quête:house party

Taking over stages around the world, RUSSKAJA made a name for itself as a unique, diverse formation that moves crowds wherever they go. "Russki Style" is RUSSKAJA in their purest form - balancing catchy heavy riffs, ska, polka and punk while maintaining a blood pumping tempo! With well over 20 million streams on Spotify alone and touring relentlessly while still rocking stages on TV as the house band on the prestigious "Willkommen Österreich" – RUSSKAJA’s Turbo Ska Punk is unstoppable! 2nd SINGLE : Kings & queens of Turbo Polka, RUSSKAJA, bring you a jolly good Christmas time! Brass and violins come together on this ska-infused Christmas classic; with this unique parody version of WHAM’s smash hit "Last Christmas", RUSSKAJA are guaranteed to spice up your holiday season – russki style! With over 20 million streams on Spotify alone and relentless touring while still rocking as the house band on prestigious TV show "Willkommen Österreich" – RUSSKAJA’s Turbo Ska Punk is unstoppable!

Repressed On translucent blue vinyl! Too many people sleep on Tougher Than Leather, Run-DMC’s fourth album. But hear us out as we plead the case for this amazing LP. By 1988 there was a lot more competition in the rap game – Public Enemy, Boogie Down Productions, Eric B. & Rakim, Ice-T and many more had given Hollis, Queens’ prodigal sons lots of competition. But Joe, Darryl and Jay were still at the top of their game, and hip-hop fans should never let this classic – chiefly produced by their Queens neighbor, DJ and multi-instrumentalist Davy DMX – get lost in their crates. For starters, the album’s first single, “Run’s House” b/w “Beats To The Rhyme” is arguably the most powerful one-two punch of the trio’s career, showing contenders to the rap throne that they could still destroy a beat, tag-teaming with power at any speed. Not to be lost in the shuffle, fans were also reminded on both sides that Jam-Master Jay remained one of the world’s best DJs, flexing the pinnacle of what would be called “turntablism” a decade later. Both songs show a musical telepathy between all three that has rarely been equaled. The second single, “Mary, Mary,” driven by an infectious Monkees sample, took a different approach, shrewdly ensuring that pop fans who jumped on the Raising Hell bandwagon had something to chew on. But, like “Walk This Way,” the song wasn’t just bubblegum – there was an edge to it, and the lyrical gymnastics were very real. It wasn’t selling out, it was allowing fans to buy in. “Papa Crazy,” driven in concept and by a sample from the Temptations’ “Papa Was A Rolling Stone,” followed a similar pop-leaning path. Overall, the lyrical content on the album was a step up from the group’s first three LPs. It’s easy to infer, looking back, that they were feeling the heat from their younger competitors in the rap game. The genre was changing fast, and they were up to the challenge. On cuts like “Radio Station” they bring substance to the grooves, by attacking Black Radio for its continual denigration of rap. “Tougher Than Leather” reminds the world that they were still the Kings of Rock, with hard guitars to drive the point home. And “They Call Us Run-DMC” and “Soul To Rock And Roll” both bring things back to their early days, with sure-fire park jam rhymes and killer cuts. Tougher Than Leather, which went platinum up against a lot of competition, perfectly bookends the ‘80s output of one of the decade’s most important groups. It encompasses the full range of the trio’s capabilities, and reminds us that Run-DMC should never be forgotten as both pioneers and party-rockers. And so, we say, long live Joe, Darryl and Jay! A1. Run's House A2. Mary, Mary A3. They Call Us Run DMC A4. Beats To The Rhyme A5. Radio Station A6. Papa Crazy B1. Tougher Than Leather B2. I'm Not Going Out Like That B3. How'd Ya Do It Dee B4. Miss Elaine B5. Soul To Rock And Roll B6. Ragtime

RSD vinyl now available for everybody and now slightly cheaper too!! "Unavailable on vinyl for decades, Select Records presents 2 Hype in an opaque white pressing exclusive to RSD Black Friday. For a certain generation of hip hop fans, just the mention of Kid ‘n Play brings on a wave of nostalgia. The group released three full-lengths between 1988 and 1991 with a focus on positive lyrics and pop friendly production. The success of the group’s music lead to countless House Party films, a Saturday morning cartoon show and even a series of comic books for Marvel (so, technically speaking, are Kid ‘n Play are part of the Marvel Universe?). It all started here on the 1988 full-length 2 Hype which features “Do The Kid 'n Play Kick Step”, the musical accompaniment to their trademark dance, “Rollin’ With Kid ‘n Play” which hit number 11 on the Billboard R&B Singles chart and of course Kid's now classic hi-top fade haircut, which measured up to over six inches high at its peak. Producer Hurby “Luv Bug” Azor, instrumental in the success of Salt-N-Pepa, was certainly a factor and the full length went on to chart in the Billboard Top 200 and to RIAA certified gold status."

Star B, aka Mark Broom & Riva Star, drop ‘Love Will Remain EP’ on Rekids.

Both Riva Starr and Mark Broom are respected DJs and prolific producers, with individual releases on the likes of Rekids, Hot Creations, and Starr’s Snatch! Records, amongst others. Together as Star B, the duo craft disco and funk-infused house and techno with expressive vocals and heavyweight production.
Leading the release, ‘Love Will Remain’ brings chunky, pumping drums, spoken word, and funky disco slices together for a grooving A-side. On the flip, ‘I’ve Got Joy’ heads for the club, combining synth stabs and rocking percussion under heavy-low end and spine-tingling vocals for a surefire party-starter.

New York’s very own JW Francis announces his brand new album ‘Dream House’ – his third with London based label Sunday Best Recordings. Coinciding with the announcement is the gloriously up-beat new single ‘Casino,’ which offers a glimpse into what to expect on his forthcoming feel-good LP. When JW isn’t writing songs about his own life or surreal imagery, he writes about other people – most notably around the month of February when he writes valentines songs on his fans’ behalf. ‘Dream House’ encapsulates all of this and forms a collection of glorious tracks written for other people: “Every year, about 6 weeks before Valentine’s Day, I make the following post on social media: “If you send me the name of your Valentine, and the reason you love them, I’ll write a song for them on your behalf.” That is how Dream House was born, 3 years ago. Over the past three years, I have received over 300 requests from fans to write songs for their loved ones. All of the songs on Dream House come from this project, some of them have been reworked to speak more to the artist’s life, others have remained exactly as they were first written. Ultimately, this is an album about caring for others, and the way we express it.” Written and recorded at the start of 2021 in NYC, ‘Dream House’ is slightly reminiscent of The Strokes and even has hints of Lou Reed, however the project is still quintessential JW Francis with its blissful melodies and dreamy instrumentation; perfectly fitting given the album’s title. Along with the announcement comes ‘Casino’, a track about pursuing your dreams, as JW explains, “This song is about taking a gamble on myself as a musician, quitting my job, and living the life I want to be living. The video explores the two lives I was living before I got the opportunity to follow my dreams and doing music full time.” ‘Dream House’ follows the hugely well received ‘WANDERKID’ and ‘We Share a Similar Joy’ and once again proves why JW is the king of laid-back and effortlessly cool song-making.

New York’s very own JW Francis announces his brand new album ‘Dream House’ – his third with London based label Sunday Best Recordings. Coinciding with the announcement is the gloriously up-beat new single ‘Casino,’ which offers a glimpse into what to expect on his forthcoming feel-good LP. When JW isn’t writing songs about his own life or surreal imagery, he writes about other people – most notably around the month of February when he writes valentines songs on his fans’ behalf. ‘Dream House’ encapsulates all of this and forms a collection of glorious tracks written for other people: “Every year, about 6 weeks before Valentine’s Day, I make the following post on social media: “If you send me the name of your Valentine, and the reason you love them, I’ll write a song for them on your behalf.” That is how Dream House was born, 3 years ago. Over the past three years, I have received over 300 requests from fans to write songs for their loved ones. All of the songs on Dream House come from this project, some of them have been reworked to speak more to the artist’s life, others have remained exactly as they were first written. Ultimately, this is an album about caring for others, and the way we express it.” Written and recorded at the start of 2021 in NYC, ‘Dream House’ is slightly reminiscent of The Strokes and even has hints of Lou Reed, however the project is still quintessential JW Francis with its blissful melodies and dreamy instrumentation; perfectly fitting given the album’s title. Along with the announcement comes ‘Casino’, a track about pursuing your dreams, as JW explains, “This song is about taking a gamble on myself as a musician, quitting my job, and living the life I want to be living. The video explores the two lives I was living before I got the opportunity to follow my dreams and doing music full time.” ‘Dream House’ follows the hugely well received ‘WANDERKID’ and ‘We Share a Similar Joy’ and once again proves why JW is the king of laid-back and effortlessly cool song-making.

* 2022 Repress ** Profondo Nero compiled by Cinema Royale

Profondo Nero narrates a storyline that goes beyond the borders of Italy’s musical legacy. Cutting across the face of Italo disco’s leftfield musicians between the early and late ‘80s, Profondo Nero champions a multi-faceted sound that nods to the blueprint of Italo disco but tries to dig deeper. The music is unmistakably Italo disco but moves away from the familiar classic sound. Amsterdam based collector Cinema Royale stitches together eleven tracks from 1983 – 1989, celebrating a sound he fittingly describes as ‘leftfield Italo’.

The compilation connects the dots between soulful disco (Louise Freeman – Mirage), synth-pop (Mark – Dreamland), electro-rap (Loukas Thanos – Jazzburger), breaks (Santoro – Lover Message), 80s dub disco (Jet Set – Love Break), Balearic (Isamar & Compañia ‎- No Estas), boogie (Tom Hooker – Talk With Your Body) and proto-house (International Music System - An English ’93).

Profondo Nero’s title salutes the legendary oeuvre of Italian horror director Dario Argento. His Profondo Rosso (1975) is a classic example of exquisite cinematic storytelling, boasting courageous colors, expressionist camera angles and an unforgettable Goblin score forming the ingredients for an intriguing piece of art. Profondo Rosso’s music, created the spark for a new Dekmantel Records endeavor led by Amsterdam based experimental film score connoisseur, record collector and DJ Cinema Royale.

For those in the know of underground Amsterdam music culture, Arne Visser aka Cinema Royale is among the city’s longest standing record collectors. Born to an Italian mother and Dutch father, Arne was brought up on a diet of Italo disco in the 80s. Cinema Royale explains: ‘For Profondo Nero I took a plunge into the lesser known fringes of Italo disco. From there I tried to connect, among others, San Francisco boogie, Balearic, Japanese late era Italo-electro and synth-pop funk. I hope you can hear what I had in mind: an infectious showcase of my take on traditional Italo disco that will hopefully get a lot of listeners itching for a spin. It’s fair to say that lately this particular sound has seen a reappraisal and renewed interest.

As a party-starting collection for entry-level connoisseurs or suave but lazy types, I hope Profondo Nero can be an education. I’m not claiming I’m the first DJ or collector to do so, but I did try do present something special by digging deep.’ It wasn’t my goal to unearth the most obscure tracks, instead I wanted to compose a compilation that takes you on a journey.
‘In my opinion the best DJs create something extraordinary out of illogical selections by combining music against all odds and showing different kind of moods along the way. There’s a certain amount of arrogance involved: you take the music out of its original context. But by doing so in a very conscious way, you might be able to enhance the power of the individual records. Hopefully each song on Profondo Nero provides an intimate and memorable experience.’

James Curd presents the fourth instalment from his already essential PRONTO label, delivering a hyper-infectious original alongside a bumper pack of top-drawer remixes on ‘I Am One, I Am Many’.

First up, Curd’s original version of ‘I Am One, I Am Many’ bursts from the blocks with its lively tempo and feel-good groove. Built around an empowering spoken word vocal and pitched somewhere in the fertile soil between disco and house, the funk-laden jam rolls over thick bass, dramatic strings and jaunty guitar licks, with irresistible horn motifs lifting spirits as the dance-ready arrangement unfolds.

Next, renegade UK collective Adelphi Music Factory maintain the uncompromising approach that has seen them garner universal tastemaker heat thanks to impactful releases on Shall Not Fade, Nervous, and their own Beat Factory label. Adding weight to the drums, they stay true to the intention of the original, retaining the track’s key parts while tastefully reforming them as an unfettered main room banger.

The UK remix flavour extends into the third iteration, with notorious party-starters Make A Dance continuing their club-focused manifesto with their brilliantly atmospheric revision. Here, M.A.D. carry on the fine work they’ve been manifesting on their eponymous label, constructing an almost entirely new track around the iconic vocal. A contagious organ hook drives the energy as saucer-eyed sweeps and off-kilter synths meander across the panorama, the sturdy house rhythm expertly powering the kinetically charged groove.

Tel Aviv’s Nenor rounds off the remixes, the esteemed producer and DJ showing the kind of sparkling form that has seen his work appear on benchmark labels including Mahogani, Strictly Rhythm, Heist, and Razor N Tape among many others. Transposing the track into deeper territory, Nenor strips back the instrumentation to serve a mesmerising heads-down roller. The vocal soars over brooding bass and syncopated chords, with loose rhythms and subtle textures combining to hypnotic effect.

BOO WILLIAMS blasts off on another deep space mission via TRAX RESEARCH with VIRTUAL TECH sounding like the soundtrack to house party on Mars along with CONTINOUS PLAY channeling a new style of wild pitch. Limited heavy weight colored vinyl. Collector's item one-sider

Memento records is thrilled to announce "Hotter than Hell" a dancefloor twister release produced by Matteo Lago, Andrea Santini and Miky R, three DJs with more than e decade of experience behind the Booth. They are best known for their sweaty kinky party named Pandemonium that is soon becoming a record label as an output for their studio work.
"Make Some Changes" by Andrea Santini is a groovy hi-shuffled percussive track with a juicy acidic touch with an outbreak of good vibes and positive energy
"The Party Zone" by Matteo Lago is a killer cutting edge House track with an hypnotic synth, a full-bodied kick and sharp hi hats that lead straight into an anthemic 90s vocal hook
Miky R's techoid "Wild Flight' spreads elegant quirks rand clinks over a relentless sub bass and sophisticated uplifting Detroit-reminiscent chords.
Don't miss it! It's gonna make a Pandemonium!

One of These Nights occupies an important, unique place in the Eagles' discography given it represents the final album the group made before releasing the bajillion-selling Their Greatest Hits (1971-1975) compilation. The timing is telling. A coming-out party for Glenn Frey and Don Henley's songwriting skills, the studio record – the band's fourth, and its first to hit #1 on the charts – signifies the group's ascent to superstar status. Home to three massive singles (the title track, "Lyin' Eyes," and "Take It to the Limit") and nominated for four Grammy Awards, the quadruple-platinum 1975 effort solidified the Eagles' Southern California-reared sound and made the band a household name.

Mastered from the original analog tapes, pressed on MoFi SuperVinyl, and limited to 10,000 copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set takes One of These Nights to the limit. And then some. Playing with reference sonics and a practically indiscernible noise floor thanks to MoFi SuperVinyl's special formula, it provides a rich, dynamic, transparent, and three-dimensional view into a release that moved country-rock ahead by leaps and bounds – and paved the way for the Eagles' ascendancy to global superstardom. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and presentation of the UD1S One of These Nights pressing befit its esteemed status. Housed in a deluxe box, it features beautiful foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the renowned cover art to the meticulous finishes. As much as any Eagles LP, the connection between the imagery and the music and the band on One of These Nights runs deep. No wonder it led to a Grammy Nomination for Best Album Package.

Devised by West Texas artist Boyd Elder, the striking skull-and-feathers themed piece gracing the front of One of These Nights represents where the Eagles have been and where they were headed. Album art director Gary Burden explained: "The cow skull is pure cowboy, folk, the decorations are American Indian-inspired, and the future is represented by the more polished reflective glass beaded surfaces covering the skull." Moreover, Elder had met the group years earlier when Henley and company performed at one of his gallery openings in California. MoFi's UD1S box set allows Elder's vision (and Burden's debossed treatment of the image) to pop and appear as if it was a stand-alone object.

Of course, what's inside the sleeves, and in the grooves, proves equally compelling. Though One of These Nights marks the final appearance of band co-founder Bernie Leadon on an Eagles LP and contains three of his tunes, the record's tremendous success owes to Frey and Henley's timeless contributions. Taking the next step in their maturation and evolution, the pair crafted several songs while living together as roommates in a rented house in which they converted a music room into a recording studio.

The duo's bond and chemistry pulse throughout the record – particularly in the tight arrangements, tasteful instrumental flourishes, and seamless blending of the folk, country, and rock elements. The musical combinations and partnership not only produced the Eagles' first million-selling single (the slow-dancing "Take It to the Limit," co-written with bassist-vocalist Randy Meisner) and the Frey-led cheating classic "Lyin' Eyes," but the famed title track, which nods to the era's nascent disco scene as well as Kenneth Gamble and Leon Huff's Philly soul platters.

Frey named "One of These Nights" as his favorite Eagles composition of all-time; Meisner's high harmonies alone send the track into a galaxy of its own. Speaking of the latter, Leadon's instrumental "Journey of the Sorcerer" ventures into another universe and was soon used by Douglas Adams as the theme to his "The Hitch-hiker's Guide to the Galaxy" radio series. Inspiration and creative experimentation also dragged the Eagles into the blues. Another Frey-Henley gem, the self-probing "After the Thrill Is Gone" serves as a response song to B.B. King's signature track and more evidence the band was turning the lens inward for lyrical narratives. Like everything on One of These Nights, the song confirms the Eagles were breathing rare musical air.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Ellen Allien and the We Are Not Alone collective are back with a second edition of the We Are Not Alone series. A 36-track compilation split into 3 parts, each consisting of 12 cuts, dedicated to the infamous We Are Not Alone event series and the best of Berlin’s underground techno talent.

Ellen Allien's innovative party series We Are Not Alone was launched in 2016 and remains committed to inviting an exciting crew of artists to perform at the 36 hour events, now in a new home at RSO.BERLIN, where they returned with bang over 36 hours and 3 floors in May.

yellow marbled vinyl

Swoose makes his return to Shall Not Fade, joining the new Classic Cuts series, a year after his extremely popular Introspective EP. The Irish producer is known for his explosive nineties influenced style of house; think blissed out vocals over a headsy nightclub ready beat.

Bloom EP starts off with a bang, the title track a percussive trance of arpeggiating synths and a touch of nineties nostalgia with a classic sample. "Algo" is equally hypnotic; floaty melodies that glide across the deep bass edge of this sundowner party track.

"Polypore" hits hard with a purposeful kick drum, driving home the sidewinding acid inflections and making for a glitchy tool for dark club nights. The closing track changes things up; "Allure" takes natural piano loops and organic breaks to create a haunting piece of music which is a peaceful end to the EP, demonstrating Swoose's range and ability to move away from his comfort zone in production.

Mozes And The Firstborn liefern waghalsigen Garagen Pop, catchy Surfmomente, kratzige Gitarrenriffs, Ahh's und Ohh's gewürzt mit reichlich Selbstironie. Im Frühling als Support von Two Gallants, The Growlers und FIDLAR auf Vorstellungsrunde, erscheint am 20. September das Debüt Album in Deutschland, Österreich und Schweiz bei Siluh Records. Im Herbst 2013 folgen Auftritte u.a. beim Reeperbahn Festival, dem Waves Vienna und der Berlin Independent Night. Das verschmitzte Grinsen haben die vier Jungs nicht umsonst aufgesetzt. Nach unzähligen Shows auf House Partys, in Coffee Shops und Spelunken haben sich Mozes And The Firstborn auf die großen Bühnen der Niederlande gespielt und rumpeln bisweilen selbst in nachmittäglichen TV-Formaten. Auf Europas wichtigstem Newcomer Festival Eurosonic gewannen sie schließlich auch die Schweißporen der internationalen Gäste für sich. Launig, waghalsig und mit viel Übermut präsentieren sich die vom Garagen-Punk-Rock der 70ies infizierten Jungspunde vor Publikum. Nun erscheint ihr selbstbetiteltes Debütalbum in Deutschland, Österreich und der Schweiz auf dem Wiener Label Siluh Records, das zuletzt mit Releases von Sex Jams und Mile Me Deaf ein Händchen für rotzige Gitarrenmusik bewiesen hat. Mit lausbübischem Humor, dem Draufgängertum der jungen Rolling Stones, der verpeilten Lockerheit der Black Lips sowie dem erstklassigen Songwriting von Indie-Heroen wie Guided By Voices überzeugten sie auch das kalifornische Label Burger Records, das bereits zum internationalen Sprungbrett für Szenegrößen wie Ty Seagull, Black Lips oder King Tuff wurde.

LOCUS unveil the second instalment in their VA series ‘LOCUS Trax’ with fresh material from Mathijs Smit, LaRosa, BODJ, and Nolga.

Continuing to quickly grow as one of the most-loved emerging labels in the game, LOCUS looks set to go from strength-to-strength throughout the remainder of 2022 as the FUSE family builds yet another label offering quality and consistent material from across the house sphere. Having launched their new various artist series LOCUS Trax earlier this year, TBC welcomes the arrival of the sophomore offering with four fresh productions as Groningen’s Mathijs Smit, Brooklyn’s LaRosa, Athens’ BODJ and Manchester’s Nolga all make label debuts.

Mathijs Smit’s ‘Green Hill’ is a slinking cut guided primed for peak time fun as slinking acid tinged low-ends meet playful samples and sweeping pads, while ‘Amelia’s Groove’ sees LaRosa work shuffling drums amongst warped vocals and rich melodies. Next, BODJ veers towards spacey sythns and colourful electronic motifs across ‘Back To Party City’, before Nolga lays down woozy chords on top of a no-nonsense bassline to close the show.

140g LP, High UV Gloss Gatefold Jacket and 60cm double-sided fold-out poster.. it's a big release! TIP!

Raised across multiple cities, Amaarae’s music reflects a life split between New Jersey, Atlanta and Accra. As indebted to raw Southern rap as it is dancehall, her work also holds echoes of glossy mall rock and bubblegum pop. Embraced and endorsed by the Nigerian Alté scene as it was exploding into action several years ago, THE ANGEL YOU DON’T KNOW is an exuberant opening statement from Amaarae, anchoring her sound in her heritage and myriad influences, channelled through female empowerment. Whilst working on the record, Amaarae’s
reference points ranged from Paul Wall to Meat Puppets, reflected in the kaleidoscopic vision of the album, effortlessly jumping from the country trap of FANCY to an Afro-house comedown in 3AM. The vinyl release of TAYDK is packaged in a UV gloss gatefold sleeve with double- sided poster insert. It features an exclusive remix of FANCY, featuring London rap royalty Bree Runway.

Press:
"The future of Afro-pop” New Yorker “An instant classic” The Guardian
“One of the most compelling new acts on any continent” Pitchfork

(GF Col. LP + DL
Formed in 1980 by guitar prodigy Leonardo Vela Rodriguez, Sonido Verde de Moyobamba created some of the hardest, craziest Cumbia to emerge from the Peruvian jungle. With distorted, surf-addled guitar facing off against lysergic organ and hyperactive tropical rhythms, Sonido Verde conjured the organic sound of the dense forests surrounding their hometown while riding their dance-party grooves to dizzying psychedelic peaks.

Compiled by Analog Africa, Sonido Verde de Moyobamba presents eight ultra-rare tracks of guitar and organ madness drawn from the band’s five albums recorded for Discos Universal between 1981 and 1987. Pressed on Sun Yellow colored vinyl, housed in a screen-printed jacket and strictly limited to 2000 copies, Sonido Verde is a definitive trip into the heart of the jungle.

Limited Edition 180g LP - Comes with a Silk-Screen printed cover and a Sun Yellow colored vinyl
Download for LP from Bandcamp also includes unlimited streaming of *Sonido Verde de Moyobamba* via the free Bandcamp app along with high-quality download in MP3, FLAC and more Analog

Primetime Entertainment’ is PET NEEDS’ second studio album and is produced by friend and fan Frank Turner. Simultaneously loud and quiet, raucous party anthems sit alongside thought-provoking personal songs; it’s the sound of a band stepping up a gear to match their catapult on the big stages across the world. Having already toured Europe supporting Frank Turner in the first half of 2022, including Germany, Netherlands, France and more – the touring continues joining Frank on his mammoth 50 States in 50 Days tour of the US throughout June and July and then finally across the UK in September and October. ‘Primetime Entertainment’ is released on 9th September and will be available on CD, LP, digital and cassette. Timeline: Track 1 – ‘Get On The Roof’ – released as a single on 24th June ‘22 "After a gruelling 8 hour drive from a gig in South Devon back to Essex, I was reunited with my wonderful partner Lorna. We threw an old mattress out of our bedroom window onto our roof and clambered out, armed with a rucksack full of the remainder of last night's rider. We listened to cinematic theme tunes as the sun set over the chimneys on the horizon. Come early morning, we rolled back into the house. I grabbed my acoustic guitar, pressed "record" on my phone and sung a dizzy, euphoric stream of consciousness to my voice notes. It felt good, but they always do at that time of night, haha. On second listen in the morning, I felt excited about the tune and started to refine it. As soon as it hit the practice room we turned it into a party banger!"

Primetime Entertainment’ is PET NEEDS’ second studio album and is produced by friend and fan Frank Turner. Simultaneously loud and quiet, raucous party anthems sit alongside thought-provoking personal songs; it’s the sound of a band stepping up a gear to match their catapult on the big stages across the world. Having already toured Europe supporting Frank Turner in the first half of 2022, including Germany, Netherlands, France and more – the touring continues joining Frank on his mammoth 50 States in 50 Days tour of the US throughout June and July and then finally across the UK in September and October. ‘Primetime Entertainment’ is released on 9th September and will be available on CD, LP, digital and cassette. Timeline: Track 1 – ‘Get On The Roof’ – released as a single on 24th June ‘22 "After a gruelling 8 hour drive from a gig in South Devon back to Essex, I was reunited with my wonderful partner Lorna. We threw an old mattress out of our bedroom window onto our roof and clambered out, armed with a rucksack full of the remainder of last night's rider. We listened to cinematic theme tunes as the sun set over the chimneys on the horizon. Come early morning, we rolled back into the house. I grabbed my acoustic guitar, pressed "record" on my phone and sung a dizzy, euphoric stream of consciousness to my voice notes. It felt good, but they always do at that time of night, haha. On second listen in the morning, I felt excited about the tune and started to refine it. As soon as it hit the practice room we turned it into a party banger!"

Tape
Hailu Mergia & Dahlak Band's Wede Harer Guzo is the third release on Awesome Tapes From Africa for Ethiopian keyboard and accordion maestro. In the years since Shemonmuanaye, Mergia has revamped his touring career, playing festivals and clubs worldwide, including a recent tour supporting Beirut. By 1978, Addis Ababa's nightlife was facing challenges. The ruling Derg regime imposed curfews, banning citizens from the streets after midnight until 6:00 am. But that didn't stop some people from dancing and partying through the night. Bands would play from evening until daybreak and people would stay at the clubs until curfew was lifted in the morning. One key denizen of Addis' musical golden age, Hailu Mergia, was preparing a follow-up to his seminal Tche Belew LP with the famed Walias Band. It was the band's only full-length record and it had been a success. But his Hilton house band colleagues were a bit tied up recording cassettes with different vocalists. Still Mergia, amidst recording and gigs with the Walias, was also eager to make another recording of his instrumental-focused arrangements. So he went to the nearby Ghion Hotel, another upmarket outpost with a popular nightclub. Dahlak Band was the house band at Ghion at the time. Together they made this tape Wede Harer Guzo right there in the club during the band's afternoon rehearsal meetings, with sessions lasting three days. Dahlak Band catered to a slightly more youthful, local audience, while Mergia's main gig with the Walias at Addis' swankiest hotel had a mixed audience that included wealthy Ethiopians, foreign diplomats and older folks from abroad. Therefore, their sets featured lighter fare during dinnertime and a less rollicking selection of jazz and r&b. Meanwhile, Dahlak was known more for the mainly soul and Amharic jams they served up for hours two nights a week to a younger crowd. Mergia released Wede Harer Guzo ("Journey to Harer," a city in eastern Ethiopia) with Sheba Music Shop, which was located in the Piazza district but has long since shut down. His cassette copy is the only known source we could find. Jessica Thompson at Coast Mastering managed to restore the recording to clean up layers of hiss, flutter and distorted frequencies, made worse by years of storage. Although there are some remaining sonic artifacts of the era's recording and cassette duplicating quality, this reissue captures the band's inimitable vibe. Recalling the audience's positive reaction to Wede Harer Guzo's novel arrangements, he says it sold well and found many fans. However, as no trace of the tape can be found online, there's no indication as to why the cassette appears largely forgotten until now

Spanish DJ, producer and Night Shift records boss Javi Frias presents a new EP of disco edits that take the vibes of the 70s and re-fit them for the current dancefloor. As you might imagine, each of the four tracks seemingly has PARTY stamped across it in giant capital lettering, from the opening stomper 'Hot Damn!' with its bright-as-a-button brass section and the wah wah guitar of 'Dance To The Music' to the proto-house of 'The Spirit'. But the best is saved to last - the bendy funk bassline gymnastics of 'Feel Good', quite irresistible.

MILK GREY VINYL

100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound _ a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues _ felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around" _ and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: "Original in every sense _ unknown, unheard and unbelievably good." In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP. Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents' cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every electronic music magazine he could find at the local Borders Books store. As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space, throwing parties in small basements, office buildings, and off-beat karaoke bars in Manhattan, influenced by series such as Mr. Sunday in Gowanus and The Bunker at Public Assembly. The lifestyle started to bleed into Lustwerk's musical vision. He remembers the night it clicked in Providence, partying and listening to tunes with Morgan Louis and Alvin Aronson. He went back to New York and pieced together his bedroom setup: a Dave Smith Tempest drum machine, a Waldorf Blofeld synthesizer, and a TEAC cassette recorder. Early snippets went straight to SoundCloud, where Lustwerk tested the crowd. Comments and messages offered instant feedback. One DM proved to be the greenlight: from Matthew Kent, an invitation to his burgeoning mix series Blowing Up The Workshop. 100% GALCHER traveled fast and far. A phenomenon he could only enjoy for a short period before discovering that nearly all the masters of the tracks got wiped by water damage to his computer. "The only copies were now on the 192kbs mp3 mix I sent Matt." Until now, after Lustwerk revived the lost tracks and handed them to Josh Bonati for remastering. "The original mix was never mastered so I hope older fans can find something new here." Hearing the enhanced set for the first time delineated by tracklist reveals this was a proper album all along. Sly synth interludes (all titled "Stem") clear the air for raspy house anthems like "Fifty" and "Parlay," the set's original breakout. Themes present across Lustwerk's catalog first materialize in this iconic run _ the link between the meditative state of Midwest driving and the solitary comedowns of nightlife. Lust- werk, the narrator, is an elusive character, a secret agent of the club, embodied by the hooks: "One minute I'm on / next minute I'm gone," he reminds us on cult-favor- ite "Put On." These narcotic, one-line refrains stick with you; look no further than the original YouTube upload of "Kaint" to know that fans can't let these phrases go. While recorded alone, 100% GALCHER was a collective moment. A decade later, Lustwerk sees the legacy as shared: "Making music can be an alienating experience, especially for DJs who travel a lot, it's all super isolating. It's easy to express lone- liness in the music itself, but when it comes down to getting things done, putting music out, you def should go on that journey w other people, friends, or maybe just a group of people online, build things with your friends then they can build to help you."

With his new EP “Insides”, Palham Music owner Pressburg, delivers a true minimalist house masterpiece.

Dubbyrim starts off with taperecorder processed dub chords, guided by a haunting (-lybeautiful) bassline. Memory Gospel is J Dilla having musical intercourse with Lowtec. And With You is slower, sensual four to the floor house music at its best.

With this record, Pressburg expands his musical horizons, not only sticking to previous experimental records he made, but taking those experiments now to the dancefloor.
We are very happy that renowned dj's such as Move D, Roger 23. Sensu and Lerosa have included the tracks already in their setlists.

This is Pressburg’s first throw on Someguy Records.

ABOUT PRESSBURG:
Pressburg lives in a rural idyll on the foothills of the Thuringian Forest. That’s where he produces his meandering tracks which he has been releasing on his house label Palham Music, since 2003. His approach is technically cognitive, fitting for his reservedly modest character.

ABOUT SOMEGUY RECORDS
Someguy Records is the brainchild of G?s Ramboer, aka Someguy, a political journalist with a passion for music. The label aims to be a haven for house music artists that don’t strictly aim for the peak time of the party, but rather provide that surprising opening or closing track. There’s no rules to what or who is involved with the label, but most acts are situated left of the center.

Current and future acts include:
Someguy, Different Fountains, Pressburg, Sensu, Mikkel Metal, Mary Yalex, D man.

Part 5 of the various artists series is at it again with 5 tracks by 5 different producers and a mixture of feel good party time music and contemplative music. You will hear familiar Running Back names like Storken (this time together with JStaaf) refining their comic tropes (or imagine Foreigner doing house music) next to newcomers like Archie Ward. His Pizza Girl puts musical toppings on a pounding underbelly that wouldn't be out of place in any warehouse, while Moritz and Amount dial it back a bit. Their respective tracks are gleaming with a special kind of elegant end-of-night euphoria that is hard to come by - and all the nicer if it happens. Remember: trance is a state of mind! Last but not least, Australia's Jonus Eric delivers an IDM-leaning piece of outsider dance. Hot soup, hot swallow!

Ltd edition Double Sky Blue Vinyl, Gatefold sleeve w/ spot gloss, liner notes + DL card. Classic Double Black vinyl, Gatefold sleeve w/ spot gloss, liner notes + DL card. Bending scuzzy boundaries, ‘Good Bad Not Evil’ is a coming-of-age garage rock classic record. Full of hedonistic delinquent anthems, the fourth studio album from Atlanta punks Black Lips reaches it’s 15 year anniversary. This deluxe edition includes unearthed photos and new liner notes from Jared Swilley and King Khan. The second disc features B-sides and rarities including ‘Cruising’, ‘I Wanna Dance With You’ and ‘Leroy Faster’. ‘Good Bad Not Evil’ perfectly encapsulates the disillusionment of the mid-00s America, slammed between warehouse parties, DIY generator shows and scattered party pics, which was recorded in a little house in Atlanta that had been converted into a studio called the Living Room. Referencing Shangri-Las in the title, this is where their knack for garage gems met Motown; with bass heavy grooves (later remixed by Diplo), a certified country twang and unabashed bravado. Instant hits like ‘Veni Vidi Vici’, ‘Cold Hands’, ‘Bad Kids’ and ‘O Katrina!’ immediately became Black Lips staples. This was a band caught in the eye of the storm, the touring continued, the parties didn’t stop, this was a band bending the scuzzy boundaries of their chosen genre. The record was hailed by the likes of Pitchfork, who proclaimed, “Black Lips are a go-to band for vintage lo-fi freaks, and their raucous live shows have helped them cross over outside of crusty dive bars. ‘Good Bad Not Evil’, however, is the record where naysayers, disinterested friends and acquaintances, people on the street, and anyone else within earshot has to sit up, shut up, and listen.” …and, shut up and listen they did. “A perfect tapestry of sordid pleasure.” NME // “The same rapturous energy as the Sonics and the 13th Floor Elevators.” The Guardian // Track List: Disc One – Good Bad Not Evil. A1 I Saw A Ghost (Lean) A2 O Katrina! A3 Veni Vidi Vici A4 It Feels Alright A5 Navajo A6 Lock and Key A7 How Do You Tell a Child That Someone Has Died B1 Bad Kids B2 Step Right Up B3 Cold Hands B4 Off The Block B5 Slime and Oxygen B6 Transcendental Light… Disc Two - B-Sides & Rarities. C1 Cruising C2 Make It C3 I Wanna Dance With You D1 Best Napkin I Ever Had D2 My Trouble D3 Leroy Faster D4 Buried Alive

Ltd edition Double Sky Blue Vinyl, Gatefold sleeve w/ spot gloss, liner notes + DL card. Classic Double Black vinyl, Gatefold sleeve w/ spot gloss, liner notes + DL card. Bending scuzzy boundaries, ‘Good Bad Not Evil’ is a coming-of-age garage rock classic record. Full of hedonistic delinquent anthems, the fourth studio album from Atlanta punks Black Lips reaches it’s 15 year anniversary. This deluxe edition includes unearthed photos and new liner notes from Jared Swilley and King Khan. The second disc features B-sides and rarities including ‘Cruising’, ‘I Wanna Dance With You’ and ‘Leroy Faster’. ‘Good Bad Not Evil’ perfectly encapsulates the disillusionment of the mid-00s America, slammed between warehouse parties, DIY generator shows and scattered party pics, which was recorded in a little house in Atlanta that had been converted into a studio called the Living Room. Referencing Shangri-Las in the title, this is where their knack for garage gems met Motown; with bass heavy grooves (later remixed by Diplo), a certified country twang and unabashed bravado. Instant hits like ‘Veni Vidi Vici’, ‘Cold Hands’, ‘Bad Kids’ and ‘O Katrina!’ immediately became Black Lips staples. This was a band caught in the eye of the storm, the touring continued, the parties didn’t stop, this was a band bending the scuzzy boundaries of their chosen genre. The record was hailed by the likes of Pitchfork, who proclaimed, “Black Lips are a go-to band for vintage lo-fi freaks, and their raucous live shows have helped them cross over outside of crusty dive bars. ‘Good Bad Not Evil’, however, is the record where naysayers, disinterested friends and acquaintances, people on the street, and anyone else within earshot has to sit up, shut up, and listen.” …and, shut up and listen they did. “A perfect tapestry of sordid pleasure.” NME // “The same rapturous energy as the Sonics and the 13th Floor Elevators.” The Guardian // Track List: Disc One – Good Bad Not Evil. A1 I Saw A Ghost (Lean) A2 O Katrina! A3 Veni Vidi Vici A4 It Feels Alright A5 Navajo A6 Lock and Key A7 How Do You Tell a Child That Someone Has Died B1 Bad Kids B2 Step Right Up B3 Cold Hands B4 Off The Block B5 Slime and Oxygen B6 Transcendental Light… Disc Two - B-Sides & Rarities. C1 Cruising C2 Make It C3 I Wanna Dance With You D1 Best Napkin I Ever Had D2 My Trouble D3 Leroy Faster D4 Buried Alive

We are delighted to announce RE:WARM 010 in this very infectious South African House-infused Pop record from 1991 drawing on influences from some of the greats in the genre. Sounding like a long-lost Frankie Knuckles L.P or Something The Pasadena’s might have put out in the early 90s. Small’s, “Don’t Leave Me In The Rain” is an under-the-radar grail for all those seeking good time House music for the feel-good slot at any party.

For all those that enjoyed the releases, we put out from Lucky Mereki or Bibbi this one is going to be right up your street. It's more of the same from the townships of S.As 1990’s Pop, Bubble Gum, Kwaito & House scene of the time. The sound was sweet, the message was positive, the clothes were loud and they seemed to be having the time of their lives.

Officially licensed and remastered for this small release run, 500 vinyl copies in total, pick it up here rather than paying the extortionate cost of the rare and hard-to-find original.

Bad Colours is back with his sophomore album, "Always With U," out on Bastard Jazz Recordings in November, 2022. The London-born, Maryland-raised, Brooklyn-based DJ, songwriter, producer, and multi-instrumentalist - aka Ibe Soliman - continues to build on the well-deserved acclaim from his 2021 debut LP, "PINK," as well as a slew of standalone singles and collaborations with the likes of Shabazz Palaces, Jarv Dee, and Stas THEE Boss.

"Always With U" sees Ibe further develop his talents as a songwriter and producer, while maintaining the signature balance of banging dance music and dense bars that he's quickly becoming known for. The album expands Ibe's role to a collaborator, band leader, and all-around star-of-the-show; it's certainly still a dance record, but there's also so much more. Live instrumentation accompanies every track, with the notable contributions of Nigerian bassist Akin-Alade Ogo heard across the album, as well as the NY-based saxophonist Carras Paton on the jazzy, upbeat house number, "Heartache + U."

The lead single, "Maybe I Should Move to LA," sees the proudly Brooklyn-based Bad Colours contemplate a move out West – an idea that came about following a trip to LA for the 20 Years of Bastard Jazz anniversary party (which he DJed) in November last year. Bright pads, a thumping four-on-the-floor beat, and a catchy vocal line make it the perfect accompaniment to a top-down joy-ride up PCH. The album's second single, "You Don't Know," features frequent collaborator and PNW darling Jarv Dee, as well as KAS and JVDE who have both been making waves in the Brooklyn scene (KAS for his work with Grammy- nominated producer Harmony Samuels featured on BET, and JVDE as the lead-singer of alternative band Blind Benny). "You Don't Know" turns up the heat with Jarv and KAS trading dense, rapid-fire verses over a high-tempo beat and detuned vocal; the kick cuts out for the bridge, replaced by syncopated keyboard stabs and JVDE's stacked vocals. "You Don't Know" is high-energy hip house at its finest: Super catchy and irresistibly dancey.

The two singles are emblematic of the rest of the album, which largely alternates between vocal and hip house, sometimes jazzy, other times touching on R&B or dancefloor influenced pop. Dave Giles II and Cor.Ece (who recently both contributed to Beyoncé's chart-topping "Renaissance" LP and Honey Dijon's "Work" single) feature on "Flow," while Toribio (of the acclaimed Brooklyn band Conclaves) provides vocals for "Do Better;" both tracks are on the mellower side, reminiscent of late-90s New York mid-tempo garage. Rising artist N.O.V. features on the second track, "Ready," rapping over a bass-heavy beat; MarcusHarmon makes a return after appearing on "PINK," with smooth vocals on the romantic "Come Closer." Aforementioned JVDE can be heard throughout the album, contributing to "You Don't Know," "Flirtation Avenue," and "Easy Come, Easy Go."

While Ibe's career has spanned nearly two decades - as both a DJ (alongside the likes of James Murphy, Mark Ronson, and Q-Tip) and producer (for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross, among others) - the Bad Colours name only came into being in early 2020, with the debut LP, "PINK," being released in February, 2021 on the Brooklyn tastemaker label Bastard Jazz. By tapping into his deep network of artist friends, Ibe compiled a treasure-trove of vocal samples, snippets, sketches, and fresh instrumental loops into a beautiful debut record that touches on hip-hop, house, and left-field electronic, while remaining danceable.

A slew of singles throughout 2020 and 2021 included "Feelin' Like," featuring the Seattle rapper Jarv Dee, has become an underground hit, popping up everywhere from Best Buy ads, Hulu's "Woke," celebrity Peloton instructor Emma Lovewell's playlist, and even as a soundtrack to the Mayor of Madrid's TikTok video. Most recently, "Feelin' Like" had a prominent placement in the #1 Netflix film "Spiderhead," directed by Joseph Kosinski ("Tron: Legacy;" "Top Gun: Maverick") and starring Chris Hemsworth, Miles Teller, and Jurnee Smollett. The breakout success of "Feelin' Like" further led to a collaborative EP with Jarv Dee, titled "BLAKHOUSE," which saw additional features from fellow PNW natives Shabazz Palaces ("Clouds," featured in Hulu's "Shoresy") and Stas THEE Boss ("Black Skin"). This year, Bad Colours dropped the early Summer banger "Hit The Breaks," and served as the musical director for the influential MADE New York festival, a two-day fashion, music, and arts event presented by Public School NYC and Paypal, that saw performances by Nas, Heron Preston, and Bearcat among others.

"Always With U" is a testament to Bad Colours' versatility as a producer and artist, which has allowed him to bring together such a diverse group of friends and collaborators. Yes, the house and hip-hop roots remain, but "Always With U" shows an evolution of the Bad Colours sound into masterfully crafted dancefloor sounds. It's a truly stunning follow-up from an artist undoubtedly on the rise. The album is out on all platforms, via Bastard Jazz Recordings, November 11th, 2022.

The essential series from the ’80s has been rebuilt, remastered, and carefully portioned onto a five disc set of 7-inch singles, including all the classic vocal bits that became iconic samples, and more than a few new additions to bring things up to date.

Where would dance music be without Acapellas Anonymous? Although many records claim to have changed the game, the arrival of the Acapellas Anonymous series in the mid/late ’80s actually did just that. A hugely popular, multi-volume set of vocal tracks sourced from a wide variety of dance classics, AA was used extensively at the dawn of sampled music to provide hooks for numerous hits. “I’ve Got the Power,” “Ride On Time,” multiple Clivillés and Cole tracks, Pal Joey’s “Party Time,” ’90s Italo house and rave cuts, and untold others all found their choruses among the many acapellas collected on the series. As Ultimate Breaks & Beats was for funk and hip-hop sampling, so was AA for dance music, both for producers and as a must-have for the creative DJ. Sure, before these records came along, DJs had their own choice vocal bits that they used in sets or layered into edits. But suddenly, much like Ultimate Breaks, these carefully guarded secret sources were available easily, and in convenient form, for the first time. And the response, from DJs and a new generation of producers, was immediate.

That part of the story is widely known, and indeed, was widely experienced by anyone paying attention to music of the time. But the questions linger: who was it that found these acapellas, many of them only existing on promo singles, or as tiny fragments buried on obscure B-sides? Who edited and put them together? By now, you may have guessed that once again we owe an enormous debt to the maestro of edits and our hometown hero, Danny Krivit. And it’s to him we must tip our collective caps for this latest release, a carefully revised, fully remastered, and immaculately executed update to the series — this time on 7-inch.

All of the classics are here, rinsed but still powerful: “Let No Man Put Asunder,” “Weekend,” “Don’t Make Me Wait,” “You Don’t Know,” and dozens more. New additions make a few clever appearances as well, with Roland Clark’s “I Get Deep” (used for Fatboy Slim’s “Star 69”), and Rickie Lee Jones’s stoned rambling known as “Little Fluffy Clouds” showing up for the first time. This is no nostalgia trip — Acapellas Anonymous was recently tapped for a Cardi B megahit, and naturally you’ll find that source, Frank-Ski’s “Whores In This House,” included. All in all, an astounding 80 high-quality acapellas and vocal hooks are spread across the five 7-inch, 33RPM singles, which have each been sequenced thematically with attention paid to timings and tempos to provide maximum utility for the working DJ. And if the past is any indicator, we will likely see a new crop of tracks spring up as these find their way into the production toolkits of the world’s track-makers.

BLUTHARDINO, Komponist, Arrangeur und Multiinstrumentalist von MONDO SANGUE, erhebt mit DISCO VOLANTE 80 seinen Retro-Sound in völlig neue Sphären und erweitert die filmische Epik seiner Band mit Einflüssen von Soul, Funk und spacigem 80er-Jahre House. Herausgekommen ist ein vorwiegend instrumentales Producer-Debutalbum. Der groovende Retro-Cocktail eines Sound-Wizards, der hier einmal mehr ein enormes Gespür für den Sound der 70er und 80er Jahre beweist. Gesangliche Unterstützung gibt"s von Indie-Ikone FUTURE FRANZ und - erstmals auf französisch - von Bandkollegin YVY POP.

Zopelar arrives on Tartelet with Charme - an album of effervescent machine funk harking back to a golden era of Brazilian party music, releasing October 21st.

The era of interest for Sao Paulo’s Pedro Zopelar begins in the 1980s in Rio de Janeiro, when a particular phenomenon caught on at suburban parties which became known as Charme. “Charme was like a mix of slow boogie, RnB and new jack swing,” explains Zopelar. “DJ Corello started calling ‘charme’ the moment of the party when he played slow grooves and felt that the people started dancing differently, with sexier synchronized moves. Some years later, charme evolved from an awaited moment of a night to a whole movement of parties just playing that kind of music. On this record I tried to make something that brings this emotional feeling to my music in a modern way.”

Much like the original genre-not-genre he drew inspiration from, Zopelar’s approach across his latest LP spans different moods and tempos. There’s blissful, sultry mystery lingering around ‘Clara’ and ‘Do You Feel?’ while OSAGIE lends some chops to the exquisite, Rompler-powered synth funk of ‘Chain Net’. The lead singles ‘Shibuya’, ‘Charme’ and ‘Passado’ all tap into varying shades of deep house, from slinky City Pop-tinted loungers to peak-time dance pop and Larry Heard-influenced flavours, with the constant being Zopelar’s immaculate production and the unbridled warmth of his compositions.

Continuing the Latin-rooted theme of the album, the artworkconception of Charme was realized by multidisciplinary artist and curator Ode, showcasing a popular style of street paintings made by anonymous artists throughout Latin America. It’s not about graffiti-culture but a popular solution utilized by small restaurants, bars and other establishments to use their own walls for commercial purposes, hiring artists to paint food and drink menus or other information about their products.

With an emotional sincerity stemming from his move to reconnect with the Brazilian dimension of his creative background, Charme arrives as Zopelar’s heartfelt celebration of life and music, of sentimental moments shared and good times enjoyed.

Saft's X series signs up accomplished French house artist Pablo Valentino for a new EP that features Patchworks and includes a remix from Seb Wildblood. Valentino hails from East France but his work has made a global impact. He runs FACES Records and is A&R for the cult MCDE Recordings. Next to that he DJs around Europe and has produced both solo and as part of collectives such as Creative Swing Alliance and Hipster Wonkaz for labels like MCDE, Eureka and Room With A View.

Atmospheric opener "Look Deeper" is a rough and steamy deep house cut for cosy basements. The drums are raw and alive, the lead synth is haunting, and the keys bring a jazz feel while vocal coos add some serious soul. French jazz, soul and deep house artist Patchworks guests on "X Rousse", a freewheeling jam with loose-limbed drums and funky chords. It channels the spirit of Moodymann and is sure to bring heat to any party. The final original is "Bagaco"; a bubbly and percussive number underpinned by warm bass stabs. The dynamic groove never rests and raw claps amp up the energy throughout.

Seb Wildblood is a driving force in the South London scene thanks to running Church, All My Thoughts and Coastal Haze. From house to downtempo, leftfield to techno, he has a broad stylistic range that always looks forwards. His remix is a celebratory broken beat workout. It's all about big stabs, soulful smeared chords and cutting loose on the dance floor without a care in the world. Once again, The Saft X

Ian Pooley returns to Rekids with Studio A Pt.3 this September.

The third and final entry in a three-part release series based on his studio, Ian Pooley’s ‘Studio A Pt. 3’ for Radio Slave’s imprint sees him drop yet another set of bumping, hardware-focussed tracks.

Leading the A-side, ‘PSS480’ combines swinging drums, modulated low end, and trippy bleeps for a party-starting house track. ‘SP12 Electric Mistress’ brings flanged-out drums and lush pads together for a wonky yet driving cut. On the flip, ‘Viola’ sees Pooley heading toward heavier territories with rumbling kicks and heaving synths forming a pumping techno track before the ‘303 Version’ of ‘SP12 Electric Mistress’ closes out the EP, introducing tweaked-out acid lines and freaky FX to the original version.

Active since the early 90s, the German DJ/producer has released on the likes of Force Inc, V2 Records, and his own Pooledmusic, remixing for the likes of Deee-Lite, Carl Cox and many more, as well as being one of the few to be remixed by Daft Punk.

‘JUSTIN TIME’ is the first Vinyl LP compilation by Children’s favourite, Justin Fletcher.
Justin Fletcher has starred in the hit CBBC shows Mr. Tumble, Gigglebiz, Justin’s House, Fun Song Factory,
Something Special and the GiggleQuiz comedy observational panel show for the pre-school audience.
Justin is a multiple BAFTA Children's’ Award winner, received an MBE in 2008, regularly tours with a live sell out live
Christmas show, has his own monthly magazine, and is the voice in numerous blockbuster film animations including
the four Shaun The Sheep movies!
This 12” Vinyl LP Picture Disc features his best known songs on Side One, with Side Two is jam-packed with sing-along nursery rhymes.

Dark Purple Vinyl

Edinburgh party-starter Astro makes his return to the Lost Palms catalogue with a house quartet. Taking time out of his busy touring schedule which involves sharing stages with the likes of Helena Hauff, Pearson Sound, Or:la and Courtesy, on 'Outer Shon' Astro delivers four instant classics, some leaning towards disco ('Gauze') and others adding delay to a old school piano melody ('On A Dub').

'Mysticisms' prides itself on finding the groove, but with a nod (and wink) to discerning ears. However, sometimes it's right to just let it all out and go route one. Berlin based producer Daniel Scholz aka (DJ) Leinad was all about the dancefloor, releasing a series of simple but highly effective EPs of cut up, looped house music that summed up that late 90s Chicago-NYC-London-Paris influenced bombs.

The jack that house built the "heroes" with the "touch" Souvenirs embodies Leinad's sound. Moving from high-school DJ, to computer programmer to professional producer, DJ and soundtrack artist, remixing for the likes of Yellow and Peter Gabriel's Real World, moving from early classic mid-90s German techno and trance releases on to his 'Leinad' moniker (Daniel spelt backwards), the series of releases on JXP can now go for dizzing sums. In Souvenirs, taken from the Disco Part's III EP, Mysticisms found the source - elastic bass, filtered loops, watertight kick and twisted disco'n' strings, all cut back and forth 'for the party' to abandon.

Present day remixes come from Lewie Day's 'Deep Dean' project, offering a wonderful example of an artist at work, a laid back groove, pushing all the right dancefloor buttons, all presented with respect to the past, but with acres of modern day swing; Mysticisms' own cohort Piers Harrison, side stepping his edit school as one of Soft Rocks, to produce a literal peak time acid banger; and to close the 'DJ' returns, Leinad offers a bumping 2022 remake to show he's still a teacher.

Guru The Mystery.

Party-starter Chrissy joins the Shall Not Fade family with a 4-track serotonin hit which draws on influences from his San Franciscan heritage, as well as those closer to home in the UK.

'You Don't Have To Worry' encompasses this fusion, with anthemic piano chords and uplifting vocals that enliven a swung breaks instrumental. 'Assure Us There's A Heaven' and 'If I Could' also come with plenty of swing, borrowing tropes from UK Funky to show house at its most danceable, whilst 'All These Dreams' is a modern take on old school vocal house.

Ft TROIALEXIS

TroiAlexis is a young talented Detroit female song writter who was discovered by Omar S at the Conant Gardens Party Store who sung Acapella to him at a Hi Tech party and was blown away by her Soulful voice!!

(ft Ruf Dug remix)

Proto-house flavours straight to your ears by way of Sheffield for the newest offering on Feelings Worldwide.

Part of soundsystem collective Apricot Ballroom - DJ, producer and dab hand on the keys - Nonna Fab steps up for the eighth release on the London based imprint.

Taking you on a cosmic trip reminiscent of heady Paradise Garage-era NYC with four original tracks brimming with piano stabs and epic groove.

Fellow Northern dance music devotee and top producer Ruf Dug completes the release with a remix of title track Rough Culture.

This release is pure fire!

2021 has been an incredible year so far for Jessie Ware. ‘What’s Your Pleasure?’ re-entered the Top 10 following a brilliant Graham Norton performance of ‘Remember Where You Are’ which has proved itself to be one of Jessie’s most connective singles to date. In addition, Jessie has two BRITs nominations, one for Female Solo artist and one for Album Of The Year – the category with a historic four women up for the award. On 28th April Jessie returns with a brand new single ‘Please’ taken from the upcoming deluxe release of ‘What’s Your Pleasure?’ officially titled as ‘What’s Your Pleasure? The Platinum Pleasure Edition’. Released on 11th June, the album features 6 brand new songs and more.


Her newest track, ‘Please’ sees Jessie continue the energy of ‘What’s Your Pleasure’ in the form of a throwback to 70s and 80s dance music, and pulls it together in a wonderfully anachronistic style, all packaged with Ware’s outstanding vocals. The track fits perfectly into ‘What’s Your Pleasure - The Platinum Pleasure Edition’, Ware’s deluxe offering of her sensational 2020 record. This edition still bears the cohesive, complementary songwriting, the killer grooves and flawless production of the original version. The Platinum Pleasure Edition only serves to heighten the rich and powerful soul of last year’s release with tracks like Please, 0208 featuring synthpop visionary Kindness, the Endless Remix of ‘Adore You’ and a whole host more.

Talking about the upcoming deluxe and new single Jessie said: ”I had such an amazing response to the ‘What’s Your Pleasure?’ record that I didn’t want the lights to go up and the party to be over just yet! ‘Please’ is full of optimism and ready to be played in a place where we can all be together and flirt, dance, touch and kiss. A wonderful excuse not to stop the party from ending.”

It’s safe to say that the last twelve months have been pretty stellar for Jessie Ware. June 2020 saw Jessie release ‘What’s Your Pleasure?’ and gain not only her fourth UK Top 10 album of her career, but also her highest charting record when it entered straight into the UK Official Album Charts at No.3. As if this wasn’t amazing enough, she went on to release her first cookbook and continued her immensely popular podcast Table Manners and recently hit a massive milestone of 21 million individual listens, oftentimes featuring household names such as Dua Lipa, Kylie Minogue, Yungblud, Robbie Williams, Alanis Morissette., Dawn French and Dolly Parton to name a few.

Last year saw the album continue to receive widespread critical acclaim, with ‘What’s Your Pleasure?’ featuring heavily amongst ‘album of the year’ lists including for music critic Anthony Fantano, also known as The Needle Drop, who gave What’s Your Pleasure?’ the coveted no. 1 spot on his ‘Best Albums of 2020’ list, declaring it to be “a religious experience”. The record garnered praise from The Guardian who say it’s“Ware’s finest record yet"; Rolling Stone laude it as a “fantastic dance-pop record”; Pitchfork say “Jessie reminds us why we listen to dance music in the first place.”, GQ proclaim it as “the perfect album” and NME stated it was“pure escapism.”