Cerca:king dj

Introducing the 4th instalment of the Pacific Coast House rebirth. We bring back another much sought-after 12” from The Coastal Commission & Jesse Outlaw. “Bring down the Walls” was a nod to Raze’s “Break for Love”, Robert Owens “Bring Down the Walls” and Ritchie Hawtin’s use of the Roland 606 throughout “Sheet One”. Long out of reach and fetching $100+ on Discogs, Atjazz’s freshly remastered editions are finally available .. “Let it Go” was never mastered & only ever cut to dub-plate. It has now been mastered & available in all it’s glory.

Coastal Commission “Bring Down the Walls” “Bring down the Walls” was a nod to Raze’s “Break for Love”, Robert Owens “Bring Down the Walls” and Ritchie Hawtin’s use of the Roland 606 throughout “Sheet One.” We gave the tune a Californian psychedelic twist with conga laden drums, a moody synth, low pulsing 303 patterns + Benjamin Zephaniahs patois call to “Move the Body Rhythmwize!” The first PCH releases had dropped Worldwide to International acclaim from DJ’s far and wide across the Globe with support in London, Paris & New York. However the local scene here in L.A that preached “Love, inclusion & Unity” was anything but that. L.A at that time was very tribal & divided up into 3 camps. If you weren’t affiliated with any of them (aka independent) then you were pretty much locked out of getting any kind of gig support or the Dj’s from those camps actually playing the music. The local feedback from Dj’s was that what we were making wasn’t “house,” but “Techno” which was absurd to me. “Bring Down the Walls” was a mantra to “move the bod”y and in doing so “bring down the walls” of separation not just in L.A but throughout society in general. Thank goodness for support from people like Terry Francis, Eddie Richards, DJ Deep & Philly Stalwart King Britt. After years of copies going for upward of $100+ on Discogs the now freshly remastered copies by At Jazz’s Martin Iveson are finally hitting the platters this Spring.

Jesse Outlaw “Let it Go” I met Jesse at Beatnonstop Records on Melrose Ave with Miguel Placencia in the late 90’s. Miguel (RIP) was a mainstay in the Underground scene and had always been very supportive of my endeavors. He had had success with a huge release on Yellow Orange and was working with Jesse under the moniker “When Worlds Collide.” I signed “Brighter Days” & “Set you Free” from them and released the tracks on my Seductive imprint. They told me that they were making the tracks on a Sony Playstation “Music Now” program and I was like FFS “What.s more Underground than that!?” Later Jesse gave me some of his solo work. The track “Let it Go” was never mastered & only ever cut to Dub-plate and featured on my 1st PCH mix “Pacific Coast House Sounds.” It has now been mastered by Martin Iveson and is available in all it’s glory. The dreamy vocal “You need to let it go” beckons over the top of driving percussive Latin beats and church organ which is a great compliment to the flip side of “Bring down the Walls.” All in all two West Coast stompers now finally available remastered on PCH in Orange vinyl.

The Venetian Orchestra strikes again, this time with "Señora" on the A side, an extended new take on Victor “Il Pirulli’s” rendition of “Señora”, kept in secret for years, but a track that few lucky ones might have already heard on certain DJ Harvey sets over the last recent years. Skilfully encapsulating the Balearic juices of the original while still giving it a playful full bodied new sound, sitting somewhere in between the categories of a remix and cover version with a newly made instrumentation, pure drama!
B side shifts the listener into a slower gear with a Gypsy Kings downtempo classic “Caminando”, stretching it out into dreamy mediterranean bliss, a chuggy dub atmospheric re-work of a Flamenco love anthem. Limited quantities, buy on sight.

Volcov, the Veronese founder of the Neroli record label, returns to the BBE fold with the third compilation in his majestic series 'From the Archives' and once again this new installment is another collection of overlooked gems and unreleased beauties that are set to entice the discerning listener. As with volumes 1 and 2, 'From the Archives volume 3' features cherry picked songs that focus on melodies and weave a thread between eras and genres. From the Archives volume 3 is a genre free journey into authentic grooves which features music from the enchanted tones of Carlo Nino & Friends, an exclusive from Collettivo Immaginario, uptempo moments from remix kings Kaidi Tatham and DJ Spinna as well as two unreleased songs from Fred P and J2 Fusion feat. Javonttee and DJ Genius. From The Archive 3 represents another accomplished work of love from Volcov aka Enrico Crivellaro, who has a long list of albums and compilations under his belt as well as being involved in productions, edits, releases and projects with artists such as Dego, Theo Parrish, Phil Asher, Gerald Mitchell, Domu, Kaidi Tatham, Kirk Degiorgio, Patrick Gibin, Lars Bartkuhn, Ian O’Brien and many more. From the Archive volume 3 is released as a vinyl double LP and a digital download and is a compilation in which the music lover will be guided hand in hand through a collection of unreleased and hard to find songs that shift effortlessly between jazz and house, broken beat, ambient and soul.

Don’t believe your ears - Pepper’s Ghost is the latest offering from NYC project Nuke Watch.

Whatever you think it is - it is not. By the same token it really can be whatever you want - electronica, jazz, improv, noise, new age, ambient - it’s none and all of these. Like the primitive visual illusion it’s named for - Pepper’s Ghost is a projection of a thing, it’s not the thing.

The Nuke Watch method - like that of Aaron Anderson and Chris Hontos’ other primary project Beat Detectives - leans almost entirely on live improvisation, with some advanced studio alchemy in post. Where the Beat Detectives palette draws from club music tropes, Nuke Watch blends recognizable tones (hand drums, woodwinds, keys, fretless bass) with sounds of providence unknown, the line between organic and synthesized instrumentation unintelligibly smudged. What is real and what is projection? It’s hard to say. What do our ears tell us? This is where we arrive at Pepper’s Ghost.

Warped as the sounds may be, the playing belies a crew of deeply expressive, learned improvisers who have their craft honed. Their friendship and psychic connection enhances the ritualistic rhythms, mutant modular synthesis, nimble keyboard runs, absurdist sampling and unidentified skronk. They’re wonderfully complemented across several tracks on this set by Cole Pulice’s levitational, sublime saxophone.

As unhinged as this might all appear, once the mind and music meet on the same wavelength this is profoundly moving, energizing and uplifting Alive Music that recalibrates the sense of what music can be.

Nuke Watch is Aaron Anderson and Chris Hontos, with an array of friendly guests. They’ve released records as Nuke Watch on The Trilogy Tapes, Commend and Moon Glyph. As Beat Detectives they’ve released records on Not Not Fun, 100% Silk and their own studio imprint NYPD Records.

Pepper's Ghost was written and produced by Aaron Anderson and Chris Hontos. Additional instrumentation on these recordings by Cole Police, Leonard King, Eric Timothy Carlson, Chris Farstad and William Statler. It was mixed by Chris Hontos and mastered by Jack Callahan. Painting on the cover is “The Unity Of Being” (2020), by Ry Fyan. Design and layout by Aaron Anderson.

RIYL - Musical illusions, puzzles and magic tricks, downtempo, music of the spheres, good journey, Eddie Harris, Ketron, "world building", orange sunshine, suspension of disbelief.

GRAMMY-prämierte Rap-Ikone Nas und DJ Premier – zwei der einflussreichsten und angesehensten Persönlichkeiten der Hip-Hop-Geschichte – veröffentlichten ihr mit Spannung erwartetes Kollaborationsalbum „Light-Years“ am 12. Dezember digital über Mass Appeal Nach den limitierten Day Ones Editionen gibt es nun die regulären Editionen mit Artwork, ab 20. Februar 2026.

Nach jahrzehntelanger Vorfreude ist „Light-Years“ die Wiedergeburt einer 30-jährigen Zusammenarbeit. Die Partnerschaft von Nas und DJ Premier ist tief in der DNA des Hip-Hop verwurzelt. Ihre Geschichte begann 1994 mit „Illmatic“, das Hits wie „N.Y. State Of Mind“, „Memory Lane“ und „Represent“ hervorbrachte. „Illmatic“ etablierte Nas als Ausnahmetalent und festigte Premiers damals aufstrebende Karriere. Ihre musikalische Chemie vertiefte sich im Laufe des folgenden Jahrzehnts durch Klassiker wie „I Gave You Power“, „2nd Childhood“, „Nas Is Like“ und „N.Y. State Of Mind Pt. II“.

Angeführt von Mass Appeals bahnbrechender Reihe „Legend Has It…“, die einige der wichtigsten und einflussreichsten Hip-Hop-Künstler aller Zeiten feiert und ins Rampenlicht rückt, präsentierte die Reihe ein ganzes Jahr lang historische Veröffentlichungen von Kultur prägenden Künstlern wie Slick Rick, Raekwon, Ghostface Killah, Mobb Deep, Big L und De La Soul. Mit „Light-Years“ liefern Nas und DJ Premier den krönenden Abschluss dieser legendären Reihe, in der ihre unbestreitbare Synergie nach wie vor einzigartig ist.

2006 zierten Nas und DJ Premier das Cover des Scratch Magazine und kündigten ein gemeinsames Projekt an, das die Begeisterung der Fans erneut entfachte und die zwei Jahrzehnte währende Vorfreude beflügelte. Letztes Jahr taten sich Nas und Premier zusammen, um das 30-jährige Jubiläum von „Illmatic“ mit der Veröffentlichung des neuen Tracks „Define My Name“ zu feiern, mit dem sie erstmals ihr wegweisendes Kollaborationsalbum ankündigten.

„Light-Years“ ist ein wahrer Beweis für den Einfluss beider Künstler, ihr Vermächtnis und die Zeitlosigkeit ihrer gemeinsamen Musik.

Iconic hip-hop duo The High & Mighty, composed of rapper Mr. Eon and producer DJ Mighty Mi, make their long-awaited return with Sound of Market, their first studio album in over twenty years. The release marks a powerful comeback for one of underground hip-hop’s most celebrated duos — a project steeped in nostalgia, boom-bap grit, and the timeless energy of East Coast rap.

Named in honor of Sound of Market Street, the legendary Philadelphia record store that served as a hub for crate diggers, DJs, and hip-hop heads for decades, the album pays homage to the culture that shaped The High & Mighty’s sound and identity. Much like the store itself, the record celebrates deep cuts, rare finds, and the shared love of vinyl that connects generations of hip-hop fans.

Across 17 tracks, Sound of Market revives the duo’s trademark wit and sharp lyricism while showcasing an impressive lineup of collaborators, including Kool Keith, The Alchemist, Your Old Droog, Large Professor, O.C., Chubb Rock, King T, Skillz, and many more. The result is a cohesive, sample-driven experience that bridges the classic and contemporary — reaffirming The High & Mighty’s status as true architects of independent hip-hop.

From the opening anthem “Two Man Crew” and the surreal swagger of “Pinky Tuskadero” with Kool Keith, to the cinematic boom of “Mighty’s Big 5 (Live from The Palestra)”, the record moves effortlessly through sharp lyricism, layered production, and a shared reverence for the foundations of the genre. Sound of Market is both a return and a reminder — a record that feels timeless in its authenticity.

25 years ago, at the turn of the millennium, downtown NYC was spoiled with record stores. In this pre-digital age, vinyl was king for club DJs, and shops such as Downtown 161, Dance Tracks, and Vinyl Mania peppered lower Manhattan, thriving businesses that supported an expanding scene of local and international DJs. Perhaps the largest and most established of these was Satellite Records, an institution of club sounds that also spawned multiple record labels, including the deep-house imprint Central Park Recordings.

At this time, Central Park Recordings and Satellite Records owner Scott Richmond signed a demo in need of a vocal from young British producer Alistair Colling, and enlisted John-Christian Urich to write it, who had just had a massive hit with “I Might Do Something Wrong” the debut Tortured Soul single on Central Park. He in turn brought in Sabina Sciubba of then newly-formed band Brazilian Girls to record the vocal, and with Jon Cutler on remix duties the record was complete. Tortured Soul went on to release numerous deep house classics like “Fall In Love,” “How’s Your Life” and have continued to tour as a groundbreaking live-house act to this day (of which RNT co-founder JKriv was bassist and collaborator for 10 years).

For the 25th anniversary of this turning point release, Razor-N-Tape has rebooted and remastered the original and classic Jon Cutler mixes, which have never been reissued in any format since the original release. RNT also commissioned two new exemplary remixes from DJ Spinna and musclecars, connecting the dots between the deep-house lineage of the past and present. Presented in a gorgeous jacket that calls back to the graphical style of the original Central Park Recordings aesthetic, this 12” is an absolute essential for any lover of soulful club sounds or purveyor of NYC dance music history.

Swiss DJ and composer Dexter Troy has made a name for himself with notable productions on labels such as « King Street Sounds, » « Groove Culture, » and « Mood Funk Records, » alongside iconic artists like Kerri Chandler, Dennis Ferrer, Masters At Work, Satoshi Fumi, and Dimitri From Paris. For over 15 years, he has shared his passion for electronic music in bars, clubs, and festivals in Switzerland and abroad.

His rich and diverse musical universe draws from multiple influences: house, funk, disco, all enhanced with a touch of electro-techno. »

One year after the part 1, « The Double Take part 2 » is coming to put the finishing touches to the project. He’s joined by BAKA G, a talented artist who made a name for herself on the Brussels house scene and distinguished herself with releases on labels such as Happiness Therapy.

In 2016, a year after the 50th entry in the long-running series, none other but the iconic Detroit artist, DJ and producer Moodymann stepped up to helm the next landmark edition of DJ-Kicks, his first ever multi-artist DJ mix compilation. Following !K7's 40 th anniversary, this classic DJ-Kicks mix is now being repressed on coke bottle clear vinyl.
Born Kenny Dixon Jr., Moodymann is a one-of-a-kind electronic music icon, hailing from, and wholly synonymous with the Motor City. He is an outspoken, impossibly charismatic artist who has been putting a distinctive and soulful stamp on house and techno since the early 90s. Melting together jazz, funk, soul, blues and rock in captivating ways, he is responsible for some of electronic music’s most definitive tracks, EPs and LPs on labels like Planet E, Peacefrog and his own KDJ and Mahogani Music imprints. As able to serve up the sweetest and most sensual sounds as he is the darkest and most depraved grooves, his own unique voice and stream of conscious musings infuse expertly sought-out samples for music that is decisively alive and authentic.

Across 75 minutes and 30 tracks, Moodymann does not disappoint: despite being a notorious vinyl fetishist, Dixon’s aim is to present music of quality, not to one-up fellow collectors. Rather than serving up ridiculously rare or hard- to-find records, he instead focuses on creating a libidinous, blues-drenched mood that takes in heart-breaking soul, gorgeous hip-hop and love-fuelled house.

In addition to cuts from his own creative circle, the mix features 11 exclusive Moodymann edits. Like everything Kenny Dixon Jr. touches, his DJ-Kicks showcases the taste, skill, and soul of a dance music original.

Celebrate three decades of dance music history with 30 Years of Klubbhopping – the ultimate Best Of collection from the legendary Dutch DJ/producer team, Klubbheads. Known for their unstoppable beats and countless club anthems, Klubbheads have shaped the sound of global dancefloors with releases under many aliases, including Drunkenmunky, Da Klubb Kings, Itty-Bitty-Boozy-Woozy, DJ Disco and others. This anniversary release unites their most iconic tracks for the very first time, capturing the creativity, energy, and party spirit that defined generations.

From the club to eternity, 30 Years of Klubbhopping is more than a compilation—it’s a celebration of the sound that made the world move.
30 Years of Klubbhopping is available as a limited edition of 1000 individually numbered copies on crystal clear vinyl and includes an insert with track-by-track liner-notes written by the Klubbheads.

ATA Records proudly present the latest release from The Flying Hats, Blender 7” Following the buzz surrounding their debut LP and the soft limited pre-release of Blender, anticipation for this single has been huge - and with good reason.
“I've never heard something so perfectly combine funk and reggae and do it in a way that is dancefloor gold”. - Monkeyboxing.
The Flying Hats - the Leeds quartet responsible for one of the standout albums of the year - return in phenomenal form with two previously unreleased cuts of the highest calibre. Both tracks strike hard somewhere between Kingston and New Orleans, as if The Meters were channelling Jackie Mittoo or Sound Dimension were jamming with Jimmy Smith.
Thick, funky-reggae organ leads the charge with killer breakbeats, bass pressure, and rhythm-section fire designed to light up any dancefloor worth its salt. Both sides are built for selectors, collectors and dance DJs alike.

Redman recently sampled Betty Chung's "Bang Bang" on "LaLaLa" which Canadian edit maestro Jim Sharp adds his magic to on this double sided banger again championed by Japan's 45 King DJ Koco - don't sleep!

Uluru is back with another Dibba production!
Italian dj and producer Dj Dibba open up to different sounds and surprise us with a contagious Uk Garage Remix.
On the flip, the producer from Albano Laziale (known as the italian Kingston) confirm himself as one of the reggae-hip hop raising stars with “Ego Skank”.

Pull up guaranteed!

Pressed on high quality black and transparent red vinyl (48 gr.)
Edition of 250, cut it loud and fat, highly recommended for big sound systems.

MidnightRoba is the solo project of vocalist, songwriter and producer Roba El-Essawy. The voice of Attica Blues (Mo Wax 1997, Sony 2000), Raise A Symphony is MidnightRoba's second solo album. Her first album, Golden Seams, very much rooted in jazz, received support, airplay and features from DJs such as Gilles Peterson (BBC Radio 6), Tony Minvielle and China Moses (Jazz FM), Robert Elms (BBC London Live) and Kevin Le Gendre on J to Z (BBC Radio 3). Single releases from this second album have been played by Gilles Peterson (WorldWideFM & BBC Radio 6), Kate Hutchinson (Soho Radio), Marshmello (NTS), Rob Luis (Tru Thoughts), Kev Beadle, Patrick Steele, DJ Amazon, and more.

'Raise A Symphony' is music of our time. A 15-track electronic offering, it comments on topics ranging from colonialism to complicity of silence; from compromised politicians to the power of protest and gratitude to those on the frontlines of change; from displacement and sea migration to the desire to protect our loved ones and the need for kindness; to have faith in the future and the importance of searching for joy in the meantime. The self-produced album 'Raise A Symphony' sees contributions from Saul Williams, Deschanel Gordon, Michael King and Tony Kofi, amongst others. The album title takes it's name from Martin Luther King's 'I Have A Dream' speech where King calls for the nation to rise to gather together and form a 'beautiful symphony of brotherhood'.

"..in Raise A Symphony, Midnight Roba has transmuted talent into something more powerful, where bridges built from her exquisite, unique harmonies, soaring songs and percussive productions allow competing emotions to co-exist and feed into each other. This album itself is a form of community; voices in unison, reaching outwards and offering restoration and upliftment throughout this remarkable work of love and fury." Emma Warren



a 01: Joy (Reprise) [feat. Deschanel Gordon]

Iconic hip-hop duo The High & Mighty, composed of rapper Mr. Eon and producer DJ Mighty Mi, make their long-awaited return with Sound of Market, their first studio album in over twenty years. The release marks a powerful comeback for one of underground hip-hop’s most celebrated duos — a project steeped in nostalgia, boom-bap grit, and the timeless energy of East Coast rap.

Named in honor of Sound of Market Street, the legendary Philadelphia record store that served as a hub for crate diggers, DJs, and hip-hop heads for decades, the album pays homage to the culture that shaped The High & Mighty’s sound and identity. Much like the store itself, the record celebrates deep cuts, rare finds, and the shared love of vinyl that connects generations of hip-hop fans.

Across 17 tracks, Sound of Market revives the duo’s trademark wit and sharp lyricism while showcasing an impressive lineup of collaborators, including Kool Keith, The Alchemist, Your Old Droog, Large Professor, O.C., Chubb Rock, King T, Skillz, and many more. The result is a cohesive, sample-driven experience that bridges the classic and contemporary — reaffirming The High & Mighty’s status as true architects of independent hip-hop.

From the opening anthem “Two Man Crew” and the surreal swagger of “Pinky Tuskadero” with Kool Keith, to the cinematic boom of “Mighty’s Big 5 (Live from The Palestra)”, the record moves effortlessly through sharp lyricism, layered production, and a shared reverence for the foundations of the genre. Sound of Market is both a return and a reminder — a record that feels timeless in its authenticity.

From 1968 through to the mid 1970’s the reggae beat began to slow down,some say due to the extreme heat hitting down onto Kingston Town and its surrounding enclaves. People needed something less strenuous to dance to. The Ska and Rocksteady Sounds (see 101 Orange Street KS007) that rocked Jamaica previously, had now found a slower tempo and become more ‘Dread’ lyrically to suit the times. Reggae music has always moved within the social climate it found itself in and this set here, as we ‘Return To Orange Street’ was ROOTS ROCK REGGAE TIME....

The Rastafarian message that runs through this collection of ‘Reality’, sometimes labelled ‘Sufferers’ music,is strong and works on many levels. It can come across on a heavy rhythm and vocal cut. Its example represented here by Prince Jazzbo’s ‘Dread in a Earth’ and ‘I Roy’s ‘Roots Man Time’, moving through to the popular new sounds of the DJ’s working over an old rhythm and alongside its existing vocal. As with Busty Brown working with Delroy Wilson's ‘Know Your Friend’ and Mr Jah Stitch working over Johnny Clarke’s ‘Roots Natty Roots’ to produce an even more dreader ‘True Born African’. The heartfelt lyric can also convey this message as we can see when Horace Andy laments ‘Where is the Love’ and Delroy Wilson again shows us on his ‘Who Cares’ cut. The great Twinkle Brothers also put the message across on their two cuts we have here, ’Too Late’ one of their lost classics if ever there was one and the thoughtful ‘It’s Not Who You Know’,being another prime example.

Orange Street itself is always at the heart of all reggae's musical changes and some singers also ride these waves as Mr Cornell Campbell shows us here with two cuts. The mournful ‘Too Be Loved’ and his uplifting ‘Girl of My Dreams’, which uses the same rhythm as our previously mentioned Prince Jazzbo’s 'Dread in a Earth’. Showing us that firstly you can’t keep a good rhythm down and secondly that two if not more great songs can work from the same source point. The light hearted ‘Vengeful’ lyric also worked in this period when artists spared off to each other on records to vent their frustrations. As we can hear here with Mr Lee Perry’s ‘You Funny Boy’. The song snipping back at a previous employer over what he felt were his misdoings to an under appreciated Mr Perry. We have culled these tracks together to show that the Dread Roots feel of the 1970’s came across in many guises and even in earlier songs these sentiments were also prevalent. As represented in Slim Smith’s almost bluesy feel in ‘Trying To Find a Home’, never a truer statement in Kingston's ghetto areas.

Well we hope you enjoy this musical journey and make a connection with messages portrayed here, as Mr Monty Morris points out on his contribution to this collection ‘Times Are Dread’.... Dread indeed.....

Imagine curating a dream lineup of MCs and producers from every corner of the rap world—sounds impossible, right? Not for artist and illustrator Gangster Doodles, who has been bringing this vision to life for the past decade. Now, with “Gangster Music Vol.3”, the trilogy reaches its grand finale, and it’s bigger, bolder, and more unpredictable than ever before. Gangster Doodles himself puts it best: "It’s hard to believe that I’ve been actively working on this Gangster Music series for the past 10 years. The most gangster music trilogy of ALL TIME is almost complete!! And in my humble opinion Vol.3 is the most exciting out of the 3, both from a music standpoint (special shout-out to all my music heroes on Vol.3) and artistically speaking this is the most fun I’ve had in years”

Since launching Volume 1 in 2019 and following up with the second volume in 2022, Gangster Doodles has been shaping the Gangster Music series into a one-of-a-kind sonic universe—an unfiltered mix of underground titans, unsung legends, and rising stars. Volume 3 is the biggest installment yet, boasting a staggering 30 tracks that traverse the entire spectrum of rap and beat culture.

This time around, the lineup is as eclectic as ever. From legendary pioneers like Lee Perry and Tommy Wright III, to veteran producers such as Mr. Scruff and Peanut Butter Wolf, the album pays homage to hip-hop’s roots while pushing forward into fresh territory. The roster also includes established up-and-comers like Devin Morrison, Low Leaf, DJ Harrison, Quelle Chris, Homeboy Sandman, and Suzi Analogue, ensuring a mix of classic flavors and new-school innovation. The bubbling underground is well represented too, with artists like Raz Fresco, Atlanta’s 645AR, and Pro Era’s Chuck Strangers bringing their own distinct heat.

From pioneering SoundCloud rappers like Pouya to genre-bending composer John Carroll Kirby, from Birmingham’s Romderful to Chile’s RVYO, the album encapsulates a truly global soundscape, proving once again that Gangster Doodles’ ear for cutting-edge talent is second to none.

Nie zuvor veröffentlichte Live-Aufnahme aus dem Penthouse Jazz Club in Seattle vom 12. und 19. August 1967 mit dem Pianisten Rahn Burton, dem Bassisten Steve Novosel und dem Schlagzeuger Jimmy Hopps. Diese mitreißende Musik wurde ursprünglich vom Radio-DJ Jim Wilke für den Radiosender KING-FM aufgenommen. Übertragen von den Originalbändern, restauriert und gemastert von Matthew Lutthans im The Mastering Lab. Die limitierte Deluxe-Edition mit 2 CDs enthält ein umfangreiches Booklet mit seltenen Fotos und Liner Notes von Jan Persson, Tom Copi, Rolf Ambor und anderen, neu in Auftrag gegebene Liner Notes der Autoren John Kruth und May Cobb sowie Interviews und Testimonials von Saxophon-Ikonen wie James Carter und Chico Freeman, dem Posaunisten Steve Turre, Dorthaan Kirk, Adam Dorn – Sohn des langjährigen Kirk-Produzenten und -Förderers Joel Dorn – und anderen.

Portraits at the Penthouse: Live in Seattle ist die erste offizielle Veröffentlichung des großartigen Pianisten Bill Evans, aufgenommen live im Penthouse Jazzclub in Seattle, Washington, am 12. und 19. Mai 1966 mit dem Bassisten Eddie Gomez und dem Schlagzeuger Joe Hunt.

Dies ist die achte offizielle Veröffentlichung von Resonance in Zusammenarbeit mit dem Bill Evans Estate und wurde ursprünglich vom Radio-DJ Jim Wilke für den Radiosender KING-FM aufgenommen.

Peach Discs’ last EP of 2025 comes from DJ & producer Leibniz. Hopefully you can hear why we chose to wait till club season is fully upon us to put this one out – "Corridor" is a deeply heads-down, groove-forward record that casts an enveloping atmosphere across its minimal, tunneling arrangements built for dark rooms and long nights.

Across the EP's four tracks, Leibniz (real name Moritz Paul) picks a vibe and runs with it – themes persist, the focus narrows and what we get is something approaching a mood. Drawing inspiration from early 2000s techno records from the likes of Archetype while combining the ambient warmth of Kompakt’s Pop Ambient compilations and GAS releases with the clarity and weight of early dubstep and 2-step, he dived into a process of self-sampling, resampling shorter demos and ideas into full arrangements, or "making in-between tracks that help make the tracks.”

The pair of tracks on the record's A-side are made up of little more than razor-sharp percussion, billowing, restless pads and an infectious bassline, but it's the way these carefully considered elements are put together that do the damage on the floor.

Flip it over and Ten Ten breaks the 4x4 spell for a moment, leaning into a heavily swung, garage-indebted sound inspired by the king of swing himself, El-B. "If my drums resemble just a bit of the ones of El-B, I‘m happy." We reckon he can be happy. Finally, TTL takes us back to the persistent, driving energy of the A-side, with just a hint of hardgroove flavour and the kind of wonked-out fx that always suits the B2 of a record.

2025 Repress

DJ Koze exists both above and beyond club culture as we know it - his albums and remixes flying free from genre and trend - and symbiotically woven into its heart. Yes, he always abstracts and weirds out the principles of house, techno, hip hop, pop, psychedelia, exotica and so forth, but he does that because he understands them. And when it comes to club-demolishing tracks, he understands those principles as well as just about anybody on earth. Thus he could create an enduring club tune like 2015's 'XTC' that is strange, contemplative, even disturbing, bore little relation to anything around at the time, yet still got bodies moving and sweating better than way more obvious techno bangers. And thus the Knock Knock album, which melts a million genres and none into one another, can comfortably include 'Seeing Aliens". 'Seeing Aliens' unquestionably is a banger, its bass riff snaking around your body like a python, its high-drama strings, pianos and outbursts of noise designed for maximum crowd pressure release. But, again, it sounds like nothing else, and its dynamics and twists unfold over eight and a half minutes in ways that will mess with your head every time no matter how many times you hear it. The exclusive b-side track, 'Nein König Nein' ("No King No"!), meanwhile, is slightly gentler on the face of it: it's less about sonic pressure, more about hip-shaking syncopation. But it too tells strange fairytales in its peculiar and brain-tweaking accumulation of detail, and though you'll hear archetypal sounds from the heart of house and disco in it, every last one of them becomes new and otherworldly.

Mia Moretti makes her Crosstown Rebels debut with ‘Safe With Me’, featuring Irma Thomas. The soulful new single, backed by a remix from Sweden’s Tiger Stripes.

Los Angeles-based DJ and producer Mia Moretti heads to Damian Lazarus’ Crosstown Rebels with ‘Safe With Me’, a disco-house celebration featuring New Orleans soul legend Irma Thomas, the Grammy-winning Soul Queen of New Orleans. Co-produced by award-winning producer Mark “Blakkat” Bell, a longtime figure in house and electronic music whose work spans from M People to King Britt, the release marks a full-circle moment for Moretti, who draws on her years of crate digging, gospel house expertise, and deep love for vocal-driven grooves.

‘Safe With Me’ pairs Moretti’s richly textured production with Thomas’ commanding vocal presence, creating a track that balances heartfelt emotion with dancefloor energy. Similar to Moretti's DJ sets, the track blends gospel, disco, and house sensibilities with storytelling. Swedish mainstay Tiger Stripes reinterprets the track with his own forward-thinking production. Known for his house and techno grooves that have energised clubs from Panorama Bar to Ministry of Sound, he injects ‘Safe With Me’ with shimmering synth layers and driving percussion, making it a perfect complement to the original production.Mia Moretti has established herself with vocal and gospel-driven house sets and productions. Her debut EP ‘Tambor’ (2023) marked a confident step as a producer sampling female bullerengue artists from Colombia, including Petrona Martinez and Toto La Momposina, followed by ‘Best I Can’ (2024) alongside gospel icon Vonita White and remixes from house music pioneers. In 2025, Mia has continued to build momentum with appearances from Ibiza to Paris Fashion Week alongside the launch of her Chef’s Kiss radio show on Diplo’s Revolution. ‘Safe With Me’ continues that trajectory, highlighting her instinct for timeless grooves and soulful storytelling.

Verve // Remixed Holiday returns this season with a fresh spin on timeless cheer. Inspired by the beloved 2008 release, this vibrant reimagining of classic holiday tracks from Verve Records’ legendary catalog features five brand new remixes from a cutting-edge lineup of DJs and producers: Ginton, Bolden., Tourist, Two Another, and DARGZ. Their genre-blurring interpretations bring new life to beloved recordings, fusing modern electronic textures and grooves with jazz, soul, and holiday nostalgia.

This release offers a renewed celebration of the season—where vintage vocals meet forward-thinking production. From cozy fireside vibes to festive dance-floor energy, Verve // Remixed Holiday bridges generations of sound and spirit.

Pressed on “Crystal Clear” vinyl, this is a must-have for collectors and a holiday essential you will putting on all year long.

DJ Support: CamelPhat, Blond:ish, Eli & Fur, David Penn, Arielle Free, Bibi Seck Sam Divine

Armada Music and King Street Sounds team up again to celebrate the 20th anniversary of “Most Precious Love” by Blaze presents UDAUFL feat. Barbara Tucker. This release is a timeless classic captivating anyone who encounters it.

This 20th anniversary special includes the Bonafide classic remix by Dennis Ferrer, Michael Gray’s take and two brand new remixes for 2025 all presented in a beautifully designed record sleeve featuring the star herself on the cover.

Kicking things off on the A side is the “DF’s Future 3000 Mix” that has been championed time and time again by DJ’s from across the world. Next up is Michael Gray, a DJ and producer who needs little to no introduction his version breathes new life into the original by taking it down a couple notches and giving it more of a mellow feel. The first of the two brand new remixes is Nico de Andrea, an Afro-house maestro who sports his signature sound once again by bringing his rhythms and melancholic pop melodies presenting the classic in a whole new way. Rounding off is Sam Divine the first lady of Defected who has held residencies at clubs such as Pacha, Amnesia, Sankeys, Ushuaïa, Eden, among others. She sinks her teeth into this remix by building up the vocal into a drop which is sure to keep the dancefloor going for the late nights that need that boost of energy.

Whether this is the first time you’re hearing this anthem or the one hundredth, here’s your chance to own a slice of house music history.

Among the most revered voices in funk, Marva Whitney holds a special place thanks to her fierce energy and unmistakable style on tracks like the classic 'Unwind Yourself,' a long-time favorite for DJs and dance floors alike. Emerging from the dynamic world of the James Brown Revue in the late 1960s--alongside iconic names like Lyn Collins and Vicki Anderson--Marva quickly carved out a name for herself. In 1969, she began recording as a solo artist under James Brown's King label, scoring a Top 20 R&B hit with 'It's My Thing.' While mainstream hits were few, her music resonated deeply with funk lovers and crate diggers around the world. Songs like 'You Got to Have a Job' and the endlessly sampled 'Unwind Yourself' have only grown in stature over the decades. Her album, "It's My Thing", dropped that same year and has since become a touchstone of the genre. Backed by the legendary JB's and produced by James Brown himself--who also contributed to most of the songwriting--the album captures a raw, unapologetic funk sound with a distinctly female voice at the forefront. From the explosive opening of 'It's My Thing'--a bold response to the Isley Brothers' 'It's Your Thing'--Marva channels sheer intensity, backed by a band that doesn't let up. The pace briefly softens with 'If You Love Me,' a soul soaked ballad in the spirit of Otis Redding, before diving back into the rhythmic grit of tracks like 'Unwind Yourself.' Decades later, "It's My Thing" continues to inspire, sampled by producers and treasured by collectors--a powerful snapshot of funk at its most uncompromising. Reissue on 180g vinyl.

Der offizielle Soundtrack zur zweiten Staffel der Sensations-Animationsserie Arcane.
Standard schwarze LP mit dem Megahit „Ma Meilleure Ennemie“ und allen Lieblingssongs aus dem rekordverdächtigen Soundtrack der zweiten Staffel.

2x 180g Vinyl in Widespine Jacket, mit bedruckten Innenhüllen, Einlage und neuem Cover

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.

A new release on the Italian Label Hardcore Classic!

Dillinger one of the most consistently successful DJ’s to come out of the Jamaica, fondly remembered for his massive ‘Cocaine In My Brain’ hit from the great CB200 album and the later reworked ‘Marijuana In My Brain’ which gave Dillinger crossover hits in both England and Europe. But the versatile DJ has many more strings to his bow.

Dillinger (born. Lester Bullocks,1953 Kingston, Jamaica) began his musical venture around 1971, working asa DJ to Sound Systems run by Prince Jackie and El Brasso.1974 saw his first vinyl release in the form of ‘Freshly’ for Producer Yabby U and in 1975 he came with the great ‘Brace A Boy’ for the young Mr Augustus Pablo.But his first album release was through Coxsone Dodd’s Studio One setup, where he let Dillinger fire some vocals over classic Rocksteady rhythms. It took the form of ‘Ready Natty Dreadie’. It was his time at Joseph ‘Jo Jo’ Hookim’s Channel One Studio that produced his second album set(a crossover release and fore mentioned) the timeless 1976 classic ‘CB 200’. It contained three big singles in ‘Plantation Heights’, ‘Cocaine In My Brain’ and ‘Crank Face’. The reworked ‘ Marijuana In My Brain’ even became a No 1 hit in Holland in 1979.

We have taken our set of tunes from his classic 70’s period when Mr Dillinger could do no wrong.Alongside the big ‘Cocaine’ and ‘Marijuana’ hits the great opening track ‘Love Is All I Bring’ sees him working over Alton Ellis ‘Still In Love With You’ which Itself turned into ‘3 Piece Suite’. ‘Money Alone Is Not All’ where he works over Barry Brown’s ‘Mr Money Man’, ‘Hear and Deaf’ working over Johnny Clarke’s ‘Nobodies Business’. ‘King Pharaoh Was A Baldhead’ has him working Frankie Jone’s ‘ Jesse Black’ cut. ‘Concubine’ reworks the Mighty Diamond’s ‘Mother Winney’ and ‘Time So Hard’ sees Dillinger telling it like it is over Ronnie Davis’ original ‘ Time So Hard’ cut, empathizing the points in fine style.

A classic set of tunes all ‘Killer No Filler’ from the master of rhyme himself we hope you agree…..

The Mighty Diamonds are one of the most famous vocal groups to come out of the Jamaican Reggae scene.
Their perfect harmonies ride over the wholesome and Garveyite influenced lyrics to such great effect that they will always evoke memories of that time and place, but also like all great music never seems to date.

The Mighty Diamonds consist of Donald ‘Tappy’ Shaw (lead vocals) Fitzroy ‘Bunny’ Simpson and Lloyd ‘Judge’ Ferguson providing those fantastic harmonies.
They began their recording career working with producers Stranger Cole and Rupie Edwards but found their breakthrough success with producer Joseph ‘Joe Joe’ Hookim at the legendary Channel One Studios recording ‘Hey Girl’ and covering two foreign tunes namely ‘Country Living’ (The Stylistics) and ‘Stoned Out of Mind’ (The Chi-lites) which suited their vocal styles perfectly.

The vocal group also cut tracks with other famous producers of the time Joe Gibbs ,Gussie Clarke and Mr.Tappa Zukie of which we focus this release on.On listening, these tunes work perfectly with harmonies weaving together and lifting the songs to another level.
The group also leave some room for a history lesson in the shape of ‘Morgan the Pirate’ and the thought provoking ‘Do You Want to Spend Your Time Wasting Time’.
Well waste no more and enjoy this set by one of Jamaica’s finest vocal groups….

King Street Sounds return for the fifth sampler in the series. This release showcases four releases from six house music aficionados such as Mood II Swing, DJ Romain, Jon Cutler, Studio Apartment, Quentin Harris and Pal Joey under his Loop Trick guise.

The EP opens with New York duo Mood II Swing’s “Driving Me Crazy” originally released in 1995 and still sounds as good now, 30 years later. Up next is DJ Romain & Jon Cutler with De Ja Vu (Mr.V Roots Main Mix) featuring Jeannie Hopper delivering a mesmerizing vocal. This one’s built for those dim lit rooms.

Kicking things off on the B side is “Beat Freak” (The Shelter Dub) by Loop Trick (otherwise known as Pal Joey). An already outstanding record got a distinguished touch up from New York house legends Blaze.

Drawing this wonderful EP to a close is Studio Apartment featuring Terrance Downs with “We Are Lonely” (Quentin Harris Vocal Mix). The NYC legend adds his deft touch to the Japanese duo’s soulful offering.

Once more King Street Sounds have delivered a powerful EP that any respected collectors & DJ need in their collection.

If any album could conjure up the revolutionary spirit of Jamaica in the mid 1970’s, Tapper Zukie’s invincible M.P.L.A. set would surely be a fighting contender. The coming together of great rhythms and meaningful lyrics in a time of unrest in the country seemed to have made the album all the more urgent and relevant. As time would tell it would also prove to be a lasting success, not only with the hard core reggae fans but also their punk counterparts. Who embraced its militant themes and crossed the album over to a whole new audience. Tapper Zukie (b. David Sinclair, Kingston, Jamaica.) had already returned from a trip to London England by the mid 70’s .Initially sent with help from his parents, brother Blackbeard and producer Bunny ‘Striker’ Lee to remove the youth from his troublesome ways on the streets of Kingston, Jamaica. He had performed some live shows in London and made some recordings for Larry Lawrence, that produced his debut ‘Jump and Twist’. Alongside other recordings that would emerge as his ‘Man A Warrior’ set. But feeling homesick he had returned to Jamaica in 1974 to work with Bunny Lee. His work would consist of arranging sessions and collecting payments to bodyguard, the now very successful producer. His frustration of Bunny Lee’s reluctance to record him led him cutting ‘Judge I Oh Lord’ for producer Lloydie Slim. Bunny Lee’s then recording of Tapper’s ’Natty Dread Don’t Cry’ and its subsequent release aboard, led to an altercation between Tapper and producer. The police had to be called and an offer to provide the singer with a set of rhythms put this matter to rest. The eight rhythms and a further two from Jo Jo Hookim and Ossie Hibbert alongside some free studio time at King Tubby’s Studio would result in the M.P.L.A album.

The rhythm provided by Jo Jo Hookim was a Channel One studio cut by The Revolutionaires based on Little Richards ‘Freedom Blues’ and provided the backdrop to M.P.L.A. The Ossie Hibbert rhythm again cut at Channel One based on The Royals ‘Pick Up The Rockers’ would provide the backdrop to Tapper’s ‘Pick Up The Rockers’. These and the remaining Bunny Lee rhythms, were all cut in a one hour session, at King Tubby’s Studio. ’Don’t Get Crazy’ cut on a rhythm based on the Joe Frazier rhythm to Tony Brevett’s ‘Don’t Get Weary’. ‘Go De Natty’ cut on Cornell Campbell’s ‘Please Be True’, originally a cut to Alexander Henry’s ‘Please Be True’. ‘Stop The Gun Shooting’ runs over Horace Andy’s ‘Skylarking’.’Ital Pot’ cut on Johnny Clarke’s version of Burning Spear’s ‘Creation Rebel. ‘Marcus’ see’s Tapper professing over Johnny Clarke’s ‘Poor Marcus’ .’Chalice To Chalice’ pulls on Johnny Clarke’s ‘Give Me a Love’,’ Don’t Deal With Babylon’ answers Junior Ross and The Spears ‘Babylon Fall’ and ‘Freedom’ rides on the great rhythm of Junior Ross and The Spears ‘Liberty’. An outstanding album cut by one of Jamaica’s finest DJ’s and producers the mighty Tapper Zukie. We hope you enjoy this now timeless set.

Valencia-based band Wau y Los Arrrghs!!! is made up of five punk rock hooligans as raw and real as chaos itself _ led by one of the wildest frontmen around, Juanito Wau. Yes, there's garage rock here, no doubt _ but you'll also find blasts of punk, rock 'n' roll, pop, and even a splash of surf. This joint release with Slovenly Records brings back two anthemic tracks from Spain's undisputed kings of garage punk! Originally produced by Jorge Explosion over a decade ago, "Copa, raya, paliza" and "Es un buen día" are guaranteed party-starters no garage DJ should be without. Pressed on neon pink vinyl.

Colleen ‘Cosmo’ Murphy presents ‘Balearic Breakfast’ Volume 4
Heavenly Recordings, limited edition 9 track double 12” vinyl

Released 29th August 2025
“There are curators, and then there's Colleen 'Cosmo' Murphy.” Resident Advisor

The sun has finally come out. It’s the first time something like this has happened for months and months; the first glow of an approaching summer, whatever date the calendar is currently saying it is. The whole thing acts as a curative meditation, miraculously wiping away all the greyness of the past few months. Right now, optimism abounds, outlooks change and your daily soundtrack has shifted from spiky and uptight into a kind of cosmic space where songs ebb and flow and drift on like rivers run on forever towards the glimmering sea. Bliss, right?

If you’re reading this, we’re assuming that you’re the kind of person who views summer as a state of mind rather than a good looking day on the BBC Weather app. With that in mind, we reckon you already know all about Heavenly Recordings’ series of untouchable, utterly essential Balearic Breakfast compilations, each one lovingly compiled by visionary DJ, producer and broadcaster Colleen ‘Cosmo’ Murphy - the genius club legend whose radio show of the same name (broadcast 10am to high noon every Tuesday via Mixcloud) began as an escape route from the pandemic before rapidly building a global community of dedicated Balearican listeners.

Each Balearic Breakfast album has provided a spiritual getaway from the greyness of the everyday through a handpicked selection of glorious, psychedelically coloured, expansive music. It doesn’t matter where on the planet the music hails from, or when it was made, it just matters that it fits like a jigsaw piece into the musical whole. Be it off world jazz music or vocoder led robo-disco music; whether decades old or pressed to vinyl for the first time, everything on these flawless Balearic Breakfast collections just needs to flow together and bring the listener into the sunshine, whatever time of year they’re listening.

Due for release this August, the fourth Balearic Breakfast compilation sees Cosmo take this head trip further than ever before. From the opening track’s swoop and glide that nods to Vangelis’ Blade Runner soundtrack before gliding into it’s own expansive voyage to the stars (Kandeen Love Song) to Cosmo’s own glorious Parisienne stroll through Saint Etienne’s recent Alone Together to Ilya Santana’s Spanish space disco anthem Cosmovision - a track that rolls through like a turbo powered Supernature - and the phenomenal 2015 disco version of Gloria Ann Taylor’s early ’70s classic Love Is A Hurtin’ Thing, this Balearic Breakfast offers the perfect soundtrack to the summer, whether it’s actually happening outside or just taking place in your head. After all, they don’t call breakfast the most important meal of the day for nothing.

Hot on the heels of 12bit Jungle Out There's 'Right Mind' EP, Foundations Records brings you the hotly anticipated follow-up from rising star Arkyn on 'The Spirit EP' Drawing influence from classic '93 era jungle techno on the likes of Basement Records, it's perhaps his most accomplished work to date in his first foray into all hardware production. Arkyn is a UK based DJ and Producer. His production is influenced from a wide range of music he grew up listening to including Reggae, Dub, Soul, Techno and Funk to name a few. After discovering rave music through the underground party scene in Northampton, he began to cut his teeth DJing and has since gone on to play at some of the most established Jungle/Hardcore events in the country including Distant Planet, The Rave Story and Calling The Hardcore among others. He also recently debuted at Fabric for Motive Hunter Audio's takeover. Arkyn has released on FFF's 3am Eternal, Billy Daniel Bunter's Music Mondays and Motive Hunter Audio to name a few. He also runs his own label TufStuf Records. FOUNDATIONS002 - Arkyn - The Spirit EP Four tracks of Hardcore Jungle Techno and 4x4 made with Akai S3000 XL sampler, Roland 909, Roland JV 1080, Korg 01/W FD and Roland D50.

King Street Sounds are back again with their fourth installment in the King Street Sounds Sampler Series. This release unearths four classics from house music heroes such as DJ Romain, Mike Delgado, Dennis Ferrer, 95 North, Sabrynaah Pope and Louie Vega.

The EP kicks off with DJ Romain’s “All Day, All Night”. Originally released on “Nite Grooves” in 1996, a perfect example of New York house with a memorable vocal sure to keep you hooked hopefully all day and all night.

Next up is Mike Delgado with “Get Ready”. This track is a certified dancefloor filler, with those fast hitting highs and catchy keys. It is definitely a secret weapon that any DJ should use in case of an emergency.

Flipping over to the B side, Dennis Ferrer is returning once again in this series with “Dem People Go (DF's Kicked Out Mix)” Featuring Bola Belo. This Tribal House classic emulates being in the sun for the listeners, effortlessly bringing that block-party vibe.

Rounding off the EP is 95 North featuring Sabrynaah Pope with “Hold On” (Louie’s MAW Club). An already great track by its lonesome, but with house music icon Louie Vega’s magical touch it makes it a must have for any DJ who wants to get the dancefloor bumping.

King Street sounds have done it again! All killer and no filler.