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Equally adept on the decks and in the studio, Victor Calderone has travelled the world playing for thousands and created some of the electronic music industry’s most seminal tracks and remixes. His new double sided release on Nervous Recprds is a collaboration with highly respected producer / DJ Mykol. They have a created an EP that has the driving percussive force needed to move a dancefloor in 2025, and through its inspired usage of vocal and musical elements highlights their background as born and bred New Yorkers who grew up enmeshed in New York’s nightlife and musical culture.

'What You Want' features the legendary Byron Stingily, a Chicago house singer and Ten City vocalist with a famous falsetto. Here he serves up a moody spoken word sermon over chunky house drums with a dark energy and late-night sense of soul. Electric synth patterns wave in and out to bring great drama to this full-flavour groove. 'What You Want' also comes as a more pared-back but still jacking dub with plenty of smart studio effects.

'Take You Back' is a surging house sound with deep bass and drums and whimsical synth patterns that dance over the beats. Analluring female vocal pulls you in ever closer to a track that is both emotive and physical, steamy but sensuous.

Music For Pleasure is the 1997 debut studio album by Monaco, a side project of New Order bassist Peter Hook. When New Order went on a hiatus after 1993’s Republic, Hook took the group’s sound and spirit with him and founded Monaco together with David Potts. Hook’s distinctive pulsating bass lines united New Order’s marriage of post-punk and pop, creating an identity so recognizable that Monaco’s first single, “What Do You Want From Me?”, was often mistaken for a New Order track. Upon its release, the album hit #11 on the UK album charts and sold more than 500.000 copies worldwide Music For Pleasure is for the first time available as an expanded edition featuring 6 bonus tracks, including remixes by Joey Negro and Farley & Heller. The 2LP Music For Pleasure (Expanded Edition) is available as a limited edition of 2.000 copies on orange coloured vinyl, housed in a gatefold sleeve, and includes a 4-page booklet.

In celebration of Pride Month, Kinga struts to Dark Entries with “Sexy Boy,” a steamy Canadian pop gem. Inspired by gender-bending pop stars of the 1980s like Boy George and Janet Jackson, a young Tomas Fussey aka Kinga ditched his “schoolboy appearance” to adopt an edgier, androgynous style. Immersed in Calgary nightlife, he became acquainted with sexy synthpop and disco songs like Madonna’s “Everybody,” Divine’s “Native Love,” and the Flirts’ “Passion” - songs which still linger in his mind. He began writing music: “It was 80s. Everyone was making a record. So I made one too.” In 1988 he teamed up with keyboardist Dan Madison and veteran producer Bob Gallo to make “Elevator Operator” and “Sexy Boy.” Kinga was surprised when the B-side “Sexy Boy” garnered substantial radio play from CFNY in Toronto. But he notes: “They saw the obvious... My physical appearance supported the lyrics.” In 1989, Amok Records backed a new “Late Night Dance Mix” version of “Sexy Boy.” Almost every part was re-recorded or remade, including Kinga’s vocals. The new version surprised Kinga with its slick production and moody atmosphere. Sales were disappointing, and Kinga stated “It was not the sound of the moment.” But these deeper house-inflected grooves feel like the sound of our current moment. This release of Sexy Boy includes five different mixes, including the original 7” mix, three versions from the 12”, and the previously unreleased “TV Mix”. Sexy Boy comes sleeved in a reproduction of the original artwork and includes an insert with liner notes and lyrics, as well as an 8x10 glossy press photo of the sexy boy himself.

We All Jack – Part 2
Following the success of its inaugural vinyl release, We All Jack – Part 2 continues Heattraxx’s dedication to preserving and pushing forward the legacy of Chicago house music. This second chapter deepens the journey, bringing together foundational pioneers and trusted label family to expand the spirit of the series.

Leading the charge is an undeniable icon, Roy Davis Jr., an absolute legend whose influence on house music culture is timeless. His contribution brings soul, depth, and unmistakable Chicago authority to the record.

Joining him is DJ Merci, a Heattraxx resident and true family member, delivering a groove-driven remix that reflects both his long-standing connection to the label and his deep understanding of the dancefloor.

The release is further elevated by Jerome OR, whose refined, contemporary approach adds fresh momentum while staying rooted in classic house sensibilities, and Gettoblaster, bringing raw Chicago energy with their signature jackin’ sound and unmistakable attitude.

We All Jack – Part 2 is not just a follow-up—it’s a continuation of a vision. A vinyl series dedicated to house heritage, bridging generations, and carrying the Windy City spirit forward with respect, weight, and purpose.

Sushitech's first release for 2026 marks a landmark project from London based tech house pioneer Gideon Jackson.

Tokinowa : Seven, from the Japanese meaning “a circle of time” reflects the seven year period which these tracks were produced, 1999 – 2005. The release is a retrospective journey into the raw and warm sound of a producer who helped shape the London underground sound in the early 2000's and went on inspire generations that followed.

Pressed as a special triple 180g gatefold collectors edition, Tokinowa : Seven welcomes us into Gideon Jackson's world of art and vision, featuring original photography by Gideon himself paired with artwork by Sushitech's in-house designer Jeremy.

Sushitech's first release for 2026 marks a landmark project from London based tech house pioneer Gideon Jackson.

Tokinowa : Seven, from the Japanese meaning “a circle of time” reflects the seven year period which these tracks were produced, 1999 – 2005. The release is a retrospective journey into the raw and warm sound of a producer who helped shape the London underground sound in the early 2000's and went on inspire generations that followed.

Pressed as a special triple 180g gatefold collectors edition, Tokinowa : Seven welcomes us into Gideon Jackson's world of art and vision, featuring original photography by Gideon himself paired with artwork by Sushitech's in-house designer Jeremy.

2026 Repress

Magic Carpet ring in the new year with a standout debut EP from English-born, Berlin-baked artist Jack D. With senses honed by days spent front left at clubs like Hoppetosse, Closer and Fold, Jack delivers four superb tracks bursting with energy and quirk. Somehow fusing wonk with groove, his style feels both strangely familiar and highly original at the same time. One for the heads!

Terry Francis stands as one of the original architects of acid tech house, a genuine pioneer whose influence shaped the sound and spirit of London’s underground scene in the 90s. From the seminal projects with Housey Doingz to his enduring tenure as a core resident at fabric, Terry has remained a constant and uncompromising force at the heart of the scene.

His contribution is impossible to overstate. Across three decades, Terry’s unmistakable sound, forward thinking approach and steadfast dedication have inspired artists across the globe. His work helped define an era and continues to resonate today.

Following a widely acclaimed run of reissues from the golden age of the early 2000s London underground, where the label was born, Sushitech Records now joins forces with Terry for a landmark moment, his first Sushitech LP, featuring various tracks from over the years alongside unreleased session recorded at Strange Weather Studios in 1999.

This special collection brings together eleven tracks, officially remastered from the original tapes and source material for the very first time. These are timeless productions, restored to reveal new depth, clarity and detail while preserving the raw energy that made them so vital and sought after, pressed on 180g vinyl. The release also features standout collaborations with Ricardo Afonso, Gideon Jackson and Haris, further cementing its status as an essential document of an era. A landmark collection, restored with precision and reintroduced in its fullest form.

Terry Francis stands as one of the original architects of acid tech house, a genuine pioneer whose influence shaped the sound and spirit of London’s underground scene in the 90s. From the seminal projects with Housey Doingz to his enduring tenure as a core resident at fabric, Terry has remained a constant and uncompromising force at the heart of the scene.

His contribution is impossible to overstate. Across three decades, Terry’s unmistakable sound, forward thinking approach and steadfast dedication have inspired artists across the globe. His work helped define an era and continues to resonate today.

Following a widely acclaimed run of reissues from the golden age of the early 2000s London underground, where the label was born, Sushitech Records now joins forces with Terry for a landmark moment, his first Sushitech LP, featuring various tracks from over the years alongside unreleased session recorded at Strange Weather Studios in 1999.

This special collection brings together eleven tracks, officially remastered from the original tapes and source material for the very first time. These are timeless productions, restored to reveal new depth, clarity and detail while preserving the raw energy that made them so vital and sought after, pressed on 180g vinyl. The release also features standout collaborations with Ricardo Afonso, Gideon Jackson and Haris, further cementing its status as an essential document of an era. A landmark collection, restored with precision and reintroduced in its fullest form.

The Jack Ruby releases have been some of the most sought after dnb/jungle tracks on Discogs, mastered from the original DAT by Beau and pressed on 180g vinyl, sounding incredible!

made at the Green Room in 1994

BTW - in the rush to get these made in time for The Run Out i messed up the label - I write these out by hand (using an Ipad so its cheating really) and i put the cat number as KR007 and KR008, overlaid a layer or something like that. anyway - my mistake, hold my hands up...

The Jack Ruby releases have been some of the most sought after dnb/jungle tracks on Discogs, mastered from the original DAT by Beau and pressed on 180g vinyl, sounding incredible!

Extremely Limited Black Screen-Printed Jacket / Glow in the Dark Ink / Red Insert Printed Sleeve 7Inch Black Vinyl
Hidden Revealed is one of Joaquin Joe Claussell Aliases which features a more Experimental Cosmic Jazz Side of Joaquin garnering just as many music supporters as his other aliases.

Sold out on our Bandcamp in only a few days; we are now offering copies of this highly sought-after record to our distribution partners. This is an Extremely Limited Specially Packaged 7" Black Screen-Printed Jacket using Glow in the Dark Ink. The record itself is housed in a special Red Insert Sleeve which is also printed. Musically Speaking this concept showcases the cosmic Jazz side of Joaquin Joe Claussell. All human musicians, no computers. Joaquin has been featuring these compositions in his DJ sets for quite some time now garnering inspiring crowd response.

This is a COLOR version of KF279IJ, featuring the classic track from Ray Keith - News At 10. This EP has the original mix and Jumping Jack Front remix, both of which have been remastered for this limited repress! As such, we only have very limited numbers.

Jolene Cuts returns with a 5-track vinyl-only masterpiece that channels the golden era of 1998 French House while pushing it into the future. No edits—just 100% original productions from Danny & Mike, two true craftsmen of filtered house grooves. “Jackpot” kicks things off with a euphoric, sample-driven floor-burner, dripping in funk and irresistible filter sweeps that recall the raw magic of classic Roule and Crydamoure records. “Voiture” follows with a sleek, late-night ride through hypnotic basslines and shimmering disco loops, perfect for peak-time club moments. On the flip, “So Cruel” brings soulful vocal chops and deep, rolling grooves in a way that nods to the emotional side of the French Touch era. “Love U” injects pure joy into the mix—swinging drums, warm filters, and a seductive disco flair designed to light up any dancefloor. Closing it all, “Disco Road” is a driving, high-energy weapon blending pulsating bass and filtered hooks that feel like 3 a.m. in Paris circa ’98. This is a love letter to French House—strictly vinyl, strictly limited, five unmissable club bombs. Perfect for DJs who crave that raw filtered energy, vinyl purists, and anyone who knows the true essence of French Touch: groove, soul, and pure dancefloor ecstasy. Once it’s gone, it’s gone.

Losh is a series of parties held at the magical Chapala lake in Ajijic and Guadalajara, Mexico, aimed at preserving the essence of underground sound and its culture. The event has hosted performances by artists such as Satoshi Tomiie, Shonky, Priku, Arapu, Markus Nikolai and more. Now, Losh is exploring new horizons with the launch of its own vinyl label. The music for this second release features tracks by Tomodachi Club owner and Real Gang founder Miller, Head Honcho of Vatos Locos Héctor, Perlon legend Dandy Jack and one of Losh Team member James Both.

12 brand new, exclusively signed '92-93 oldskool hardcore style tracks to Rave Radio Records. It's authentic, and the genuine article when it comes to the true ruff style of the early 90's hardcore rave production. If you like mixing on the edgier side of hardcore, this is a release you'll want in your collection!\uc0\u8232 \u8232 Ruff Hardcore music from: Try Unity, Al Storm & Euphony, Billy Daniel Bunter & Sanxion, Secret Squirrel, Pete Cannon, Z-Neo, Jack Smooth, Liquid Crystal, Tim Reaper, Radicall, Stu Chapman & Blackmass Plastics and the sleeve artwork is by Aroe.

By the time Jackie Mittoo released this outstanding album (his 4th), he had already gained a big reputation in the early days of Reggae, Ska and Rocksteady for his contributions to the Studio One catalog and his work with the Skatalites. With his beloved Hammond organ, endless talent and a bag on influences that included Jamaican sounds, Soul and Funk, Mittoo created a cool, moving, warm and groovy sound that would explode in his amazing dance songs and has gained cult status among followers of Jamaican Music, Soul and Funk lovers. A great collection of reggae-soul instrumentals by one of the most talented figures of the genre.

Placid aka Paul Wise is the chief in command at ‘We’re Going Deep’ – an online community and record label, born out of a lifelong affair with the many shades of electronic rhythm and obsession for collecting records since 1988.

Known to many in underground House and Techno circles, he’s spent the last 3 decades moving heads and feet at select venues, parties and fields across the UK and beyond. On a mission to share and release new music via his imprint: you’ll find only the best in Acid, Electro, IDM, Techno and Deep House for the dance floor, front room or even just your headphones.

For the latest solo series edition, Paul reaches out to the talents of UK based songwriter and producer James Shinra, for a heavyweight 4 track EP of 303 fuelled excursions. Hitting the floor head on with the muscular tones of “Jaunt” on A1 – punchy 808 percussion builds with jarring rave-etched synthesis, before rushing into the roar of a 303 grabs you by the scruff of the neck and unleashes a rolling groove that jacks hard until the twisted end. Do not be fooled by the calmer overtures of A2 “Venture”, Shinra unleashes another rolling 4 to the 4 floor workout. Balancing airy leads and shifting pads to precision programmed beats, the TB saws its way through to maximum frequency exposure over the course to brazen effect.

On the B-Side, B1 “WASP” takes control via deeper bass tones, squelching tweaks and A-A-Acid vocal chants, all paced at a solid mid-tempo groove that really brings things to the boil: just when you need it. Signing off with the stunning IDM inflected melodies of “Flexion” on B2 – Shinra shows his mastery of space and warmth with this beautifully balanced slice of Electronica that really is the icing on the cake.

Limited singles releases from Ray Keiths seminal "Golden Years Part 2" Box Set!

Danou P Serves Up Deep, Funky Heat with his 'In The Brine EP' on Definitive Recordings.

Rotterdam-based producer and DJ Danou P delivers a standout four-tracker with 'In The Brine EP,' released on Definitive Recordings. Known for his warm, soulful and funk-infused take on house music, Danou channels raw rhythm and musical flair into a collection that feels both classic and freshly personal.

Opening track 'The Flex' sets the tone with stomping deep house drums, playful chord stabs, and clever vocal sample play that gives it a raw, jacking feel. It's got attitude and groove in equal measure. 'On My Own' keeps things rolling with a classic deep house bassline, gradually introducing a soulful vocal loop that blossoms with the arrival of shimmering synth layers. Danou brings emotion without ever losing grip of the dancefloor.

Next comes 'Spirit', flipping the rhythm into broken beat territory. Another catchy vocal sample rides alongside vibey, jazzy stabs, offering a breezy, uplifting moment that's both heady and driving. It's the kind of track that sneaks into your set and ends up stealing the show. Rounding out the release is 'Bronstige Bakvissen', a deep and moody closer built on a heavy, rolling groove and rich classic house chords. It's stripped back but full of warmth, closing the EP with a nod to soulful late-night sessions.

Best known for his work alongside Jamie 3:26, and with releases on Glitterbox, Tru Thoughts, and Soulfuric Trax, Danou P is steadily building a solo catalogue that's as musical as it is danceable. His 'InThe Brine EP' is a bold step forward, out on Definitive on July 25th 2025.

SKYLAX RECORDS proudly unveils the fourth and final chapter in its epic, conceptual 4-part saga — SKYLAX BLACK 4 – Vision Quest. This secretive series brings together two pillars of French electronic music, ARNAUD REBOTINI and ACID WASHED, in a bold tribute to the essence of rave, electro, and techno. Following the critically acclaimed Winter Sequences and Musical Component, this last installment pushes even deeper into the roots and futures of the underground. On the A-side, Vision Quest opens the EP with a pulsating journey of progressive electronics — cinematic and sleek, evoking the robotic spirituality of Kraftwerk and the expansive textures of early kosmische music. Next, TOI 700-d channels the golden age of acid house with infectious 303 lines and jacking grooves. Think DJ Pierre, Phuture, and Ron Hardy at their most transcendental — raw, euphoric, and timeless. Flip to the B-side and dive into Black Star Liners — a dub techno masterclass in the lineage of Maurizio, Basic Channel, and Chain Reaction. Deep, minimal, and full of ghostly delay, it’s a meditative immersion in pure sound system hypnosis. Closing the EP, Trojan Asteroids fires into classic Metroplex territory — icy, futuristic, and funk-laced. A perfect nod to Cybotron and Model 500, this is hi-tech soul with a razor’s edge. Once again, SKYLAX RECORDS delivers a visionary release — timeless, intelligent, and essential. The final piece of the puzzle is here. The journey ends… or just begins.

UK producer Tom Carruthers delivers another masterclass for Skylax, diving deeper into the DNA of house music with Deepline, a 5-track journey that connects the raw futurism of the late ’80s to the deep innovations of the early ’90s. Known for his MPC-driven grooves on L.I.E.S., Clone Jack For Daze and Craigie Knowes, Carruthers has become a true guardian of machine funk — always stripped down, always pure. The title track Deepline captures the very essence of house, hypnotic and driving, right at the crossroads of 80s machine funk and early 90s deepness, a timeless groove that feels like the missing link. Dream 12 unfolds as lush and atmospheric, with pads that instantly recall the golden era of early 90s deep house, a reverie made for afterhours and smoke-filled basements. Experience stands as a raw reminder of the four pillars of house — drum machines, bass, minimalism and repetition — metallic, stripped, relentless, pure underground. On the flip, Fantasy explodes with wild energy, channeling the raw spirit of Trax Records and Armando, dirty and direct, a weapon for uncompromising dancefloors. Finally, Folx closes the record with a cosmic edge, its tough jackin’ drums colliding with spacey synth touches to create a bridge between Chicago basements and interstellar dancefloors. Once again, the visual identity is entrusted to the iconic H5 studio (Daft Punk, YSL, Logorama), whose bold modernist artwork perfectly mirrors Carruthers’ stripped yet futuristic vision. Vinyl only. No digital. No compromise.

The ALIENS ON MUSHROOMS/WAX crew come thru with 2 fresh reworks. NIKKI's "FTCU" gets a banging tech house treatment with extra jack added via rolling snares and toms. On the B-Side a BIGGIE classic gets twisted into a bouncy booty-shaking call out for the freaks.

The Beatles played two shows at the Montréal Forum on September 8th 1964, a matinee at 4pm and an evening performance at 8pm and at 6pm they held a press conference for Canadian Broadcasting Corporation from the Forum’s stage. A local newspaper had reported that somebody was going to kill Ringo, so instead of staying the night in Montréal, they flew out straight after the evening show and arrived at Key West at 3.30am where hundreds of fans were awaiting them. After a day off in Miami, the group performed at the Gator Bowl in Jacksonville, Florida the following night.
We have done the best we possibly could with these admittedly lo-fi yet important historical recordings. The source is AM radio and there is considerable distortion on the vocals. The broadcast was faded out halfway through A Hard Day's Night so the last two songs of the show, I Want To Hold Your Hand and Long Tall Sally were not transmitted.

Trevor Lucas and Gerry Conway were members of the folk-rock group Eclection, who released an album in August 1968 on Elektra Records. After the group disbanded in 1969, they formed Fotheringay with Lucas's girlfriend Sandy Denny, who had recently left Fairport Convention. The Fairports were recording mostly traditional folk material at this time and Denny left the group so that she could perform more of her own compositions.
The BBC session on Side One of this LP features songs from the first Fotheringay album and took place at the Playhouse Theatre on April 13th 1970. The songs on Side Two were recorded at BBC’s Maida Vale Studios in November 1970. They are ‘off-air’ recordings but the sound quality is still very good.

Lex Wolf will be a familiar name to those who like leftfield edits and trippy disco sounds, following great outings on the likes of Razor-N-Tape. Here, the producer kicks off new label Changes with four cuts of passionate and throbbing pumps. 'Rhythm Papi' has elastic drums and fat bass with erotic vocal whispers, and 'Everybody' taps into classic sampling with jacked-up house drums and sparkling arps. 'Fall Into A Trance' has old school horns and a steamy energy with yet another bold, potent bassline, while 'Keep Playin' is a bouncy sound with panning melodies and vocoder vocals that blend the past with the future. These are full-flavour sounds packed with character.

The Temptations Get High on Psychedelic Soul: Cloud Nine Soars with Ambitious Arrangements and Production, Features Standout Vocal Performances and Instrumentation by the Funk Brothers

The Temptations’ Cloud Nine announced that Motown — and “The Sound of Young America” — would never be the same. Influenced by the emergence of cutting-edge rock and pop currents, as well as increasing sociopolitical turmoil, the album broke down barriers between rock, psychedelia, and soul while heralding the arrival of visionary arrangements and production techniques. Bookended by traditional R&B numbers, the 1969 record sent the Temptations in bold new directions and signaled the advent of psychedelic soul.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45PM 2LP set presents Cloud Nine in audiophile sound for the first time on a domestic pressing. This collectible reissue bestows Norman Whitfield’s extraordinary production with the grand-scale dynamics, natural tonality, expansive openness, and low-end weight it deserves. The timbre of each of the five members’ voices is readily identifiable — even within the group harmonies — bestowing a realism never experienced outside the recording studio.

Making its debut on 45RPM, the album further benefits from the wide groove space by playing with greater separation and more realistic presence than prior editions. Everything from the brassiness of the horns to the dry snap of the snare comes across with reference-grade clarity and positioning. And since Motown’s renowned Funk Brothers backing band plays on many of the cuts, you’ll want to savor every note. The imaging, soundstaging, and organic bloom-and-decay of the notes make that possible.

Amid Cloud Nine, the instrumentation and architecture stand out as much as any element. Never before had a Motown album contained such ambitious patterns and complex passages. Seemingly conscientious of the departure from their past methods, the Temptations and Whitfield bunched together the tracks that mark a deep dive into psychedelic territory and counterbalance them with seven sterling soul cuts that dovetail with Motown tradition drenched with heartfelt vocals, swelling strings, and finger-snapping beats.

On the original 33RPM release, traditional Motown soul — laden with heartfelt vocals, swelling strings, and finger-snapping beats — occupies Side Two. These songs reveal an ensemble still very much on top of delivering pristine pop-soul material graced with romantic sweetness, persuasive insistent, and soaring highs. Re-energized after the departure of lead singer David Ruffin, who was fired for a variety of reasons in June 1968, the Temptations seamlessly meld with his replacement, Dennis Edwards, on one melodic gem after another.

The collective tackles five songs co-written by the legendary Motown team of Barrett Strong and Whitfield. Not the least of which are the smooth, shuffling “Why Did She Have to Leave Me (Why Did She Have to Go)” and deceptively simple, horn-spiked “Gonna Keep on Tryin’ till I Win Your Love.” On these tracks, as well as on a lush rendition of the ballad “Love Is a Hurtin’ Thing” and pleading, tender send-up of the Gerry Goffin-Carole King classic “Hey Girl,” Edwards and Paul Williams take turns on the lead with the estimable Eddie Kendricks, Melvin Franklin, and Otis Williams providing backing support.

All five vocalists trade-off leads on the simmering title track, a groundbreaking composition shot through with wah-wah-pedal effects, liquid funk, deep bass lines, Cuban percussion, saturated reverb, and gang choruses. Whitfield mines each member’s natural vocal range with spectacular results, keeps time with cymbals, and channels both the heated temperatures and escapist desires of a society embroiled in war, conflict, and experimental drugs.

Amazingly, the Temptations top themselves on the similarly revealing “Run Away Child, Running Wild.” Nearly 10 minutes in length, the song explodes R&B parameters and harbors a cinematic scope. Urgent pianos, distorted guitars, stripped-down percussion, steamy Hammond organs, minimal bass motifs, five distinct voices narrating the tale of a boy who fled home and now finds himself amid the scary, unforgiving external world: They combine to give the urgent tune a walls-closing-in atmosphere where fear and desperation reign. Bolstered by an extended instrumental section that precedes a climactic return of the singers’ voices, “Run Away Child, Running Wild” equaled the success of the record’s title track, with both reaching No. 6 on the pop charts.

How enduring is the signature song from Harry Chapin’s Verities & Balderdash? So timeless that it became the subject of a 2025 documentary in which artists from multiple generations weigh in on its impact on their lives and craft. “Cat’s in the Cradle” doubtlessly remains the main event on the singer-songwriter’s 1974 album. The legendary opening track also serves as a guidepost for the bold personal and social material that follows — as well as the gorgeous folk-rock arrangements that underpin the New York native’s most commercially successful work.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, housed in a Stoughton jacket complete with a four-page insert, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Verities & Balderdash presents Chapin’s fourth full-length in audiophile quality for the first time on vinyl. Captured during a golden era for sonics and production, the Top 5 effort features remarkable tonal balance, instrumental separation, and organic naturalism. Those valued aspects come into supreme focus on this reissue, which plays with dead-quiet surfaces and a low noise floor.

The newfound clarity, openness, and imaging underscore the lasting appeal of Chapin’s tender deliveries, soulful timbre, and careful phrasing. Every word comes across with incredible realism, while his underrated guitar playing occupies its own distinctive space. Also notable: The extension of the tasteful string accents; airiness of the backing vocals; depth and shape of the spare bass lines; and width and depth of the soundstaging. When on “Six String Orchestra” Chapin calls out names of instruments, they appear like magic, the band performing feet from you. Chapin has never sounded so lifelike on record.

Certified double platinum, Verities & Balderdash resonated with the times and public. “Cat’s in the Cradle” reached No. 1 on the chart on its way to being inducted into the Grammy Hall of Fame. The romantic ballad “I Wanna Learn a Love Song” flirted with the Top 40 and wrapped listeners in the equivalent of a cozy blanket. The record’s other single, the mini-epic “What Made America Famous?,” helped establish Chapin as one of the country’s most incisive and insightful commentators.

Verities & Balderdash teems with situational devices and topical matters. Chapin observes everything from the polarization of the nation to changes in moral standards and cultural priorities. He investigates pressing themes without ever turning preachy or elevating himself above the matters at hand. On “Halfway to Heaven,” whose coda races to the finish and ranks as the most urgent moment on the record, Chapin inhabits the mind of his frustrated protagonist akin to an eagle-eyed novelist.

Conveying emotions that range from melancholic to carefree, Chapin is as much of a singer as a storyteller. He assumes the voice of multiple characters within a single narrative. During the quirky “30,000 Pounds of Bananas,” a tale based on a delivery-truck accident in 1965, Chapin alters his delivery, pronunciation, and diction to become an old man reflecting on the mishap and mess. The tempo, too, adjusts to match the speed of the vehicle Chapin describes.

Adorned with timely laugh tracks to reinforce the bittersweet humor, the stripped-down “Six String Orchestra” takes everything up another notch, with Chapin intentionally missing guitar notes or playing a broken passage to illustrate the failures of the hopeful protagonist who doesn’t have what’s required to make it as an artist.

Chapin, of course, did not have any such problem. The lynchpin of a career cut short by a tragic traffic incident, Verities & Balderdash is Exhibit A of the savvy craft, feeling, and perspective he lent to American music.

Carly Simon’s No. 1 smash “You’re So Vain” lingers as one of the most clever and famous songs ever recorded. The subject of mass speculation ever since its release, soon after which it occupied the top spot on multiple Billboard charts for weeks, the anthem kept a captive public guessing at the identity of its smug subject for decades. The question surrounding the protagonist’s identity remained perhaps the only mystery on the otherwise sexually open and autobiographically daring No Secrets, Simon’s commercial breakthrough and ‘70s singer-songwriter staple.

Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, strictly limited to 3,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set affords the platinum-certified 1972 effort the finest sonic treatment it’s received on vinyl. Helmed by Richard Perry and recorded at London’s Trident Studios — where Beatles, David Bowie, and Elton John captured landmark LPs — No Secrets touts exceptional production qualities highlighted by this restorative reissue.

Audiophiles and record collectors, take note: This is the first time No Secrets has been available on 45RPM. The wider grooves and dead-quiet surfaces pay instant dividends. Simple, elegant, and disarming, songs seemingly float amid wide, deep soundstages. Simon’s voice takes on a confident, assertive tenor that emerges with accurate imaging, balanced tonality, and palpable presence. String arrangements and backing vocals come through with similar realism.

Enhanced by an all-star cast — Simon’s then-husband James Taylor, Paul and Linda McCartney, Mick Jagger, Lowell George, Klaus Voorman, Bobby Keys, Jim Keltner, Nicky Hopkins, and Bonnie Bramlett are among the renowned musicians who lend a hand — No Secrets advances Simon’s themes of personal introspectiveness, no-holds-barred reflectiveness, and feminist-inspired boldness. She makes every moment of No Secrets worth savoring. Simon invests her all in the songs, handling beautiful ballads, sassy folk-rock numbers, and bluesy fare with calm, composure, and candor.

While acknowledging her own regrets (“You’re So Vain”) and loss (“The Carter Family”), Simon champions the highs (“The Right Thing to Do”) and pains (“His Friends Are More Than Fond of Robin”) of love in a sincere manner indicative of her maturity as both an artist and singer. The New York native distinguishes “When You Close Your Eyes” with deep-rooted spirituality, recalls childhood joys via charming sentimentality on “It Was So Easy,” and and takes ownership of her persona on a cover of Taylor’s “Night Owl.”

“We have no secrets
/We tell each other everything,” Simon sings at the record’s midpoint, encapsulating both the themes and bravura of an effort that was nominated for four Grammy Awards and saw her write or co-write every song but one. Combined with Perry’s savvy instrumental arrangements, her self-assured performances and forthright lyrics grant No Secrets an edginess and relevance immune to the ravages of time.

Iridescent White w/ Blue Marble Color Vinyl in Gatefold Jacket

The moment the instantly recognizable intertwined guitar passage on the title track to the Eagles' Hotel California begins, the record's genius becomes obvious all over again. Ranked the 118th Greatest Album of All Time by Rolling Stone, certified by RIAA as the third best-selling LP in history, and considered the foundation on which the Golden State's mid-‘70s music scene was built, the 1976 landmark is a music staple immune to shifts in trends, eras, and styles. Fearlessly addressing the chaos and consequences of American life, its songs remain strikingly prescient and gain creedence with each passing day.

Mastered from the original analogue master tapes, pressed on MoFi SuperVinyl, and limited to 17,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set ensures you will want to permanently check into and never leave this particular Hotel California. Up to the herculean task of standing head and shoulders above all prior reissues, this collectible edition plays with extreme clarity, organic richness, tube-like warmth, massive dynamics, and microscopic levels of detail. You'll be able to practically smell the colitas and feel the breeze in your hair. Songs come across with an epic sweep and feature immersive, front-to-back soundstages that allow the music unprecedented air, roominess, and separation. As for the noise floor? It's basically as invisible as the spirits that waft in the corridors of the unforgettable title song.

Aesthetically, the premium packaging and presentation of the UD1S Hotel California pressing befit its esteemed status. Housed in a deluxe box, it features gorgeous 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.

Indeed, the opportunity to zero in on all the particulars of the 26-million-selling Eagles record dubbed "a legitimate rock masterpiece" by vaunted Los Angeles Times scribe Robert Hilburn has never been better. A global phenomenon that marked the band debut of guitarist-singer Joe Walsh, Hotel California continues to resonate and connect with listeners of all generations taken by its narrative depth, stark directness, picturesque melodies, daring majesty, and ardent emotionalism. Adorned with a breathtaking exterior photograph of the Beverly Hills Hotel that serves as the simultaneously haunting and alluring cover art, and rounded out by a rear-cover shot of the Lido Hotel lobby that reinforces a notion that teeters between permanence and transience, Hotel California is brilliantly tied to a specific place that functions as a universally understood metaphor for the American Dream.

Confronting the darker undercurrents and oft-ignored constructs attached to that romantic notion, the record's songs revolve around a host of shared themes: excess, mobility, stability, illusion, fame, destruction, and idealism included. Notably, Hotel California appeared at a crucial junction in American history: During the country's bicentennial and amid escalating controversies related to the Vietnam War, energy crisis, and governmental corruption. That the Eagles manage to channel such cultural, social, and economical matters into a cohesive, stately, big-picture statement is alone a stupendous feat. That the album's reach, boldness, vitality, accessibility, and understated intensity have never waned make it a marvel.

Reflecting on Hotel California 40 years after its original release, and indirectly explaining its enduring appeal and increasing relevance, singer-songwriter Don Henley confirmed the record pertains to the "loss of innocence, the cost of naiveté...the difficulties of balancing loving relationships and work, trying to square the conflicting relationship between business and art; the corruption in politics, the fading away of the Sixties dream of ‘peace, love and understanding.'"

It can be argued that Henley and company squarely hit on and drove home those ideas in the surreal title track, chart-topping "Life in the Fast Lane," and grand "The Last Resort" alone. But that would miss the forest for the trees. Experienced as an unbroken whole, complete with the pristinely shot imagery and physical grooves, Hotel California unfolds like a geography-conscious saga by James Michener and plays like colour-saturated movie shot on 70mm film by Martin Scorsese. It's about our collective and individual decisions – and the shape of our past, present, and future. And, just like that conjured by our imaginations, Hotel California continues to take on a life of its own.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl 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.

Looking back on her career in the early 90s, Stevie Nicks described the first track of Rock a Little as “the most exciting song that I had ever heard.” This coming from a superstar who was already closely affiliated with several bajillion-selling Fleetwood Mac albums — to say nothing of her own benchmark solo debut. Her remarks attest to the enthusiasm and effort she invested in her third record, a 1985 work that quickly furthered Nicks’ profile and cemented itself as a piece of 80s pop lore.

Mastered at MoFi’s California studio, pressed at Fidelity Record Pressing in California, strictly limited to 4,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set presents Rock a Little in audiophile sound for its 40th anniversary. Helmed by a cadre of producers and engineers, and recorded for a reported one million dollars, the platinum-certified album teems with a head-spinning array of colors, tones, dreamscapes, and accents. This reference-grade reissue marks the first time they are all brought to light and conveyed with proper balance, dimensionality, and positioning.

Though Rock a Little doubtlessly has period characteristics of a mid-80s LP, Nicks and company spare no expense when it comes to distinguishing the music with expansive sonics distinguished with lush melodies, high-tech percussion, echoing vocals, sampled keyboards, and layers of sophisticated accents. The degrees of spaciousness, headroom, and dynamics are nothing less than inspiring, while the newly enhanced detail, texture, and clarity make the songs sing like never before. As for Nicks’ voice? Wait ’til you experience the transparency and depth.

Those advantages extend, of course, to the aforementioned “I Can’t Wait,” a statement-making opener shot through with modulating synthesizers, splashy drums, metallic guitars, and serious drama. Holed up in a massive studio, Nicks required just one take to nail her part, which she called “magic and simply not able to beat.” The singer-songwriter also distilled the reverberating emotional essence of the Top 20 tune, stating “when I hear it on the radio, this incredible feeling comes over me, like something really incredible is about to happen.”

The same can be said for nearly all of Rock a Little. Crafted by the likes of Songwriters Hall of Fame multi-instrumentalist/producer Rick Nowels, Heartbreakers organist Benmont Tench, bassist Bob Glaub, jack-of-all-trades Greg Phillinganes, and session-pro guitarists Waddy Watchel, Les Dudek, and Danny Kortchmar — along with another two dozen or so participants — the record spills with diverse ideas, shapes, and moods. Everything is in the right place, as evidenced by the swirling glide and sensual undertow of the slightly funky title track to the snapping rhythmic pace and big hooks of “Imperial Hotel,” one of Nicks’ standout moments.

“What was it she wanted?” Nicks queries on “No Spoken Word,” continuing a theme of contemplation that runs through the narratives. Nicks never lands on a definite answer, but hearing her explore loneliness, love, and the secrets we keep to ourselves proves continuously rewarding. Take her passionate performance on a cover of Chas Sanford’s “Talk to Me,” a Top 5 smash furthered by tasteful saxophone lines and understated folk elements. Immersive yourself in the grand sonic corridors of “If I Were You,” laden with Nicks’ signature mysticism.

Moreover, surrender to the gravitas of the closing “Has Anyone Ever Written Anything for You,” a piano ballad composed about the death of Joe Walsh’s three-year-old daughter. As Nicks asserts earlier on the album, she sings for things money can’t buy.

So, rock a little, yes, but dare to feel even more.

Carly Simon’s quietly intense sophomore album comes across like an assertive notice nailed to a telephone pole for all to see. Bold, personal, and autobiographical, Anticipation announces the arrival of an artist who won’t back down. While Simon stands her ground on her eponymous debut, she elevates her passion and persona to heightened levels throughout this gold-certified record, dealing in private matters related to love, relationships, and desire. At times, Simon is nothing short of primal. She reflects on the difficulties of retaining your own identity while also giving yourself to a partner. Simon’s connection to her folk roots would never be stronger.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set of Anticipation lays bare the rich tapestries afforded by the spare blend of soft guitars, mellow orchestration, and dreamy melodies. Audiophiles and record collectors, take note: This is the first time Anticipation has been available on 45RPM. The wider grooves and dead-quiet surfaces prove extremely rewarding.

The rhythmic framework anchored by session pro Andy Newmark’s drumming sounds dynamic and balanced, with songs benefiting from a focused midrange and taut low-end. Simon’s attachment to and investment in each lyric is made evident by way of the intimate, hushed atmospherics and expansive responsiveness. And just as Simon’s vocals feel more transparent and direct, so, too, do the supporting choral arrangements.

Released before the singer-songwriter movement reached full bloom, Anticipation remains remarkable for the high-quality songwriting and Simon’s gutsy stance. The album cover — depicting the vocalist holding the gates at Queen Mary’s Garden in Regent’s Park and seemingly defying anyone to take her on — serves as a metaphor for the content within.

Known for having relationships with high-profile partners, Simon was heavily involved with Cat Stevens leading up to the recording of Anticipation. She draws from her experiences to craft tunes that resonate because of their honesty, realism, and strength. Few of those moments are better known than the Top 20 title track, which Simon composed in just 15 minutes as she waited for Stevens to pick her up for a date. Imbued with the nervousness, tension, and excitement that accompany the moments when a romance could go either way, the Grammy-nominated song presages the feminist-minded vulnerability and burning longing that informs a majority of the record.

On the soulful “Legend in Your Own Time,” also inspired by Stevens, Simon harnesses yearning as a conduit to feel-good paradise. Deemed by Rolling Stone an “absolute clincher, an awesome description of the psychic ravages of gone-nuts, know-nothing love,” her cover of Kris Kristofferson’s “I’ve Got to Have You” moans with no-holds-barred desire and breathtaking sensuality.

For all the wanting Simon pursues on Anticipation, her way of staying in control — vocally and personally — make the record a courageous statement of contemporary femininity. For further evidence, look to the bossa nova of “Summer’s Coming Around Again,” somber “Share the End,” soothing “Three Days,” and sincere “Julie Through the Glass,” a tribute to her young niece.

Simon would achieve international fame with her next album, No Secrets. Yet as this definitive reissue shows, Anticipation suggests the rest of the world was just a little late catching up to her.

To mark 15 years of Butter Side Up, the label presents a special 2×vinyl compilation featuring eight brand-new cuts from artists who have been part of the BSU story over the years - a true family affair.

Contributions from Ron Obvious, Garrett David, DJ Pipe and a host of newer collaborators reflect the breadth of the label’s community. Each artist bringing their own flavour but all carrying the BSU spirit.

The first record leans into club‑focused cuts, while the second drifts deeper into housier, after‑hours territory. Something for everyone.

Featuring original illustrations and artwork by Yideah.

Majestic Fantasies, debut album from the duo Space Ghost & Teddy Bryant, is the second release on Space Ghost’s new record label, Peace World Records. Produced by Space Ghost, with Teddy Bryant’s powerful vocals at the forefront, this new album sees the two artists effortlessly blend their shared influences from the late '80s and early '90s.

Over three years in the making, in Majestic Fantasies Space Ghost & Teddy Bryant look to the past for inspiration as they explore genres, techniques, and moods. Across the record, Bryant’s vocals shine as he demonstrates a strong ability to create memorable nostalgic hooks and catchy backing harmonies. Similarly, Ghost displays his knack for dissecting vintage production tropes and breathing life into them in a modern context.

Filled with underground, soulful gems, Majestic Fantasies draws deeply from the duo's passion for R&B, UK Street Soul, New Jack Swing, House, and G-Funk. Their 10-track LP freely blend these genres, paying homage to song writers like Teddy Riley, Jam & Lewis, Carl McIntosh, an DeVante Swing. On the album you’ll find tracks like “Some Things Last Forever” which explore New Jack Swing drum patterns and vocal hooks. Additionally the record holds dancefloor-ready House tracks including “Majestic Fantasies”’ and “Unconditional” which sit side by side with heartfelt ballads such as “Cheer Me Up, ” and “Ultimate Love, ”

Although the two have never met in person, Space Ghost and Teddy Bryant still find a way to connect through their music. Throughout the album, they demonstrate a mutual understanding of the sound they like to produce together: tasteful and playful love songs that feel positive and optimistic, bringing classic songwriting styles from the past into the modern music landscape.

Majestic Fantasies lands on Peace World Records June 13th, 2025.

* Limited edition 2 x LP vinyl with full colour outer sleeve and printed inners.

* The sound of a D&B original. Carlito's debut LP blends timeless vibes with fresh energy and presents a masterclass in liquid funk.

* A long-awaited debut from one of liquid drum & bass's true pioneers, Fiesta En La Playa sees Carlito step out solo on Liquid V with a full-length that's been years in the making. Known for his work with DJ Addiction and iconic releases on labels like Moving Shadow, Creative Source, Hospital Records and Defunked, Carlito helped shape the early sound of soulful D&B, and here he refines it with maturity, depth and a forward-thinking touch.

* Includes the standout singles Fiesta En La Playa, Wide World, Savanna Rain and Take Me Down, plus a host of new tracks exclusive to the LP.

* An album that brings Carlito's classic touch into the present — deep, melodic and musical, with the weight and clarity to hold its own in any modern DJ set. Also featuring vocal contributions from V regular MC T.R.A.C.

* "I've always loved the more musical side of things," says Carlito, "and with this album I really wanted to stay true to my sound but bring it into the now."

* A personal and creative milestone, marking Carlito's return to the scene and celebrating the spirit of D&B culture past, present and future.

* Full support from Bryan Gee, DJ Marky, LTJ Bukem, Jumpin Jack Frost and the V family, with roots that run deep and a sound that continues to inspire across generations.

* Built around standout singles and brand new material, the LP is as much about feel as it is finesse, lush, rolling and warm, but with weight where it matters. From start to finish, it's the sound of a producer reconnecting with the craft: "I still get the same buzz turning the kit on, not knowing where a session might go."

* With a legacy that spans decades, Carlito delivers a record that speaks to both long-time heads and the new wave alike — soulful, confident and packed full of funk.



c A3. Sing It Now Swerve Mix

e B1. Fiesta En La Playa VIP

Robsoul Recordings launches its 2025 campaign in style with the release of the ‘Make Love' EP, an impressive label debut from Italian producer and MPC virtuoso, Bress Underground.Following a strong 2024, which saw him release on GLB Dom, SNATCH!, Jackies Music, Special Grooves, and Slothboogie, as well as delivering unforgettable sets at iconic venues such as Sisyphos and NYC Downlow (Glastonbury), Bress Underground rolls out a sumptuous four-track selection of impeccable House music.“The EP was created by mixing a variety of production techniques, including the MPC, sampling, and Ableton Live,” explains Bress Underground, real name Andrea. “These were all projects I'd started and, for whatever reason, remained incomplete for some time. Each track started with a specific mood but evolved into something new as I finished them.”A love for all shades of House is evident throughout the EP, from the bumping horns and infectious shuffle of opener ‘Chick House' to the smooth, chiming keys and soulful tones of fellow A-side cut ‘Keep On'. On the flip ‘I Don't Pray' delivers a powerful, sermon-like groove whilst title track, ‘Make Love,' closes the release with its timeless 303 energy and undeniable dancefloor appeal. As Bress Underground himself puts it, this EP is “the perfect musical omelette,” blending textures, moods, and influences into a flavorful collection of House tracks.

System Error proudly welcomes Alejo to FLOW. Co-founder and resident of the beloved Emile Club, Alejo has been a tireless advocate for Uruguay’s underground for decades. His 1984 EP arrives steeped in instinct and a deep connection to the floor.

Four tracks that follow a development in his sound, converging to tell a singular story. From snarling basslines to electro-leaning shuffles with razor-edged drive. Deep moods pierced by jacking, dancefloor-ready grooves – just how we like them.