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Berlin-Hamburg duo Session Victim return to the ever-reliable Delusions Of Grandeur imprint with Chapter Two of their Sidequests trilogy, marking yet another high point in their almost twenty year journey through heartfelt, sample-rich music. Overflowing with analog warmth, sundrenched textures and irresistible grooves, the release also features a stellar remix from label cofounder and deep house pioneer Jimpster who kicks off the EP. Here he takes Behind The Glass into spaced out house-not-house territory. With crisp drum programming, trademark Rhodes, and subtle pads that build over time, his version delivers that late-night sophistication he's known for—steering the downtempo original in a clubbier direction without losing its blissed-out essence. Up next we have a brand new collaborative effort with long time friend, label mate and fellow sample nerd Nebraska. Make It Happen is a dusty, slo-mo house groove featuring delicate keys, euphoric strings and that unmistakable sense of journey. It’s just the kind of low-slung epic house they do best—intimate yet club-ready, nostalgic but never retro. Flipping over, Too Soft To Be Loud, another collaboration with Viken Arman, follows with a jazzy, almost samba-esque rhythm and swirling atmospherics. Loose percussion, catchy guitar riffs and Rhodes stabs collide with off-kilter dub FX and soft vocal snippets giving the track a laid-back, live-band feel that harks back to their See You When You Get There era. Hubcap Candy dives deep into funk territory. Nebraska’s on point boogie bassline drives the track forward as crunchy drums and layers of synths create a dreamlike haze. It’s loopy, moody, and finds Session Victim at their very best. Closing out the EP we have the original of Behind The Glass, a headsy, beatdown piece that slowly unfolds over an unconventional brass-like bassline and delicate guitar textures, paying homage to the golden age of Trip Hop haziness and it’s pioneer turntable spirit. Blending crate-digging sensibilities with forward-thinking production, this latest release solidifies Session Victim’s reputation as genre-blurring tastemakers, and their chemistry with Delusions Of Grandeur remains as strong as ever

12:01, time to wake up! Aris 1201 is back on CAF? with a new record. Deeply rooted in the city center of Geneva, this eight tracker is as smokey as its rush hour traffic jams. Bringing together old tracks with new material, this album spans from 4/4 club-ready highways to hip-hop inspired groovy beats. Using a minimum amount of ingredients (raw samples, percussive rhythmics, grainy textures), Aris 1201 delivers a result full of layers and complexity. So only one thing to do: hop in front of the Blunt Mobile and have a nice ride.

Emerging from the house scene of the 2000s with his label Place Blanche, Greg Kozo has been a bartender in naughty bars, music director at Galeries Lafayette, bassist in funk bands, and legendary producer and DJ with his former band Make The Girl Dance. Far from settling down, he returns to the arena with a sharp sound. Several catchy tracks such as "Reviens" and "After" are sultry and subversive electro-pop songs, reminiscent of the sensuality of French Touch House or 80s Synth Pop. These tracks are performed by La Montespan, a mysterious creature and poetess of carnal desires, who gives them a gently erotic tone. In the dead of night, "Flamingos," "The Room," "Who Take Me Higher," and "Club Melancholia" take us to the depths of Paris' hottest clubs, where the beats pound like bodies on fire. "Magnolia" feat. Coeur (from the punk-rock band Schlasss) is a return to raw electro-rock, like a total experience of letting go. Finally, to climb the stairs out of the club, "Amour Fou" and "Turbulences" are hymns celebrating pure love in a couple who have weathered all the dangers of the nighttogether.

Our next baked Live Pressing is with Sydney post-punk outfit Mac The Knife.

Where we’ll be recording two tracks, live at The Workers Club in Fitzroy on Saturday 2nd November.

They'll be bringing the raucous energy and we'll be capturing it and sealing it up on green wax.

Like sneaking an extra scoop (or two) of ice cream for dessert, what do you do when you know something’s bad for you, but its vice-like nature makes it all the more irresistible? Vega Records explores this conundrum in its latest release, “Can’t Let You Go” by the late, great Loleatta Holloway.

“Can’t Let You Go” is one of the last unreleased recordings Loleatta completed before her passing in 2011. In the main mix, she addresses a relationship she knows she should end but can’t bring herself to leave because the lovin’ is just too good: “I keep coming back time and time again,” she ruminates with raw emotion. “We got to make things better or we got to do whatever to make it right… oh, let’s make it right, ‘cause I can’t let you go.”

For the unfamiliar, Loleatta Holloway, a.k.a. the “Queen of the Night,” is a bona fide disco and soul icon. The singer behind successful singles such as “Hit and Run” and “Love Sensation,” she is one of the most sampled artists from the disco era.

The posthumous single was written and produced by prolific artist Yvonne Turner, whose resume includes production and remix credits for music greats such as Whitney Houston, Willie Colon, and Jeffrey Osborne; as well as mixes for Lenny Kravitz, Lalah Hathaway, Mica Paris, and more. Providing subtle, smooth background vocals for the track, she allows Loleatta’s belting vocals to be the star of the percussive house groover; while Vega Records boss Louie Vega offers a “Roots” mix and emotion-charged “Soul House” mix. Louie Vega also invited his vocalist friends Tawatha Agee (of seminal R&B and soul group Mtume) and Cindy Mizelle (Louie Vega’s longtime collaborator) to add powerful hooks and new background arrangements, enhancing the track with some call and response to Loleatta's adlibs during the vamp. Gene Perez on Bass, Axel Tosca on Fender Rhodes, and Roberto Quintero on percussion. In all, the record is club-ready catharsis made for dancing all your troubles away.

“Loleatta Holloway was one of the most dynamic vocalists of our time,” says Yvonne Turner. “She was blessed with the gift of song and her energy was electric! Loleatta's passion and artistry is on full display as she masterfully interprets a lyric then delivers her signature adlibs, which never disappoint. To describe her in a few words, Loleatta Holloway was the truth... my friend... extraordinary!”

Adds Louie Vega, “Loleatta Holloway has had a huge impact in my life as a DJ, producer, and clubber. She touched me in many ways through my music-making and even style of DJing; to this day, I still play many of her songs and acapellas. This is just our little way of saying thank you so much for what you've done for so many lives with your beautiful voice, you've affected us all!!!”

The record’s cover artwork is a mural of Loleatta Holloway created by Richard Wilson, a London-based artist who takes inspiration from DJs and producers from the house music and disco scene. Last month, Louie traveled to Liverpool, England for the mural’s unveiling.

Naya Beat Records reveals Volume 2 of its critically acclaimed series dedicated to South Asian dance and electronic music. Label founders Turbotito and Ragz have curated an exceptional 13-track compilation with a focus on an overlooked era of house and electronic music released between '88 and '94.
While Volume 1 explored early 80s Balearic, synth pop, and disco, Volume 2 uncovers lost or forgotten future classics from later in the decade. The release spotlights a unique era in the late 80s and early 90s when fertile cross-cultural collaboration abounded in diasporic communities in cities like London and New York and when South Asian music was infused with acid house, New Beat, and dub.
There is a true wealth of sounds here, from The Jets Orkhestra’s organ-fuelled house workout ‘X-290’ to the downtempo splendour of the Asha Bhosle fronted West India Company. Lady M lends the Hindi house track and arpeggiated wonder of ‘Kali Raat’ and Mantra’s eponymously titled cut is a hypnotic gem. Featuring other scintillating Balearic house, dub, and street soul from the likes of Asha Puthli, Bappi Lahiri, Johnny Zee, and Kuljit Bhamra, this double album is a treasure of never-before-reissued and previously impossible-to-find holy grails.
Often "too Asian for mainstream success in the West, and too Western for success in Asia," the pioneering music from this time was frequently released to short-lived success or relative anonymity. Naya Beat founders Filip Nikolic (aka Turbotito) and Raghav Mani (aka Ragz) have spent the last four years endlessly hunting through dusty records, obscure cassettes, and unreleased studio tapes to deliver a reference release for contemporary collectors, tastemakers, and bold selectors looking for fresh sounds.
Featuring an incredible gatefold package with Naya Beat’s trademark stunning artwork and exhaustive liner notes, the 2LP release has been cut to vinyl for the discerning DJ and listener by Grammy-nominated Frank Merritt from The Carvery, London.
Naya Beat Records is focused on uncovering foundational dance and electronic music from the subcontinent and South Asian diaspora through reissues, remixes and compilations. Success came immediately with ‘Naya Beat Volume 1’, which was named Vinyl Factory’s number 1 reissue of 2021, and has been followed up with more fascinating releases such as a two-part remix project with disco-jazz legend Asha Puthli, a scintillating bhangra acid house EP with Mr. Scruff, a reissue of Pinky Ann Rihal’s 1985 Hindi new wave album, and the superb Bollywood compilation ‘Awaaz Series 1

"Pop" is a tag that's been assigned to Minus The Bear throughout their career. It's been used to set a distinction between the unique brand of complex indie rock they introduced on their first EP and the more angular and aggravated sounds of their previous bands Botch, Kill Sadie, and Sharks Keep Moving. It's also a tag that was thrown around frequently in the wake of their streamlined fourth album, OMNI. And it's a descriptor that immediately comes to mind within the first few seconds of their classic second formal EP, They Make Beer Commercials Like This. Now celebrating its 10-year anniversary and first time in print since 2011, Beer Commercials is the evolutionary step between Minus The Bear's first two landmark albums, Highly Refined Pirates and Menos El Oso. Opening track "Fine + 2 Points" remains one of the band's strongest opening tracks in their discography,charging out of the gates with a syncopated stomp that comes across as a more agitated take on Kylie Minogue's "Can't Get You Outta My Head". If Minus The Bear were looking to make pop music without any of its major-scale bubblegum trappings, they nailed it here. The band follows it with "Let's Play Clowns" and "Dog Park" - nods to Highly Refined Pirates' formula of frenetic clean guitar work, bombastic choruses, and Jake Snider's lyrics of detached romantic nostalgia. These tracks may represent Minus The Bear's original trademark version of pop, but on songs like "I'm Totally Not Down With Rob's Alien" the band eschews it's restless energy for atmosphere and dynamics, creating a sound that's inspired more than a handful of contemporary melodic post-rock bands. By the time the band belts out "Pony Up!" the listener has watched the three-year sonic transition between Minus The Bear's first two full-lengths transpire within under half-an-hour, with the their earlier math rock predilections yielding to the tightly wound club-banging pedalboard trickery that defined their sophomore album. Even if Beer Commercials doesn't fit within your definition of pop music, the unorthodox energetic charm of this relatively low-profile release serves as an exciting reminder of why Minus The Bear became one of the most important and influential indie rock bands of the new century.

Didjits verbanden ihre Liebe zu Hard Rock (AC/DC, Black Sabbath, Cheap Trick), Punk (Sex Pistols und vor allem die metallische Kunstshow von The Plasmatics) und Rock'n`Roll der 50er Jahre (insbesondere Jerry Lee Lewis und Little Richard) zu einer Marke, die, wie Dexter Holland von The Offspring treffend beschreibt, ,ein wackeliger Zug war, der kurz vor der Entgleisung stand". Bei chaotischen Live-Shows brachte Gitarrist und Sänger Rick Sims das Publikum gekonnt gegen sich auf und trug so zur Raserei des rasanten Rocks bei, den sie langsam perfektionierten. Jello Biafra, ein früher Unterstützer der Didjits, bewunderte ihre Fähigkeit, das Punk-Publikum zu vergraulen und es dennoch mit offenem Mund und Hörverlust zurückzulassen. Ab 1988 veröffentlichten die Didjits fünf Alben in voller Länge bei Touch and Go Records (darunter eine Neuauflage ihres 1986 selbst veröffentlichten Debütalbums Fizzjob) sowie zwei Singles und eine EP. Es folgten MTV-Videos, ausverkaufte Clubs, Tourneen durch Europa und Nordamerika - bis 1994 (ironischerweise das selbe Jahr, in dem The Offspring ihr Platin-Album "Smash" veröffentlichten, das ein Cover von ,Killboy Powerhead" aus Didjits 1990er Veröffentlichung "Hornet Pinata" enthielt). Diese LP, gepresst auf 180 Gramm schwerem, opakem lila Vinyl, ist ein Archivdokument der Band von ihren Anfängen im ländlichen Illinois bis zu ihrer Auflösung über ein Jahrzehnt später. Die ausgewählten Tracks vereinen 17 Fan-Favoriten aus Didjits' Touch and Go-Diskografie auf einer einzigen LP.

DJ Support: The Martinez Brothers, Luuk Van Dijk, Prunk, Locklead, Prospa and Sidney Charles.

Nottingham, UK born producer and DJ Philipp George returns with a fresh new remix of Kerri Chandler, Dennis Quin & Troy Denari's heavy hitting ‘You Are In My System’

A sleek, club-ready remix keeping the soulful essence of the original while injecting his signature crisp percussion and modern synth work. The result is a fresh, high-energy rework that bridges classic house grooves with contemporary dancefloor appeal.

Francois Kevorkian (Wave) : Lovely EP, atmospheric vibes.
Chris Udoh (Various) : Lovely !!!
Lea Lisa (Phonica Records / Folklor Club) : Fred P is a master of deep house. Live Long Love & When in Miami for me.
Will Hofbauer (Third Place, Wisdom Teeth, Rinse) : nice n deep ty!
Radio Slave (Rekids) : The King is back and what an EP ! Full support.
Jon Hester (Rekids, EDEC, Les Enfants Terribles, L.A.G.) : Lovely vibes on When In Miami and Live Long Love!
Jacques Renault : Nice EP, into When In Miami and The Heights in particular
Danny Howells (Dig Deeper) : Love Fred so much, always the highest quality music with soul. All four are stunners.
Dan Beaumont (Chapter 10 / NTS) : Always brilliant.. deeep! When in Miami for me
DJ Sprinkles (Comatonse) : thank you
Kai Alce (Real Soon) : Live Long Fred P!
Tomoki Tamura (Holic Trax) : pure class, deep house
Raresh (ar:pi:ar) : super! thanks
Laurent Garnier : FRED P alwayssssssssssssssss
Marcel Dettmann : thx
Archie Hamilton (Microhertz / FUSE) : Nice thanks
DVS1 : thanks
Alinka (Twirl, Classic, Crosstown Rebels, Batty Bass) : Beautiful tracks
Pat Hyland (Northside Loft Society) : Fred P is a master of deep. AWEsome EP!
Thor (Thor-Thule Records) : Another great release by the master of Deep House. Full support
Colin Dale : One of my fave producers from way back! Excellent 4 tracker with all the cuts 'hittin' the mark'. Will rotate & support.
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Jaye Ward (Dalston Super Store / Netil Radio) : Syncrophone just continues to churn out the goodness.. love Fred P too. so deep and full of the good soul ace! thx
Ame (Innervisions) : thanks
Domenic Cappello (Subclub) : love this
Greg Gow (Restructured / Transmat / KMS) : cool vibes full support
Jerome Sydenham (Ibadan) : When Miami is the business! Overall nice E.P!
Bill Brewster (NTS) : FRED P RETURNS!
Bailey Ibbs (Metafloor Records / Habits / Dansu Discs) : Live Long Love <3

Fresh off producing a seminal documentary about the origin story of Portuguese rave culture, Shcuro returns to his mother tongue, music, to give us four slices of fresh yet classic Lisbon underground flavour right as the summer sets in. 'Echo Chamber' EP, Para?so's 17th outing, comes with two equally excellent remixes separated by the atlantic: Brooklyn's MoMA Ready and Berlin's Mareena. Side A starts with two tracks first blueprinted this past year as Shcuro prepared a new live set. 'No Expectations' opens the record with a high-paced sweat-breaker that elegantly evokes early rave culture as stabs, funk and feelings abound. A2 'Persistence' follows suit with the work that exudes proficiency: sound design, dub techno learnings and masterful layering all conspire to create a moment of pure techno draw. Closing side A, 'Deviation' pulls some of the previous track's energy even though it's a rework from the artist's earlier unreleased catalogue: another sign that we're talking realness here. Clever percussion and refreshing washes drive us well into dubby territories. 'Suspension' opens the B side, picking up where it left off with the last original: a beautifully produced piece with fleeting mutating stabs that seem to swim alongside us in an imaginary oceanic dancefloor. Liquid, refreshing sensorial motifs seem to underpin this record and that spirit spills into the remix pack, starting off with MoMA Ready's take on 'Persistence', bringing out the rawness in the original while adding a special sauce with Robert Hood-like funky yet minimalistic bleep work. Tresor's Mareena steps in for a centered, dancefloor-geared - but still mysterious - twist on 'Deviation', perfectly rounding up the record with the expertise of a club resident.

With the Scratch EP, Scottish techno powerhouse Gary Beck delivers four razor-sharp cuts that bring raw energy and dancefloor pressure to FJAAK's label CROWD. Known for his unmistakable grooves and stripped-down power, Beck presents a no-frills EP that bridges classic techno aesthetics with forward momentum. Opening with the single 'French System', the EP kicks off in full throttle. It's a propulsive roller built around tough drums, catchy synths, a female vocal leading the way and Beck's signature percussive tension. Title track 'Scratch' follows with a twitchy, angular rhythm that spirals around a fragmented vocal motif and bold machine-funk energy with tense breaks leading to ecstatic drops. On the record's flip side, 'How Do You Feel' keeps the level high, fusing jacking rhythms with a funky vocal and a Beck's heavy signature kicks. Finally, 'Eclipse' closes the EP pushing the energy into darker territories with relentless drive, its distorted pulse and industrial edge. This release marks a fierce debut on CROWD for Gary Beck - four no-nonsense weapons crafted for peak-time moments and the rawer corners of the club. A heavy-hitting addition to the label's catalog and a must-have for techno selectors with a taste for precision and punch.

DJ Steaw returns to the forefront with a sharp new Deep House EP, forthcoming onHouse Puff label.This project, available in vinyl for collectors and in digital format for everyone, showcases DJ Steaw's mastery of groove and atmosphere. The four tracks presented hereare true gems for lovers of authentic Deep House: deep, driving basslines intertwinewith soaring melodic pads and subtly percussive rhythms.Expect an immersive sonic journey, perfect for underground clubs as well as sophisticated chill-out moments. The release on House Puff is a guarantee of quality and a refined sonic aesthetic. An EP not to be missed for anyone who appreciates Deep House inits purest and most effective form.

Das Warten hat ein Ende: Am 3. Oktober 2025 erscheint das mit Spannung erwartete vierte Studioalbum
des deutschen Erfolgs-DJ-Duos Gestört aber GeiL. Mit gleich 18 Tracks liefert das Duo um Nico Wendel ein
weiteres musikalisches Statement, das ihre charakteristische Mischung aus House, Dance und Emotionen
konsequent weiterdenkt.
Ob clubtaugliche Beats, eingängige Hooks oder gefühlvolle Vocals – das Album zeigt Gestört aber GeiL in
Bestform und schlägt zugleich auch immer neue aktuelle klangliche Wege ein.
Die 18 Titel erzählen Geschichten von Liebe, Sehnsucht, Freiheit und Hoffnung – Themen, die das Duo
seit jeher mit einem feinen Gespür für Atmosphäre und Timing in tanzbare Songs verwandelt.
Neben den Neukompositionen zeigen sie auf diesem Album auch wieder ihr untrügliches Gespür für Remixe
und eigenen Club Edits von bekannten Songs, wie zum Beispiel ihre Versionen von Madonna’s Klassiker
„Like A Prayer“ oder Bonnie Tyler’s Total Eclipse Of The Heart.
Das neue Album „IIII“ erscheint am 02.10.2025 mit 18 brandneuen Tracks.

2025 Repress

Introducing Fuse Imprint - The New Record Label from Fuse Club, Brussels

Fuse Club, the beating heart of Brussels' techno scene, is thrilled to announce the launch of its new record label, Fuse Imprint. Known for its cutting-edge music and unforgettable nights, Fuse is extending its influence beyond the dancefloor and into the realm of music production. The label aims to be a platform for both emerging and established artists, showcasing the best in techno and electronic music.

The inaugural release is a dancefloor-focused EP by Altinbas, aptly titled "Reshape". As a resident DJ at Fuse Club, Altinbas has been instrumental in shaping the club's sonic landscape. His new EP encapsulates the essence of a Fuse night - intense, immersive, and irresistibly danceable.

2025 Repress

Portland was produced by our mate Dave Clark aka Sparky and was the first record we released in 2002, about a year before the first ever Numbers party took place.

Originally recorded live to tape using an MMT8, a Microwave II, and an ESi32 in the summer of 1998, it was released on an old label of ours named Stuffrecords and formed part of a somewhat rambling compilation called STUFF001. We hastily stuck this record out without any proper distribution, because at the time we didn't know any better. Despite this the record did pretty well, selling 500 copies to a few select stores who had faith in what we were doing.

Fast forward a year or so to when Numbers kicked off and the track became one of the first bonafide anthems in the club. It was our tune and it would tear the roof off at any of our parties.

A couple of years later, we booked DJ Pete, aka Substance, to play. We're talking about the record in the pub when he suddenly informs us that Ricardo Villalobos is crazy about it and even charted it. This was a deep, almost Drexciyan electro track and here was the king of crazy experimental minimal house music caning it in his DJ sets.

Not long after that night, the Numbers label was up and running and the idea to re-release Portland with a remix from Mr Villalobos was brought up almost as a kind of pipe-dream. Now in 2013, with a little help from Gerd Janson, it has finally happened. Recorded live in one take and clocking in at over 30 minutes long, it's cited as an "experiment" by Ricardo. Designed to play at two speeds, at 33rpm its almost like an early 90s Black Dog track stretched out to infinity, whilst at 45rpm, it's a club-ready groover with an almost Dopplereffekt rhythm to it - the sort you could imagine sneaking into a DJ Assault or Godfather Ghettotech mix. Somehow, it also manages to be classic Villalobos.

To finish off the record Dave gave us a two unheard tracks from those original Portland sessions in 1998. The malevolent electro of 'Jigsaw' would instantly have become another Numbers anthem if only Dave had let us hear it ten years ago, and closer track 'Wilson St' heads down an ambient route.

This is one of the “historical records” linked to the techno and progressive movement of the nineties; it was one of the most used records as the “last record” in the most important Italian clubs and included in all the sets of the most important European DJs. Available in original print and in a rare limited edition blue vinyl version.

Collecting Orders For 2025 Repress

Nick Curly celebrates the 50th release on his imprint with label partner Marc Scholl. Together, they present Nick Curly’s Altrip EP, featuring a guest remix by Manda Moor.

The EP commences with the title track 'Altrip,' where robust sub-bass melds seamlessly with vigorous drum programming. Following suit, 'It's You And Me' maintains the same potent energy, featuring cascading note arpeggios and intricate percussive elements that traverse the mix. Manda Moor's 'Burning Remix' of 'Altrip' injects her high-octane sonic signature into the original, employing rave-inspired stabs, panning drums, and sliced vocal samples.

As the year '23 enters its final quarter, Cécille Records is set to reinvigorate its event series in collaboration with Peoples Agency. Two official dates stand as markers of this revival. Alongside Nick Curly, an array of artists including Sidney Charles, Manda Moor, Fabe, Leon, De La Swing, Dennis Quin, Timmy P, Reboot and more are poised to join the festivities. The launch will take place under Cécille tent owned by Groove Fest London, while another event is scheduled at ADE in partnership with promoter Hush, hosted at Amsterdam's Melkweg Club.

Naya Beat Records is proud to present its release Naya Beat Volume 1: South Asian Dance and Electronic Music 1983-1992. This is the first in a series of compilations and full-length album reissues dedicated to uncovering hidden electronic and dance music gems from the overlooked ‘80s and ‘90s South Asian music scene.
The compilation features future classics from India, Pakistan, the U.K., Canada, Guyana and Suriname released between 1983 and 1992. From East-West’s dancefloor filler "Can't Face The Night (Club Mix)" to Remo’s balearic masterpiece "Jungle Days" (off his seminal album Bombay City!) to other disco, synth-pop, and balearic dancefloor bangers from artists like Babla & His Orchestra, Sheila Chandra, Bappi Lahiri and Asha Puthli to name a few, this double album includes highly sought after, previously never reissued and otherwise impossible to find grails.
The double album has been mastered by multi Grammy-nominated Frank Merritt at his mastering studio The Carvery and includes some killer remixes and edits by Naya Beat co-founders Turbotito and Ragz.
Turbotito and Ragz have this to say about the release: “We’ve spent the last year meticulously remastering some of the coolest finds from our collection and have had the honor of working in close partnership with many of the original artists. We are beyond excited to bring this music out to a new generation of dance and electronic music lovers.”
Founded by former Poolside member Filip Nikolic (Turbotito) and DJ and record collector Raghav Mani (Ragz) Naya Beat (loosely translated from Hindi as “New Beat”) is building on the success of seminal South Asian dance and electronic reissues like Rupa Disco Jazz and Charanjit Singh’s iconic Ten Ragas To A Disco Beat. Turbotito and Ragz have spent years digging for records in the most unusual places, from the crowded and dusty markets of New Delhi, Mumbai and Chennai to the Guyanese corner shops in Jamaica, Queens, to the Surinamese record stores in Amsterdam and the South Asian communities of London and Birmingham. They have amassed an exceptionally deep treasure trove of dance and groove-based music that has never been reissued

Nicola Conte & Nico Lahs return with their eagerly awaited second EP, continuing the musical journey they began with their acclaimed 12” Macumba de Oxalȧ / La Danse de l’Esprit.
This new release confirms the creative synergy between two producers who speak the same musical language: a refined blend of spiritual jazz, Afro-American rhythms and electronic sensibility, designed for the most eclectic and sophisticated dancefloors. The Tema Due project is aimed at a refined club scene, attentive to the depth and purpose of sound. Once again, Conte and Lahs are turning the dance floor into a ritual space, where body and spirit move in harmony in a musical language that not only entertains but also elevates.


In this “EP2”, Nicola Conte and Nico Lahs collaborate for the first time with the talented young Brazilian percussionist Gabriel Prado and consolidate their long-standing partnership with pianist Pietro Lusso, who plays a fundamental role in shaping the musical identity of this work. Among the tracks, “Share Your Love” stands out in particular, interpreted by Brazilian singer Nina Miranda, who brings emotional depth to a track that talks about peace, sharing and love between peoples, and is enriched by the participation of Giovanni Guidi on Fender Rhodes and synths.
“EP2” precedes the release of Tema Due’s full-length album, which is currently taking shape – a work that promises to further consolidate the duo’s shared vision, expanding their conceptual and sonic scope. To crown this creative cycle, the album will also be followed by a third EP with additional unreleased tracks, symbolically closing a trilogy of sound and vision. A coherent, intense and uncompromising musical journey, where club culture meets spirituality and artistic exploration.

New Source presents a new release from Juan Barraco under his alias Bunda. On this four-track EP, Bunda builds a personal and physical journey through his distinctive take on contemporary club music. Rather than following trends, Bunda draws from deeper sources: Latin American rhythmic traditions, post-industrial energy, and a classical music-rooted instinct for improvisation. The result is a release that feels expressive, tactile, and refreshingly off-grid.

From the heavy percussion and orchestral flashes of “Dvořák’s New World” to the stripped-back, jazzy minimalism of “New Source,” each track offers a distinct mood and approach. “Frente en Alto” brings a sense of urgency with its forward-driving rhythm and subtle tension, while “Game Over” closes the release with a raw, broken groove and distorted textures aimed straight at the sweatier corners of the club.

It began with a cassette tape entitled 'Pleased To Meet You' gifted to us at Sessa's Fasching, Stockholm show by Yann Dardenne, the multi-tasking tour manager/sound engineer/producer/merch stall worker and co-owner of Seloki Records. On first listen, the selection of underground Brazilian artists from the Seloki's roster was superb, however, one song stopped us in our tracks. The hauntingly captivating ' GOSTO MEIO DOCE' by Nina Maia and Francisca Barreto, gave us a taste of Nina's ethereal, addictive voice and we knew we needed to hear more. Born in Minas Gerais but now based in Sao Paulo, the 22-year-old has already packed a lot into a relatively short space of time. The singer, songwriter, instrumentalist, and producer, has already collaborated on the soundtracks for six Brazilian feature films, including a track with the vocalists Maria Gadu, Iza, and Liniker. But things enter a new exciting era with this, her remarkable debut album entitled 'INTEIRA', which translates to English as 'whole'.

As much inspired by Billie Eilish and Rosalia, as Milton Nascimento and Toninho Horta and not sounding like other records coming out of Brazil, 'INTEIRA' is unique. Though rich in its Brazilian heritage, inspired by samba cancao, MPB, and the Clube da Esquina movement, it also channels influence from bands such as Portishead and Massive Attack, mixed with jazz, contemporary leftfield and electronic pop artists. Musically, it is not easily pigeonholed, with beautiful, well-crafted songs, sophisticated arrangements, eloquent vocals and intimate lyrics. Each track reflects different moments and stories from Nina's youth but with dialogues, feelings, and questions that span generations and resonate with all. This ambitious debut album is Nina's vision and sound, expressing herself without constraints and making music with her friends. Featuring a lineup of Thalin (drums), Valentim Frateschi (bass), Francisca Barreto (cello and vocals), Thales Hashiguti (viola and violin), Yann Dardenne (acoustic guitar and co-producer) and Nina on piano, Rhodes, guitar and production. The album led to a nomination in Paulista Association of Art Critics (APCA) award's 'Breakthrough Artist' category, who also listed 'INTEIRA' as one of the 50 best albums of 2024.

It also received support from Bandcamp Weekly and Jamz Supernova on BBC 6 Music. Released digitally by Seloki Records in Brazil in 2024, Mr Bongo in partnership with Seloki Records now present this new, deluxe worldwide edition that includes four additional songs. These comprise the brand-new exquisite 'MANHA', as well as an original twist on Vinicius de Moraes' classic 'Serenata Do Adeus'. Elsewhere you'll find a live recording showcasing Nina's remarkable energy on stage courtesy of 'DE DENTRO' and 'GOSTO MEIO DOCE' with the amazing musician/vocalist Francisca Barreto, where our whole story began. Here at Mr Bongo, we are honoured to release music by such a remarkable new talent - one whose musical trajectory is most certainly about to soar.

2025 Repress

Die „Girls Gang Remixes“ 12“ wartet mit Clubversionen und Remixen von befreundeten Künstlern wie dem legendären DJ Hell, dem Dark-Disco-Allstar Damon Jee, dem italienischen Produzenten Phunkadelica und dem französischen Sänger und Filmkomponisten The Populists (alias Yan Wagner) auf. Ausserdem enthält sie noch Clubversionen von den beiden Singles „Promise Me feat. Curses“ und „Schall & Rauch“ und eine griechische Version von dem Sommerhit „Halkidiki“.

DJ Hell ist der Pate des Electroclash und Gründer des einflussreichen Labels International Gigolo Records. Helmut Geier steht seit vielen Jahrzehnten hinter den Decks und spielt entweder in den größten Clubs der Welt, auf riesigen Musikfestivals oder bei Laufstegshows für die angesagtesten Modemarken, neben der Produktion von Musik, der Schauspielerei in Filmen und dem Designen von Kleidung. Sein Extended Mix von FOMO (Fear Of Missing Out) ist eine krachende, genreübergreifende Reise durch Zeit und Raum. Eine neue Baseline, treibende Hihats, Live-Atmosphäre und ein druckvoller Kick heben den Track auf ein neues Level und machen ihn zu einer Waffe auf der Tanzfläche. Der aus Südfrankreich stammende Damon Jee ist eine Pionierfigur in der Dark-Disco-Szene. Mit über zwei Jahrzehnten Erfahrung in der elektronischen Musik hat der Dust & Blood-Labelbesitzer einen ganz eigenen Sound entwickelt. Er verwandelt „Girls Gang“ in eine Clubbombe, indem er seine charakteristische Big-Room-Energie einfließen lässt, einen epischen Break hinzufügt und die Vocals in eine andere Welt verzerrt. The Populists ist das cluborientierte DJ-Projekt des französischen Sänger-Produzenten, Gesaffelstein-Kollaborateurs und Filmkomponisten Yan Wagner. Seit 2014 veröffentlichte er EPs und Tracks auf Tastemaker-Labels wie Lumière Noire, Zone, Detriti, Ritmo Fatale & XXX. Auf seinem Remix von 'Disco Goth' kombiniert er entspannte Italo-Disco-Grooves mit New Beat Drums und verleiht dem Original ein ganz anderes Feeling.

Girls Gang wurde überragend aufgenommen und unter anderem Magazinen wie Rolling Stone, Mixmag, Musikexpress, Kulturnews, Visions, TAZ, Penthouse, Brigitte sowie Sonic Seducer (Album des Monats) und Orkus abgefeiert. Radiostationen wie KEXP, BBC Radio 1, Sunshine Live (Album der Woche), Radio Eins, Flux FM, WDR 1Live und Deutschlandfunk berichteten über das Album, das mittlerweile auf über 20.000 weltweite Radioeinsätze und mehr als 1 Million Streams kommt. Auch führende Online-Plattformen wie Spiegel Online, Plattentests (Album der Woche), Laut.de (Song der Woche) und Tonspion (#6 Album des Monats) lobten die Veröffentlichung in höchsten Tönen.

Format: Schwarzes Vinyl (140 g) mit alternativen & Clubversionen sowie Remixen von Damon Jee, DJ Hell, Phunkadelica & The Populists.

Glasgow-based producer and modular performer TRSSX returns with his second EP this year, following “The Degree of Difference Between Them” on Zhark Recordings Berlin released in April, and a more recent appearance on Hardwired, a compilation compiled by JakoJako and released on Air Texture. "A Mass Deliberately Deprives Itself of Reason” follows the path of modular industrial distortion and techno-trajectories performed live. A more narrative structure emerges, with experimental noise framing devices and disintegrated, granular voices coming to the surface.

The EP was recorded live between 2023-25, and is a reflection of a sonic identity present at EXIT, the Glasgow club that TRSSX co-founded in September 2023.

Mastered at Black Monolith Studio.

There’s not many musical journeys that connect Sligo and Ibiza via Berlin, but this is the unique sonic path that Tiarnan McMorrow has been on in recent years. The Berlin-based Irish producer, also known as Spray, is now releasing new music under the Spriitzz alias. “Spray for the club, Spriitzz for the sunset,” he explains of the two monikers.

And Spriitzz’s debut track, ‘Where R U’, radiates the feeling of sunset from every second of its glistening run time. While it’s unquestionably a piece of uplifting, euphoric and hypnotic trance, it also has that beautifully, hazy, dreamy and woozy feeling that most perfectly captures the feeling of a night ending and a new day beginning. “When I wrote it I was in Ibiza,” he explains. “And I wanted to make something that sounded like it could have been on an Ibiza sunrise compilation CD. One of those one-off tracks by an artist you can’t find any other music by. It’s a bit of an ode to an old Ibiza that I romanticize that doesn’t really exist any more but I’m still always chasing when I visit.”

Metatone is a tonic-containing substance used to help restore health and vitality after illnesses or when you are feeling tired. A metaphor, which perfectly describes Ement's debut album - a mixture of peak-time electro/techno tunes spiced up with the modern traces of EBM, which perfectly fits clubs and festivals. It is a personal dancefloor experience materialization of a non-stop party rebel, who started his music production journey in the periphery and got inspired by his brother's hard dance production experiments. After an intensive exploration of the local and foreign club scene through years of intensive djing, remixing and never-ending afterhours, Ement finalized his recent definition of dance, which launches on the new co-curated PZ Records label.
An unexpected break and a long-lasting limbus of the dancefloor consumption turned out as a perfect slot to reveal one of many underestimated Lithuanian producers, who are too shy and too critical to themselves. It's no fiction, as "How Much Is Too Much" was already noticed and compiled by Dave Clark in his "Whitenoise" radio show.

Ement returns to PZ Records with a seven-tracker, including a remix by Umwelt.

Balancing dark atmospheres with raw energy, the EP builds on Ement’s previous work while continuing to evolve his sound. Rooted primarily in electro, it remains versatile throughout—blending experimental textures, acid grooves, and driving techno rhythms that reflect a broad sonic palette. A personal yet club-ready release.

New compilation by Coco Maria on her own new founded imprint Club Coco. Comes with a 4 page folded insert.

There are albums that aren’t just listened to—they’re lived in. Club Coco – New Dimensions in Latin Music is one of them. This compilation, curated by Coco María, marks the first release on her own label and serves as a sonic portrait of what Latin music can become when it’s guided by intuition rather than labels. Eleven tracks open the windows and cross continents as effortlessly as changing a song. Here, Neapolitan synthesizers coexist with digital cumbias, voices whisper from within the groove, and rhythms invite movement—without urgency or pretense.

This selection isn’t defined by a genre but by a feeling: that of someone dancing with an open heart and keen ears. Each track is a postcard from a corner of the world, and also a love letter to rhythm and the emotions it stirs. From Bogotá to Naples, passing through Lima, Amsterdam, and New York, this compilation offers a journey where past and future brush against each other in the present moment. Club Coco doesn’t aim to define a sonic truth, but to invite listeners to discover new ways of hearing and feeling.

The party has already started. Come on in.

West coast writer / producer George Semper recorded four sides on the Sherilles − a group led by Vessie Simmons, who had been lead singer for the Ribbons in the early 60s. She would go on to have a prolific solo career in the 70s, right through to the 90s. Ace sleuth Alec Palao found four Semper-produced sides on two DCT acetates and we licensed the rights from the Semper family.

These fully realised recordings are from 1968 when the group had to swiftly change their name from the attempted one of the Shirelles − which they had hoped to get away with, and presumably cash in on that outfit’s fame. A court injunction put paid to that plan and though the name change was only slight, it was never tested in court, as the tracks were never issued. ‘Nobody’s Gonna Love You’ is an excellent George Semper song and judging by the 100 Club’s audience reaction to recent plays will become a staple of forward-thinking club’s playlists.

‘Make It On My Own’ is in the same groove and not far short of the A side. Vessie would re-write and re- record it in 1975 as ‘I Can Make It On My Own’ for a solo release on her Simco label.

In for the Kill! is the fourth studio album by Welsh rock band Budgie. It was released through MCA Records in May 1974.
The album includes the song "Crash Course in Brain Surgery," originally released in 1971
as a single and was included on their self-titled debut album.
The song was covered by Metallica for their 1987 EP The $5.98 E.P. - Garage Days Re-Revisited,
while the album's title track was covered by Van Halen during the group's club days

First time reissue of this French cold-wave / minimal-synth treasure.



November 1981 – In the heart of autumn, we set off in two cars along the Nationale 1 (!) to reach Choisy-le-Roi, where a 16-track studio was waiting for us—a place where, over the course of a weekend, we would finally be able to carve our own grooves into vinyl. We were quite nervous, as Guerre Froide had already been around for a year and a half. Our elders in Kas Product had already released two EPs—one with four tracks, the other with three—in 1980, even though they’d started only a few months before us. Admittedly, there wasn’t really a sense of urgency—some of us came from the punk movement, where the prevailing mood was still very much No Future, even if we’d long since stopped believing in it... And yet others had truly lost everything, like those from the generation before us. The reasons, ironically, were often the same: heroin and/or love—hard drugs, in both cases.

Speaking of which, I had a terrible stomach ache—due to nerves or some form of tension—which forced us to make a pit stop in the Oise region so I could rush to the toilet of a local café. That same stomach discomfort would hit me again once we arrived at the studio—whose name, incidentally, I’ve since forgotten...

We had gotten there thanks to the generous initiative of a friend, Sylvain S., known as “Perlin” (what a phonetic coincidence!?), who had specifically created the Stechak Products label to produce our record. Stechak because it was consistent with his earlier association called Tchernoziom, and Products as a plural tribute to the trailblazers from Nancy.

Guerre Froide originally consisted of four members: Fabrice Fruchart on guitar-synth (Korg MS-20), Patrick Mallet on bass, and Gilbert Deffais, known as “Bébert”, on Korg drum machine. At the time, I was already singing in a rock/post-punk band called Stress, and that’s how Guerre Froide picked up the bad habit of rehearsing in the same basement in Amiens as Stress. Within a month or two, we had half a dozen songs. We then had the opportunity to record a 4-track demo with a friend from Radio France Picardie, and to perform in October at a festival held at the Amiens municipal circus. Then came the now-legendary concert on November 11 at B.J.’s Club. After that, we self-produced and released 50 completely DIY copies of a cassette titled Cicatrice. A few concerts later—after Jean-Michel Bailleux had joined us on bass and Patrick had switched to guitar, which felt more natural to him—and with more concrete plans starting to take shape, we had to find a new rehearsal space and start renting a room.

Then came the moment when Fabrice told us he was leaving to go study in Lille... After the June 19, 1981 concert, which was naturally dubbed “Farewell to 2F,” Marie-José, Bébert’s wife, offered to take over on synth.

That’s when Perlin, who was a close friend of the Deffais couple and a great fan of our music, offered to fully finance the production of a 4-track 12-inch EP—covering the studio time, mastering, pressing, and artwork. What up-and-coming band would have turned that down? An improvised contract was signed with each member of Guerre Froide. The first step was choosing which four songs we would record. Berlin 81 was an obvious pick, having already become the group’s flagship track. We wanted to avoid reusing songs from Cicatrice, so the focus shifted to new material—some written before, some after Fabrice’s departure. Ersatz, for example, was his composition, but Mauve and Peine Perdue, which were also selected, were both written by Patrick.

FONCEDALLE is a high-volume amplified trio, a warm wave of acid guitars fuelled by addictive bass and electronic beats. In late 2021, they released their Traboule EP and went on a tour that saw them perform 40 gigs between 2022 and 2023, half of which were in Europe. Their debut, self-titled album is set to be released in March 2024 on EXAG’ Records (BE). It's rawer, with tracks meticulously crafted and reworked live. While still exploring the realms of rock fused with machines, electronic trance, and melodic flights, the album also has its share of oppressive sections, unbridled chaos, and ambient, ethereal passages. FONCEDALLE serves as the missing link between the Manchester scene of the 80s, Gilla Band’s noise rock, Soulwax’s electronic rock, and the motoric turbines of Turing Machine. Preferring not to choose between being an open door or an impertinent product, the band chooses to concoct a recipe it envisions coming from the future rather than flipping through a book filled with references

Superstar Silvestre strikes strong on Studio Barnhus, bringing moronic dance music and stupendously haunting
ambient ditties to the forefront once again, following his highly reputable It's 2024!! EP, released in 2024.
On his most expansive and accomplished work yet, tensions between Silvestre’s many expressions – bass-faced rave maker,
hazy lo-fi crooner, absurdist beat poet, etc. – reach catastrophic levels, resulting in an album that shimmers and convulses
with both inviting warmth and that rare, essential hint of danger at the core of club music's spirit.
There's just never a dull moment with this Silvestre guy, whether he's out blessing club crowds with electroid techno sets or
effortlessly delivering instant classic albums like this one. Delivered via 16 digital tracks and/or cassette tape designed by
Stefan Fält, Silvestre’s Fantasma arrives on Studio Barnhus on Sept 26

Strut presents Mulatu Plays Mulatu, the first major studio album in over 10 years from the father of Ethio-jazz, Mulatu Astatke. Featuring masterful new arrangements of some of his classic compositions, Mulatu Plays Mulatu finds Mulatu revisiting the sounds that helped to change the face of Ethiopian music during the late "60s and early "70s. The album was recorded between London and Addis Ababa, working with his long-standing UK band, a tight, intuitive ensemble honed through years of live performance, alongside cultural musicians resident at his Jazz Village club in Addis. Mulatu Plays Mulatu realises Mulatu"s long-term vision of Ethio-jazz, intricately balancing Western jazz arrangements with the rich sounds of traditional Ethiopian instruments including the krar, masenqo, washint, kebero and begena. Throughout the album, he reshapes familiar material with rich textures, expanded improvisations and a deepened rhythmic complexity, creating a body of work that feels as vital and contemporary as it does steeped in tradition. Familiar compositions like "Yekermo Sew", "Netsanet" and the celebratory "Kulun" are reinvented here as elegant big band performances. Bridging continents and generations throughout his 50-year career, Astatke now offers us an invitation to hear his music again, with a completely fresh perspective. Ethio-jazz, like its creator, is always in motion.

After a much acclaimed series opener, the creators of The Hidden Beauty Of Dutch House ’94-’98 are back! They’re bringing us this second batch of eight carefully selected masterpieces from The Netherlands’ blossoming scene of the day.

Just like volume I, its sequel is filled with thought-to-be-lost tracks from Dutch producers whose names you rarely come across. It took another deep and long dive into the "Atlantis" of Dutch House to gather this collection. Most of the original master tapes literally had to be dusted off before playing…

Suitable for any true House afficionado, you’ll find a panoramic range of styles and flavours on this second selection, as there was on the first. A truly representative flashback has to show the versatility and broadness of both the music and culture of the nineties. The days of open minds and dancing-like-nobody’s-watching. When we went to the club to discover new sounds and dimensions. The time when this attractively fresh music was the hero of every successful night.

Lovingly compiled for your listening pleasure. So, sit back, open up, and surrender to the beauty of Dutch House!

Glass Museum Records was born out of a desire to promote music specifically created for soundtracks of both existing and imaginary films. Without being bound to any genre, the label will present its first limited edition vinyl release in September 2025. The release will be "Through metaphors, assonance but mostly by differences", a journey of seven tracks produced by the band GORO HANADA, a cinematic collective based between Italy and the Netherlands.
Music fades, but it holds the vault of endless cinematic worlds.

Aiden Francis steps up with his first full EP for the label—a limited 300-press release packed with four club-ready tracks that span progressive, dub, and tech. Following a trio of appearances on the label—including a standout contribution to our recent 6 Years of Portal compilation—a full EP felt inevitable. And as expected, Aiden delivers: no filler, just deep, heads-down gear built for the floor.

2000black releases it’s second LP ’27’.
A continuation of the afro futuristic sonic exploration, kept in its raw form. London boogie & house not house working under jazz influences, made for dancers footwork in heavy club grooves all spread over two pieces of vinyl.
Finally a follow up to ‘A Next Set A Rockers’

Punk Rock Factory is back and bigger than ever with their new album, All Hands On Deck! Dropping via their new label, Cooking Vinyl, this album is a wild and nostalgic tribute to the massive hits of the 1990s. The Welsh pop-punk heroes, known for their energetic, tongue-in-cheek reworkings of iconic songs, have outdone themselves with a lineup of covers that will have you reliving the glory days of 90s music - but with a high-octane punk twist!

Cartulis Music is thrilled to welcome back Z@p for his latest release, "Fizmo”, a powerful threetrack EP that further cements his reputation as a visionary in contemporary club music. Following the success of his last standout record on the label, “Tracid”, Z@p once again showcases his signature blend of intricate rhythms and deep, emotional soundscapes.

"Fizmo" explores different shades of energy, merging hypnotic grooves with a raw club-oriented approach. Each track unfolds its own story, striking a balance between intensity and finesse, while maintaining a strong identity that resonates on the dancefloor.

With this release, Z@p reaffirms his ability to push sonic boundaries while staying true to the ethos of underground electronic music.

Artwork by Gerardo Trotti