Buscar:mo mo

Two great 45s with an early R'n'B / carnival vibe. Recorded in New York in 1953 but this is real New Orleans music.

9 REMIXES OF THE SECOND ALBUM "REASON" TRACKS FOR THE 1ST TIME EVER ON VINYL.

Jaxx Madicine is a jazz-funk inspired house-ish outfit from Milan consisting of Turbojazz (Local Talk, GAMM Records), Parker Madicine (Heist, Bastard Jazz Brooklyn, CT-HI Records) and the talented jazz keyboardist 'Veez_0'.

With an organic and melodic sound collage you can hear influences from classic 70's jazz funk labels and artists like CTI, Mizell Brothers, Kudu and Bob James but also the current sounds of Kaidi Tatham, Byron The Aquarius and Harvey Sutherland.

After their debut EP 'Montreux' they are now ready to drop their full album 'Distant Classic' where the Jaxx crew exit planet earth and treat us to a space music odyssey that is full of surprises.
During the journey they deliver house, jazz, fusion, boogie and jazzy beats from a highly melodic keyboard perspective.
All tracks are made with a genuine love for analogue synthesizers, fender Rhodes, clavinets and some soulful MPC programming.

'Distant Classic' is an album that can be enjoyed both in the club and at home, but we hope you will enjoy their melodic sounds on any platform. Just press go and enjoy the trip...

Translated from Spanish as 'The Shade', Chip Wickham's debut album La Sombra drops after a 25-year career touring, recording and experimenting across three decades of jazz, funk, soul, hip-hop, Latin and electronica. La Sombra is a monumental record for Chip as it symbolises the moment he stepped out into the light as a director of his creations with freedom to explore his roots, express and tell his version of jazz and pay testament to his heroes Roland Kirk, Yuseef Lateef & Harold McNair.

Now living in Dubai after an intense and productive six years in Madrid, it was Manchester where Chip studied in the late '80s and became enmeshed in the chaotic and thrilling music scenes emanating from one of the world's most culturally prominent cities of the time. Recording and generally 'keeping things real' with Manchester's hip-hop collective Grand Central Records, Rae & Christian, The Pharcyde, Fingathing, Nightmares on Wax, Graham Massey (808 State), Chip was in a city that was undergoing a music revolution with the Haçienda as its temple. Yet it was the headlights of the M62 motorway and not the strobe lights that were lighting Chip's path during his student years ('88-'92). The lure of the jazz and funk clubs of Leeds, where The New Mastersounds were breaking out and building the blocks that would lead them to UK funk royalty status, proved too strong.

In the 1990s Chip continued to refine his craft in the rainy city and the gigs booked were growing in stature. It wasn't long before he was on the road with Roy Ayers and Badly Drawn Boy. Around that time Chip met up with trumpeter Matthew Halsall that was the beginning of a friendship that lasts to this day. Chip was a recording artist on Matthew Halsall's breakout album Sending My Love and continues to work with him, with live dates confirmed in spring 2017. This close connection with Halsall gave rise to other collaborations, such as with Nat Birchall and Go Go Penguin's Rob Turner.

Three decades after his late night excursions to Leeds, Chip found himself recording with Eddie Roberts from The New Mastersounds in Madrid, as part of their new band, The Fire Eaters, which he'd formed soon after he moved to sunny Spain in 2007 - the same year he released the Fried Samba album under his moniker Malena, his electronic Latin band that became a hit at the turn of the century for Freestyle Records. During his time in Spain he connected with the local scene and brought together many of his musicians colleagues from the UK to Spain and it was for a local and well established label, Lovemonk, that he released two 45s blending raw funk and Latin. These new roads and musical leanings led to an invitation to play for the prestigious Craig Charles Fantasy Funk Band. Based on a poll from Craig Charles' top rated BBC6 radio show, Chip was chosen to play alongside the cream of the UK funk & soul scene: James Taylor (JTQ), Snowboy, The Haggis Horns (Mark Ronson), John Turrell (Smooth & Turrell), and Mick Talbot (The Style Council).

La Sombra takes an altogether more rooted direction than Chip's recent collaborative work, with the jazz of the late '60s and early '70s a dominating influence to the recordings. Comprising of seven tracks recorded in Madrid with musicians assembled by Chip from Madrid's jazz scene, it combines contemplative explorations akin to Yusef Lateef's early work on tracks like 'La Sombra' and 'Pushed Too Far'. There's a fiery cover of Camarón de la Isla's classic 'La Leyenda Del Tiempo' and tracks like 'Sling Shot' and 'Red Planet' are locked in a groove harking back to Freddie Hubbard's Blue Note era and Luv N Haight's Nathan Davis.

The Sound Of Young Jamaica - More Early Cuts From The Vaults Of Studio One 1959-63

This is the second collection to bring together many of the visionary producer Clement 'Sir Coxsone' Dodd's early recordings made with Jamaica's most exciting young artists and musicians who helped define the world of reggae music over the decades following Jamaican Independence. These recordings were made when Sir Coxsone ruled the dancehalls of Kingston in the late 1950s and early 1960s with his number one Downbeat Sound System, where songs were tested out on dub plates at a dance to see a crowd's reaction - the most popular of which were then released commercially. Featuring early material by Roland Alphonso, Don Drummond, Tommy McCook (all of whom would form The Skatalites), Toots and The Maytals, young singers such as Bob Marley and The Wailers, Delroy Wilson, Owen Gray all captured in their formative days. The music here spans a wealth of styles - Jamaican rhythm and blues, jazz, gospel, proto-ska, Rastafarian - all of which were drawn upon to create the future sounds of Jamaican reggae that Sir Coxsone and the artists featured would soon create at Studio One which opened its doors in 1963. This collection is released on heavyweight triple-vinyl plus download code and double CD with slipcase. Sleevenotes and text is by the author Noel Hawks.

vinyl Edition of "The Best" pressed across 4 x 12"s with a poster - Omar S' newest album simply reflects the singer, songwriter/producer's brilliant career- always vogue, forever moving forward, yet transcending trend to find its place among the classics. The 11 selections gracing album, produced by Omar S is just what you never expect from a modern entertainment LEGEND!!!!

Incl Dapayk, Pol_on, Sroczynski Rmxs

Big Strick and Generation Next follow up their highly successful CD album " Like Father Like Son" with a vinyl double album. It features 7 songs from the album along with a bonus track from Generation Next. With vocals tracks featuring Don Q and Tony Coates, Next and Strick bring us flavor and funk. ' The Ride' features Tony Coates, bringing lyrics for the soul. Along with the warm vocals is a warm bass and moving percussion. 'Ypree' is the bonus track produced by Generation Next. It is a mellow, hard hitting underground track. Hard drums and loud claps. Reverbed high hats and repeating congas.

»Single #Two« offers another bite-sized portion of Muslimgauze. This one almost falls into traditional »A-side/B-side« territory, with side A containing a single buzzy, frenetic track just over 3 minutes in length. Densely looped percussion, vocal sample, and fuzzy keyboards meld together into a blurry rush.

The side B is longer, more chill, and less immediate; still utilizing the same ingredients but here spaced out, with the sampled singing only coming to prominence a few minutes in. If the first might provoke a twitch response, the second seems calibrated more for head-nodding.

Mannequin Records presents a special release that bridges two generations of electronic body music: DAF’s iconic track “El Que” reimagined by French techno and EBM pioneer Terence Fixmer.

A lifelong admirer of DAF, Fixmer has been playing El Que in his DJ sets for years, considering it one of the band’s most enduring and powerful pieces. His connection to the track and to DAF’s groundbreaking legacy is the core inspiration behind these two new remixes, created with both reverence and bold creative vision.

On the “El Que (Terence Fixmer Leather Remix)”, Fixmer remains close to the original’s raw, muscular pulse while injecting a sharp, modern club sensibility. The remix builds on DAF’s unmistakable rhythmics but adds a contemporary momentum that feels like a natural extension of the band’s DNA. “It was like imagining what I would do if I were a member of DAF today,” Fixmer says.

The second version, “El Que (Terence Fixmer Drive Remix)”, ventures deeper into Fixmer’s own territory: darker, hypnotic, and peak-time focused. Tension and release are crafted with surgical precision, taking the original’s spirit into a harder-edged, suspense-driven sound world. It’s a version built for late-night floors without ever losing the soul of El Que.

Fixmer explains:
“I’ve been playing DAF’s El Que in many of my DJ sets for years. It’s a track I deeply loved from the first listen. I’m super proud to have remixed DAF — one of my cult bands and a major influence on my sound and electronic universe. For the "Leather Remix", I wanted to stay close to the original while bringing modernity and club momentum. For the "Drive Remix", I pushed the track toward darker, peak-time and hypnotic techno, keeping the soul of the original intact. I wanted to make versions that make you think: ‘I know this track… but wait — what is this version? I want it!’ When I tested them, that’s exactly what happened.”

DAF remains one of the most influential bands in electronic music history. These new remixes by Terence Fixmer reinforce the timeless power of El Que while offering two striking, club-ready perspectives for a new generation of listeners.

Cititrax release Sand Clock, the new full-length album by Men With Secrets, the Italian trio of Donato Dozzy, Lino Monaco, and Nicola Buono (Retina.it). Originally emerging from a shared background in experimental techno under the name Le Officine Di Efesto, the three musicians turned toward classic post-punk, minimal wave, and synth-driven pop with the formation of Men With Secrets. Their debut album Psycho Romance (2020), released on Bunker Records, introduced a meticulously produced body of work that felt like a rediscovered European darkwave recording from the early 1980s—yet was entirely contemporary in its construction.

With Sand Clock, the trio deepen this language. The album leans more directly into the melodic clarity and romantic tension of late-80s and early-90s darkwave and synthpop while maintaining the stark restraint that defines the project. Icy synthesizers, shuddering basslines, and precise drum machine programming frame baritone vocals that are intimate, emotionally exposed, and quietly apocalyptic.

Balancing pop structure with gothic atmosphere, Sand Clock moves between shadowed dance floor momentum and solitary headphone introspection. It is not an exercise in revivalism, but a continuation—an acknowledgment that the emotional architecture of that era remains unresolved and still relevant. Written and produced by Donato Dozzy, Lino Monaco, and Nicola Buono and recorded in Rome and Pompeii.

The vinyl edition is pressed on clear 160-gram vinyl, limited to 500 copies worldwide. Each record is housed in a heavy printed jacket with a printed inner sleeve.

Not all music can cope with physical reality. Instruments can be pushed until they lose grip. Eventually, they will slip so far that their untethered voice is all that remains. Panoram follows up on his Pianosequenza series engaging in seventeen excursions into playing the part of the piano that doesn't exist, coaxing out inarticulate feelings in lieu of familiar characteristics. Sounds and rhythms resulting from thoughts that can't be put into quite the right words.

George Faith comes together with the maestro Lee ‘Scratch’ Perry to present

• I’ve Got The Groove
• Midnight Hour
• Diana
• To Be A Lover

Scratch’s most soulful production during the Black Ark years.

Barrington Levy's 3rd LP for Jah Life, another killer selection from the fruitful works of the Wright/Lawes/Levy axis. From the golden era of the Radics at Channel 1, mixed by Scientist at Tubby's, 10 tracks, great all the way thru. Finally available again, this was only repressed once before in the late 1990's, other than its original release in the early '80s. Featuring iconic cover art by the late NYC legend Jamaal Pete and pressed from the original mothers, identical to the original press.

French duo Froid Dub keeps twisting its slow-motion dub DNA and hits hard with the release of Positive and Natural on Delodio— instant classic that grabs you from the very first spin with its “minimal maximal” drive. Hypnotic and raw, this eight-track manifesto glides across the holy trinity: 808, 303 and tape delays—colliding true-school dub synths, club culture and experimental twists. A masterclass of a record that flaunts its roots and stays deeply personal. Froid Dub once again proves its singular talent for pumping up a dance floor at an average of 85 BPM.

There’s this feeling that House Music is sometimes diluted into a pleasant, non-offensive and conformist formula. Well, Jackie Gritness - you may have heard of her big bro Gary - is bringin’ all the sweat, the attitude and the filth down - take it or leave it.

Jackie introduces herself from both sides on this well-strapped debut 12” - the slick swingin’ & sangin’
on the bass-heavy A side, and the raw clave trax and cunty snarls of the acid-laced B side.

No trace of over-production or tired sampling here: this is just Jackie, her mic and her lil’ groovebox -
gettin’ raw in the studio just like she does onstage. Only thing added is some wall-shaking mastering by New York OG Dietrich Schoenemann.

This is the kinda House that’s supposed to make regular folks wanna turn it off. This ain’t rated E for Everyone, it’s rated F for Freaks.

It’s music from the underground, for the underground - as it was first revealed on the runway of Glastonbury’s infamous NYC Downlow last summer.

And if that’s more than you can take - it’s alright. It’s not like Jackie will hold it against you.

Jackie Gritness
“Gary’s little sister.” His studio session resume reads like a House music who’s who - from David Morales to Fred P. He’s also been rockin’ clubs with the Playin’ 4 The City and MLIU crews - but she’s also been seen on Gideon’s fierce Homo-Centric Records. See, this bitch’s true feelings about House are stripped-down, bare-bones, and unapologetically sexual. With a radical ‘live’ attitude, she’s serving the realness with an irresistibly acidic zing.

"Neulust," the latest EP from Neuzeitliche Bodenbeläge, introduces listeners to the talents of Joshua Gottmanns and Niklas Wandt. Wandt's captivating voice invokes a sense of nostalgia, reminiscent of the era when Thorsten Fenslau was active, infusing tracks with poetic recitations. Wandt's drumming harmonizes perfectly with Gottmanns' warm chords and captivating melodies. Together, they debuted on Zurich's Lustpoderosa label with "Neulust," aiming to redefine their musical connection. Their presence in the central European underground scene has been marked by releases on Themes for Great Cities or Bureau B, accompanied by their vintage German Wave sound and lively performances. Regular touring has been part of their journey. "Neulust," recorded with minimal intervention, delves into themes of love, estrangement, and consumerism, blending haunting electro, deep house, NDW, and Euro Dance Elements. The EP signifies a significant stylistic shift and stands as the band's most compelling offering yet in their ongoing musical evolution.

Despite its tragic breakup, Yugoslavia as a political, social and cultural phenomenon still inspires generations, especially those who were born or lived at the time of this utopian land of South Slavs. Those who didn’t enjoy the privilege are still amazed by its 1970s and ’80s music scene and the number of very modern, high quality acts that were so often ahead of their time. Two such acts were Data and The Master Scratch Band, both founded by Zoran Jevtic and Zoran Vracevic, who introduced synth-pop, breakbeat, and hip-hop music in Yugoslavia in 1984 with their releases: SP Neka Ti Se Dese Prave Stvari/Ne Zovi To Ljubavlju and miniLP Deogut (Jugoton). Our latest release, “It Was Ridiculous, It Was Amazing!” gathers their earliest unreleased material from 1981-1983, showcasing a broader range of genres – alongside synth-pop and breakbeat/hip-hop, they also experimented with industrial, EBM, minimal synth, and electro-funk!

The whole record is divided into two parts: on A side there are 7 previously unpublished songs by group DATA, and on B side there are 4 previously unreleased recordings by The Master Scratch Band.

The Data side opens with two unexpected “shocker” tracks: Ja Nisam Kao Ti” (eng. I am Not Like You) and “Izumi” (eng. “Inventions”) from 1981, where they sound like early Deutsch-Amerikanische Freundschaft with unusual vocal pan sound effects on Serbian lyrics and uncompromising synth-based sound. Equally unpredictable are the next two songs: atmospheric “España” and dusty “Damage In My Head,” where Zoran Jevtić boldly steps into the lead vocal role. But the surprises don’t end there. The next two songs, France and Strahovi (eng. “Fears”), bring a mysterious and nostalgic atmosphere, elevated by the irreplaceable sound of the modular Roland System-100M. At the end comes the greatest surprise of all: Data covers YMO-Ballet in a song called Ne Zelim Da Tako Zive (eng, I Don’t Want Them Living Like That) and puts some extra energy in rhythm without losing the original song’s sensibility. Like in the original, the lyrics are tender and yet mysterious and provocative.

The Master Scratch Band side contains the very first versions of the songs Break War, Jailbreak, and Computer Break, originally recorded in studio Druga Maca in Belgrade in 1983. These versions were not released on their mini-LP album Dégout (Jugoton, 1984), and they are actually the first ever hip-hop/Breakbeat recordings in Yugoslavia. With great enthusiasm, every sound was uniquely crafted from scratch using the finest analog gear available in the early ’80s. The two young artists, aiming for international success, chose to write their lyrics in English. The album’s final track, “Mad Scratch,” showcases their talent for creating impressive sound effects, which would be a delight for contemporary DJs and producers who specialize in sampling and scratching old-school hip-hop.

This release is truly a “100% digger’s gem” – 11 previously unreleased tracks from legendary pioneers of electronic, hip-hop, and breakbeat. A collection to discover, enjoy, play, and treasure forever!

Twoosty Mayonez is a duo consisting of Bartosz Wolert (drums) and Kornel Karolak (synthesizers), creating post-jazz music and is considered to be part of the new Polish wave of this genre. The album is a continuation of the story begun in 2123, when Captain Harrison Focus, as a result of an emergency landing of his rocket, lands on the unknown planet Carmin. This story was described and released by U Know Me Records and this is how the (universe) world learned about Twoosty Mayonez. Their latest album is a story about what happens on the surface of the mysterious planet Carmin. This time, the main character of the album is Triceradiplodocus. The songs show changes in mood and atmosphere. The music is full of energy, harmony and emotions that reflect the diversity of the world the hero goes through.

All compositions were created on a weekend in September 2023, as a result of the duo's collective improvisation. The recordings were made at the Twoosty Room studio in Warsaw by the band's drummer.

The album features guest appearances by: Alicja Sobstyl (flute), Ola Szmidt (vocals), Wojtek Mazolewski (double bass), Olaf Węgier (sax). The cover was designed by Dominika Kiszkiel, and the mix and mastering was done by Maciek Goliński (Envee). The album, released in LP and digital formats by U JAZZ ME Records, is scheduled for January 9, 2025.

Repress!

Kirk Degiorgio’s influence on electronic music cannot be overstated, having been responsible for producing some of the most emotive and soulful machine music dating right back to the early 90’s. As a leading figure in UK techno his As One, Elegy and Future/Past output on labels such as B12, R&S and his own Applied Rhythmic Technology (A.R.T.) have rightly become revered classics and helped shape ambient techno and what would come to be known as IDM/Future Electronica. His connection with Cyphon co-founder Jamie Odell also dates back to the turn of the millennium when Kirk invited Jamie to play keys on his 21st Century Soul LP released on Ubiquity and subsequently releasing an EP together under the name Super Aloof on Exceptional.

The Buddha Bar collection is the one of the most emblematic electronic compilation series with over several million copies sold over the years. Discover the 27th Buddha-Bar Compilation, Mixed by DJ Ravin. Immerse yourself in the captivating and unique world of Buddha-Bar with this new « haute couture » selection. This latest edition, masterfully mixed by the iconic DJ Ravin, takes listeners on a mesmerizing sonic journey, blending sophisticated electronic beats, worldwide sounds, and deep chill and house vibes. More than just an album, it’s an immersive experience perfect for setting the mood at any gathering or accompanying moments of pure relaxation. With a legacy of globally acclaimed compilations, the Buddha-Bar series has already captivated millions, creating a lifestyle phenomenon like no other. Available on March 28th, Buddha-Bar XXVII is a must-have for fans of lounge and electro music. Give your customers the chance to escape into this musical adventure

Don’t rolls into its 25th year of releasing records with this insane 5 track 12” “Swagger Portraits” from one of the most interesting Techno producers out there. L/F/D/M

This is his second outing on the label and as always the message is raucous and confrontational Techno and Acid that penetrates right to the core of what Don’t is all about

To put it simply, he’s an ‘ideas man’ and his tracks are always different, always exciting and always a nice contrast/middle finger up, to the sanitised sample pack culture that seems to be rife in Techno at the moment.

Also included is an edit of ‘We Know’ by label boss Jerome Hill.

Gravity Pleasure's inaugural release is a rippling compilation of womxn, trans, and non-binary artists and
collaborators that invites listeners into an aqueous paraworld of fluid resistance and sonic kinship. Across 21 tracks from the likes of Yetsuby, Flora Yin Wong, Felisha Ledesma, Ursula Sereghy, tibslc, and more, Water Bodies spans a post-genre miasma of ethereal mermaid music, cathartic flows, and glistening sibilants. Inspired by a poetic prompt from Lou Croff Blake, each track is an exquisite message in a bottle of deep diving emotionality. Pulling from a wide range of musical perspectives – field recording, lovesick ballads, shimmering downtempo, post-party comedown, and percolating ambient – the compilation contains multitudes yet maintains deep sentimental coherence. Like a wave crashing in slow motion, each artist sonifies possible ways of being, insisting on the porous, the interdependent, and the deep and unruly. Water Bodies reminds us that home is a body made of water, to which we all belong.


Credits Curated by Ashlynn White & Madelyn Byrd
Artwork by Dre Roelandt
Layout by Madelyn Byrd Mastered by Estle
Distributed by Rubadub
Published by Gravity Pleasure ❊ GP01 ❊ 2025

A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back’s ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann’s curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. Alongside a continuous mix, this release arrives as a 3LP gatefold, and as a limited edition cassette.

Closely associated with Berlin’s techno landscape, Dettmann was born and raised in the former GDR, then later immersed in the bleary-eyed counter cultural landscape of post-unification Berlin. Initially oriented by post-punk, industrial and new-wave music, Dettmann has been DJing since 1993, always expanding and perfecting his repertoire. He later began working behind the counter at the city’s tastemaking rave boutique Hard Wax, and a decade after he first dropped a needle, became (and remains) resident at notable local nightspot Berghain/Panorama Bar, where his instincts have helped sculpt the signature sound of both main dancefloors.

Of course, you’re probably not asking, “Who is Marcel Dettmann?” More importantly, you might want to know; just what treats has he gifted us here? The trip begins with a simple pitch-shift skywards, transforming Identified Patient’s creeping ‘The Female Medical College of Pennsylvania’ into a peak-time freakout, before an alternate take on Toctronic’s ‘Bis uns das Licht vertreibt’ emerges from the vaults for the first time. Dating from 1995, and one of Dettmann’s all-time favourites, Cristian Vogel’s ‘Untitled’ clambers back into the box with respectable cuts, while John Bender’s ‘Victims of A Victimless Crime’ kicks off the flip sporting a new arrangement, transporting us back to the foundations of a confident, stripped-back sound.

A few subtle edits to Clark’s perilously funky ‘Dirty Pixie’ takes us to Dettmann’s remix of Junior Boys. Produced in 2010, it transposes the Canadian duo’s sophisticated pop with our curator in his minimal prime, and has since become an irresistible prize for high-minded diggers. The same can be said for Experimental Products’ explosive proto-electro anthem ‘Who Is Kip Jones?’, empowered from pricey Discogs purgatory with just the slightest of tweaks. It’s deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance’s raw ‘The Human Factor’ and a shimmering new version of previous solo production ‘Water’, featuring close friend and Ostgut Ton ally, Ryan Elliot.

The second half of the Mastermix seamlessly connects the mechanical past and digital present of EBM and industrial in the dance, with Dettmann’s instincts as a guiding hand. Severed Heads’ iconic ‘We Have Come To Bless This House’ emerges with mere nips and tucks, while Nitzer Ebb’s ‘Shame’ is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of ‘Limbo’ from Swiss synth heroes, Yello.

Core musical memories are shaken and stirred with a context-shifting take on Frank Duval’s emotional classic ‘Ogon’, while Ian North’s ‘Sex Lust You’ and Ford Proco’s notable Coil collaboration ‘Expansion Naranja’ effectively throb with only minor adjustments, respectfully imagined as “shadow versions”. Meanwhile, a simple breakbeat lifts Albert Kuningas’s ‘Astraalprojektio’ in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby’s ‘Season of The Real’ inexplicably emerges somehow even funkier than before.

The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann, but only as he puts it, “in conversation with the original.” Concluding three discs and thirty years of commitment to the dancefloor, this Mastermix not only offers us the opportunity to eavesdrop on this endless exchange, but to gain some sought-after material for our own record collections.

Peki Momés took hearts and ears by storm with her first 45 (Göç Mevsimi b/w Rüya) last autumn. Her dope outernational grooves and fresh singing style made it as far as Iggy Pop's show on BBC. Time for another double-sided single!

Yıldız is a Turkish cover of the beloved Marcos Valle tune Estrelar. Staying true to the spirit of the original, this version draws its energy from the bright stars, dreaming of meeting the stars up in the sky alongside the sun and moon. The production has been meticulously crafted, blending key elements of the original instrumentation with Peki Momés' distinct vocals in Turkish language.

Bahar is a psychedelic disco groove about longing for sunny days — both literally and metaphorically. It captures the exhaustion of waiting for brighter days in our homelands, our world, and our inner selves. As Peki Momés puts it, the wait for spring can be so long, it even wears down our pullovers. This track mirrors the duality of our reality and invites the audience to dance during this wait.

But rest assured - it's still the same excellent band from Ruda ?l?ska, only this time instead of a forest full of ghosts or a land of fairy tale creatures like a Fruwajacy Przestepca the duo of producers takes us on an interstellar journey!

The artists' third album, just titled KOSMOBOTANIKA, is an over forty-minute work skillfully composed from a multitude of various samples, and genre-wise presenting the sounds of deep house, trip-hop, breakbeat, ambient and even jazz. This is electronic music with a very cinematic, visual and imaginative character, something at which ETNOBOTANIKA has undoubtedly achieved mastery confirmed by their first two very well-received albums. This cinematic style (electronic concept album?) is reminiscent of the classic albums of the genre's progenitors from the UK like The Orb (first releases) or The KLF (the iconic "Chillout" album), but also the French Motorbass.

The Silesian duo does it their own way, of course, with a local twist. Thus, in the cosmic journey our guides will be in-sampled familiar voices from Polish television, cinema, radio and dusty vinyls (yes - samples from Mr. Kleks in Space had to be on the album, of course :) ).
There is no shortage of atmosphere-building instrumental fragments here, but also quite song-like tracks with catchy melodies and vocals. Fans of the band will certainly be satisfied.

What is there to say - ETNOBOTANIKA has created another classic, which simply must be on the shelf :) Trust them and let yourself be taken on a cosmic journey - satisfaction guaranteed!

Ian Pooley brings back his timeless classic "Higgledy Piggledy!" with a fresh reissue on his own label, PooledMusic. Following this year's re-release of his landmark 2000 album "Since Then.", it marks the beginning of a dedicated series revisiting key moments from his catalogue. A true collector's item and dancefloor weapon, freshly pressed for a new generation of house lovers.

Armed with just a laptop, Rico Puestel produced these tracks at beloved places around the world to capture the magic of the moment on-site!

Limited Edition of 1,000 Hand-Numbered Units on Ruby Red Vinyl. Includes never heard before audio and lyrics printed on heavy board inner sleeves!

40 years later - and still no one does it like this. We’re celebrating the unstoppable legacy of one of hip-hop’s most iconic collaborations: Doug E. Fresh and Mc Ricky D (now globally known as Slick Rick) “La Di Da Di" along with the pop dance tune "The Show."

From its very first breath, this track reshaped sound, style, and storytelling — a cultural moment that became a timeless movement. Decades on, its influence is everywhere: sampled, quoted, reimagined — but never duplicated. “La Di Da Di”and “The Show” didn’t just belong to an era — they created one.

To mark this monumental anniversary, the Hip-Hop legends decided to drop a limited 12” 40th Anniversary Edition. The release features the original versions of “La Di Da Di” and “The Show” - plus a rare demo of "The Show" as well as an unreleased street version of "La-Di-Da-Di" recorded live from The Lincoln Projects in Harlem NY) that take you deeper into the sound that started it all with the Get Fresh Crew.

Even in these most turbulent of times, dub musician and fatigued onlooker Elijah Minnelli remains an inexplicable stalwart on the lower rungs of the Breadminster County Council.

His latest record ‘Clams As A Main Meal’ continues his astute siphoning of council funds, this time with help from the Breadminster Board of Abstinence. As a further mark of respect, the original head of the Board, Dr. K'houldoux, graces the cover art in his infamous ‘Looming Moon of Desire’ guise.*

As fine a backdrop as any for Minneli’s off-brand dub experiments, and ‘Clams...’ is the truest representation of his varied wheelhouse yet...

We find vocal appearances from dub goliath Dennis Bovell and Welsh-language singer Carwyn Ellis. A pair of tracks which build on 2024’s acclaimed ‘Perpetual Musket’, a collection of folk songs reworked alongside reggae vocalists, released by FatCat Records. It garnered glowing reviews, with nods from The Guardian and The Quietus concluding with prominent appearances on their respective yearly round-up lists.

Elsewhere, the album finds Minnelli in a more experimental mode, all wheezing contraptions and cockeyed bass, creaking with the weight of creation, a satisfying tactility laid seam-side up.

As well as ‘Perpetual Musket’, the new album follows years of sold out 7" singles, handmade and self-released. Online, the tracks have amassed global streams numbering in the millions. His tracks have found play across an eclectic range of radio mixes and dance floors, most notably the likes of Andrew Weatherall, Batu, Optimo and Zakia Sewell (BBC6Music).

It is perhaps worth mentioning that this everbuilding interest in his work is at great odds with the growing suspicions amongst his fellow townsfolk, who see his Breadminster County Council Music Initiative as nothing more than an empty cash-grab.

Further Reading on the Breadminster Board of Abstinence

In the late 70s, Breadminster was awash with the last vestiges of the hippy era. Though the flared silhouette of the lower leg remained, the utopian ideals that had once flowed merrily around the youth's shaded ankles had begun to wane. LSD and free love had led to a sharp spike in population and a generation of children raised by air-headed psychonauts unprepared for the bleary-eyed strictures of parenthood.

Aware of the crisis, the County Council entrusted Dr. Paulinque K'houldoux to spearhead a pushback, and it was his pro-abstinence movement - a mixture of education initiatives and radical renutrition campaigns - that came to impact Breadminster's census deep into the new millennium.

Being a pseudo-archipelago Breadminster has fundamentally limited resources, however deep-seated ties to distant coastal villages meant that oysters were a regular part of the local diet. K'houldoux pinpointed this as a factor in the town's overpopulation, and believed that simply replacing these with clams (a “lesser mollusk”) would help lower the erotic urges of the people. It was his “anti-aphrodesia” movement that first championed the idea of “Clams As A Main Meal,” and the slogan “Consider Abstinence” carried the message yet further.

The Breadminster Board of Abstinence soon became involved in all cultural happenings in the area, with K'houldoux MCing at prominent festivals and performances, sometimes dressed as the “Looming Moon of Desire” - an idea of his relating to the tide, seafood, menstrual cycles, and his privately held celestial predilections.

It was in 1981 that it was revealed Dr. K'houldoux had never fully qualified as a doctor and was seeking exile in Breadminster due to a series of botched bracelet heists in which he had previously been involved. K'houldoux was subsequently extradited to Basingstoke, where he served 3 of a 12-year sentence, owing to the lunar-oriented prisoner health campaigns he helped implement.

It has been a strange twist of bureaucratic fate that the Breadminster Board of Abstinence has never stopped receiving public funding, despite its lack of clear utility. And while its roots are tied to a rose-tinted past, the Board continues to sponsor cultural events and projects to this day.

An extract from: Eugeniq Schooner's article in Sydney Parishioner: “Clams, Breadminster and Countercultural Abstinence Trends” (2008)

DJ SNEAK returns with 4 more cuts from his personal collection of reworks. Volume 2 focuses squarely on club ready hip-hop songs from the 90s/2000s. Classics from BIGGIE, FLO RIDA, and THREE SIX MAFIA get chopped and twisted with a dash of SNEAKS special blend of herbs and spices.

This vinyl edition of Repairing the Clock delivers five hard-edged cuts: four remixes by Thomas P. Heckmann, Umwelt, Legowelt, and Crystal Geometry, plus a raw original. Driven by analog grit and human tension, each track pushes the project into darker, heavier territory.

Already backed by Dave Clarke, Marcel Dettmann, Ben Sims, Terence Fixmer and more..

For his new full-length on Second End Records, Lyon-based artist Jonnnah turns deeply inward. Conceived as a form of therapy, as much as a reflection and a testimony, the record retraces a process of introspection and confrontation with one’s own history, looking back at origins, DNA, and the invisible ties that connect us to our ancestors, while opening paths toward new connections.

The double-sided structure of the album makes this journey tangible. The first side lingers in uncertainty : opaque atmospheres, fragmented rhythms, and restless textures mirror the doubts, questions, and fragile states of self-analysis. The second side, in contrast, embraces clarity and resolution, dense yet luminous soundscapes where reconciliation and acceptance take shape, culminating in The Blue Comet, a piece charged with finality and revelation.

Opening with the multipart suite N-zero, symbolizing the beginning of therapy, and closing with O-one, evoking the soul’s original purity, the record traces a complete emotional and spiritual cycle. Between them, the third edition of Insomnia Never Ends once again portrays the struggle between sleep and the irresistible pull of musical distraction, a fragile tension that runs through the album as a whole.

The record condenses Jonnnah’s language into something rawer and more direct. Layers of dub and dub sonic resonate against ethereal ambient passages, while techno impulses maintain tension and forward motion. Each piece feels at once intimate and expansive, designed as much for solitary listening as for collective experience.

A new chapter in Jonnnah’s trajectory, the album is a document of transformation : from shadow to light, from questioning to acceptance.

Emotional Response presents the first of 2 EPs by Laura Sparrow aka LNS, the Calgary raised, Berlin based producer and DJ with 8 acid-tinged cuts that are equally expansive and inspiring, personal and inventive.

After her debut Malinge Range (cassette) on fellow native Canadian 1080p label in 2016, LNS moved to Berlin and has released a steady stream of 12”s, exploring ambient, dub, electro and techno. Initially appearing on Vancouver émigré’s Jayda G’s (alongside Fett Burger) Freakout Cult label before settling at DJ Sotofett’s cult WANIA label and more recently on the legendary and ‘original’ German techno label, Tresor.

A love of the Roland TR-303, alongside deep diving into breakbeat creation, manipulation, mutation and production, plus some intrepid mixing and post-production assistance, development and support with DJ Sofofett, have led to a collection of some of her favourite music to date.

LNS-ID 1 and LNS ID 2 are the result. Recorded during a burst of creativity through dedication, new studio equipment and learning techniques, as well the necessity of artistic expression in the moment.

Two sets of four tracks based on the acid tradition in the more restless corners of 90s and early 00s Braindance. Acid lines drive the melodies, while drums move between sliced break fragments and the familiar sounds of the Rolant TR-606 and TR-808.

Pads drift in with a warm glow or at times, quiet ghostly tension. The results are music that leans towards atmosphere and memory, something almost nostalgic that was built for those of us who still chase the more expressive edges of acid.

There’s no mystery to this one, it’s another phat Krash Slaughta 45 remix – in this case of a Wu-Tang Clan classic to follow recent cheeky versions of Guru and MF DOOM on 7″. You may remember the original Da Mystery Of Chessboxin’ as an archetypal RZA production characterised by clashing sword samples and a skeletal piano motif with the grit coming from the ‘Clan’s vox and the crunch of the boom-bap drums. KS’s remix is utterly different – as we’ve come to expect – and sees him provide a beat that matches the energy of the original vocals rather than provide a counterpoint to them. Out go (most of) the swords and keys and in come guitars and furious scratching. Side B’s the radio edit, the A’s the ‘Full Phat’ version, cop it in black or yellow wax and remember – in the front, in the back, Killa Beez on attack!

Back by popular demand, the limited-edition repress of one of Joe Claussell's most cherished compositions has returned. Originally released in 1999 and created in collaboration with Afro-dance innovator Jephte Guillaume and the late music legend Boyd Jarvis, Agora É Seu Tempo first appeared on the Trip do Brazil compilation in France. It was later issued as a highly sought-after promotional 12" on Spiritual Life Music-quickly becoming a defining release in the rise of Brazilian-influenced dance music from the late '90s onward.
In 2018, Joe Claussell revisited the piece, crafting two entirely new versions inspired by the musical spirit of New York City's barrios. Released as a limited 7", these remixes sold out within weeks. Now, answering the overwhelming demand, we're pleased to announce a new limited repress of this timeless and deeply soulful classic. Warm music for the heart and soul.