivity (rumours of a European-wide sputnik shortage are the likely catalyst).

Fractionally distilling their many collective years of dance music experience into 12 refined pieces of advanced club kinetics that skirt between the syncopated intricacies of breakbeat science and maxed-out 4/4 propulsion.
More hyped-up vox & frantic sampling, more tension, tons of one-finger keyboard melodies, and - as usual - moments of sonic tomfoolery to flummox the assumers.
With their drug debts paid off and a forced clarity of mind, 'Synthetic Stupidity' is a more expansive, deeper and unhurried project; allowing Bosco and Metrodome the space and time to truly deliver the zenith of their sound.

This, is DJ ABSOLUTELY SHIT!!!

Limited obi strip edition, exclusively in our store!

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

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

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

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

Marking his vinyl debut on Lowpass, Berlin-based producer APRS steps forward after a run of striking releases on labels such as Soma, ARTS and Sungate.

“Drift” explores human emotions through drums, melodies and textures with five pieces that refuse to settle into one shape. Each track bends the EP in a new direction without breaking its thread, holding onto a sense of vastness, detail and intimacy. Andy Martin closes the record with a remix that widens the palette even further, pushing the material into heavier terrain while keeping its spirit intact.

LWP001 is less a declaration than a first gesture. Intuition over uniformity; a label shaped by instinct, variation and space; a place for artists to wander and for sound to evolve freely.

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

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

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

— Kyla Marshell

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

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

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

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

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

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

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

Repress 2026

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

2026 Repress

Melbourne’s DJ Ali is up next on Blue Hour Music with a powerful EP of fast percussive tribal groovers recorded live over multiple hardware sessions. ‘Interceptor’ kicks off the record with energising and rolling momentum laced in echoes of shamanic ritual. ‘Paradox Cell’ maintains the tension with a stripped back and pumping drum track enhanced by repeating tones and swirling winds that suddenly take over. On the flip ‘Nightwatch’ feels even more immersive, tunnelling down into hypnotic chambers where a voice guides and pulls the listener through a lucid void. ’Regeneration’ rounds up the record with an uplifting journey that begins to unfold with a series of shifting layers and hints of colour beneath a haze of euphoria.

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

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

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

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

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

Krope is a six-part conceptual album by Belarusian sound artist and producer Anton Anishchanka. Rooted in archival folk songs recorded between the 1960s and 2000s, it transforms fragile voices of the past into living, cinematic sound worlds. Created in collaboration with ethnographer Iryna Vasilyeva, the album weaves Belarusian traditional music with field recordings, acoustic instruments, and analog synthesizers — an immersive journey where memory, landscape, and resilience converge.

Flowing as one continuous suite, Krope unfolds like a film: memory re-emerges, fragile yet persistent, shaping an emotional narrative of displacement, loss, endurance, and hope. The archival voices at its core — songs of love, exile, and mourning — resonate across decades, echoing the urgent realities of today. The album flows as a single, immersive sonic odyssey. From the tender rejection in Krope (Dill) to the grief carved in Dubrovuška (Oak Grove), it traces an arc of human experience that is both deeply personal and universally shared. By reimagining traditional music through contemporary sound art, Anishchanka preserves endangered cultural heritage while revealing its timeless relevance.

Credits:
Produced by Anton Anishchanka
Engineering by Tenzor
Mastered by Alex at Quitfish Mastering
Lacquer cut by Tim Xavier at Manmade Mastering
Cover Art by Sasha Zeliankevich
Graphic Design by Ihar Yukhnevich
Creative Direction by Nadzeya Burmistrava

Archival materials courtesy of the Institute of Art History, Ethnography and Folklore named after K. Krapiva, National Academy of Sciences of Belarus.

Special thanks to Iryna Vasilyeva for her assistance with archival selections and ethnographic material.

Shatkavalka 2025

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

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

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

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

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

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

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

raum…musik welcomes Giuliano Lomonte for its 120th release with Moonlight EP — a three-track journey cross-sectioning house and techno with hints of 90’s progressive trance, combining precise rhythmic control, atmospheric depth, and club-focused energy. Tools built for tension, release, and maximum dancefloor impact.

The EP opens with “Drynation”, a ten-minute prog-tech-house roller built on hypnotic grooves, rolling low-end, and evolving percussive patterns and synth textures, locking the floor in with a steady pulse and a masterful play of tension and release. “Moonlight” shifts into deeper, proggy techno territory, weaving subtle percussive motifs over a simple interchanged kick-and-bass foundation. Fluid and restrained, the track unfolds slowly, with minimal drum variations and gently filtered synths, creating an elegant sense of forward motion. Closing the EP, “One Step Ahead” balances stripped-back tribal house energy with rolling grooves, detailed percussion, and warm pads, resulting in a deeper cut that is precise, functional, and full of understated character.

With Moonlight EP, Lomonte confirms his mastery of tension, texture, and subtle movement, delivering a record that reinforces Raum…Musik’s reputation for high-quality, dancefloor-ready music while highlighting his signature blend of rhythm, refinement, and subtle progression.

Playedby021-1 is the starting point of Andrei Ciubuc’s Back 2 Back to the Future, unfolding over three vinyl chapters. Released as a double 12”, this first part lays the foundation of the journey: hypnotic rhythms, sharp grooves, and intricate sound design that highlight Andrei’s ability to balance dancefloor functionality with deeper narrative elements. Each track stands strong on its own, while also acting as a fragment of the larger story that continues in the next two volumes.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Basically, this is essential for all groove-aficionados.

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

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

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

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

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

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

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

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

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

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

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

On his fourth EP on Studio Barnhus, Falty DL’s causing a ruckus again. This time with theeeee house two-tracker of the season, hauntingly sweet harmonics and feverish vocal outbursts on side A, while the flip delivers a flirtatiously discoid stomper full of hidden trapdoors for the deep listener.

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

„ behind horizons at the end of a breath why I love luna parks *_* „

Ben Kaczor debuts his first LP on St. Odes. Sirene showcases a more experimental and cinematic approach to sound. Tracks such as Amusement Impressions and Phantom Blues emerged from his fine art studies, while Sirene and Oval Waves reflect his work with the Buchla Easel. The artwork features a photograph by the artist himself, making the record one of his most personal works to date.

artwork by : Ben Kaczor / mastering by : Isabel Schröer

DJ Support: Gilles Peterson, Osunlade, Lakuti, Sean McCabe, Craig Smith, Marcia Carr + more

JuJu Muzik presents “Counting Clouds,” the newest work from Chicago house pioneer Harry Dennis, whose poetic influence spans over three decades and legendary projects like Jungle Wonz, The IT, and Fingers Inc. Featuring an exceptional lineup of remixers & producers - Rob Redford & Damian Charles with a contemporary soulful rework that nods to classic Chicago, Rude Boy Rupert delivering a broken-beat-infused UK underground twist, Mark Hand with his warm jazz-rooted depth and Julian Garnett offering a signature JuJu Muzik interpretation—the release bridges Chicago’s foundational spirit with today’s global house movement, celebrating the genre’s past, present, and future.

FORUM arrives with his 'Arbiter EP' and masters the craft of steady repetition until sweat is running down the club walls. It's a stripped-back yet forceful statement with raw and polished sounds in equal measure.

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

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

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

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

Limited to 200 copies

Kenyan singer Kare & Jamaican vocalist Infinite joing King Shiloh for the Marijuana / I-Schence 12 inch. Featuring two dubs by producer Dub Creator on both sides.

For the fifth release on 777Hz, Hiss Is Bliss teams up with the legendary singer Ras Tweed who delivers an amazing vocal cut with his unique voice. Recorded in Birmingham UK at Friendly Fire Studio by Robin, the A side track takes it back to the roots ! While on the B side the Dub version will send you straight back to Berlin via Detroit.

Vinyl finally here!

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

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

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

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

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

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

(Wraz 2025)

Anthony Naples returns with his seventh full length album, "In Studio Magic," comprised of ten new songs

The music of Foreign Material carries an invisible veil: at first glance this is great, potent and highly functional contemporary Techno. But for those willing to see, behind the veil there's more than meets the eye. An old, wise Baba-DJ once claimed that we are merely "redefining the ancient tribal ritual for the 21st century". Titles like "Kantae Niskae" and "Drums Of Kaltjär" alludes to that specific, long forgotten past that we all still carry deep within. The blissful and etheric A-side, contrasted by the caveman mania of "Kaltjär", represent the dualistic nature of our scene, our sound and our aim as a label, and encapsulates everything we love with Foreign Material's unique approach to Dance Music.

On remix duty we have none other than Stockholm based "Deep" pioneer Evigt Mörker. Expertly withdrawn, edited and added, he's created a groovy, yet atmospheric, DJ-tool for the ages. Expect to notice it in a wide array of DJ-sets in the near future.

The latest Hayes release introduces Lewis Fautzi to the label with a body of work that aligns naturally with the label's vision. The EP showcases his modern, cerebral take on the genre whilst firmly rooted in contemporary club culture.