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When The Information Centre first dropped on the pirate radio airwaves in the ealry 90's, there was nothing like it. It was at the birth of Jungle, and the track was a slow but immense classic, spreading accross the UK from its London Roots to become one of the most influential tracks in jungle's long and storied history.
Here we have the original version of the track, masterfully remastered and sounding absolutely gorgeous, plus two brand new and heavy hitting remixes, both of which are being played by the likes of Ray Keith, Nookie, and many others...BIG new remixes for 2025....

Recorded in 1970 with a host of young blues and rock musicians, Blue Memphis is recognized as one of the best dates released by fellow blues artists in that era. On this album, the famous American blues pianist, singer, and composer Memphis Slim (John Peter Chatman) is backed by several British musicians, including Chris Spedding, John Paul Jones, Duster Bennett, and Peter Green.

'A Senegalese Griot singer, an Amsterdam improviser and a Puerto Rican jazz drummer find each other on an open playground, a stage built for improvisation, an old cinema now used for minute made story telling.
'Equipped with an m'bira, a xalam, a drum kit, a voice, percussion, house hold tools and an electric clavichord on 220 volt, they sit down and take off: Wrrrrrraaang!
'Singer and percussionist Mola Sylla is in many ways a musical explorer. Born and raised in Dakar, Senegal, he grew up in the tradition of the griots. Griots play conveying stories – sometimes decorated with music, theater and dance – which all play an important role in West African culture. His rhythm and melodic compositions differ from the western agreed schedules and provide surprising twists.
'Puerto Rican drummer Frank Rosaly has been involved in the improvised and experimental music scenes since 2001 when he became an integral part of Chicago's musical fabric, navigating a fine line between the vibrant improvised music, experimental, rock and jazz communities.
'Oscar Jan Hoogland is the sound of Amsterdam in person. He is an instant composer and inventor of his own instrument by joining a clavichord, a keyboard instrument from the 17th century, to 220 Volt electricity. As the last student of the late pianist, composer and improvisor Misha Mengelberg he tears like a tornado through the Amsterdam jazz and impro scene.
'Together they are Mother Tongue.'

2026 Repress

On Explorations 03, Sam Goku continues his journey into deep, left-field club music, delivering four tracks that drift between dubby house and finely tuned electronica. Warm basslines, spacious rhythms and subtle melodic details form the foundation, while his unmistakable Sam Goku twist adds an emotional, exploratory edge throughout. Designed for late-night floors as well as introspective listening, Explorations 03 captures a fluid, forward-thinking sound that feels both grounded and otherworldly—another refined chapter in Sam Goku’s evolving sonic universe on Permanent Vacation.

Coil T-Shirt Dots
Collaboration with Ateliers Dénudés.
One white with black print, the other black with also black print (really good).
To play and wear in the dark.

Shipping is available for presale orders only.

Available sizes: S/M/L/XL/XXL

Coil T-Shirt Dots
Collaboration with Ateliers Dénudés.
One white with black print, the other black with also black print (really good).
To play and wear in the dark.

Shipping is available for presale orders only.

Available sizes: S/M/L/XL/XXL

Coil T-Shirt Dots
Collaboration with Ateliers Dénudés.
One white with black print, the other black with also black print (really good).
To play and wear in the dark.

Shipping is available for presale orders only.

Available sizes: S/M/L/XL/XXL

Coil T-Shirt Dots
Collaboration with Ateliers Dénudés.
One white with black print, the other black with also black print (really good).
To play and wear in the dark.

Shipping is available for presale orders only.

Available sizes: S/M/L/XL/XXL

Coil T-Shirt Dots
Collaboration with Ateliers Dénudés.
One white with black print, the other black with also black print (really good).
To play and wear in the dark.

Shipping is available for presale orders only.

Available sizes: S/M/L/XL/XXL

It is with much pride we present the seventh record on our in-house Palace Trax
label produced by none other than Troy Anderson aka Cityboy.
Troy is known amongst the discerning techno collector for his boundary-pushing 90s
releases on US label, 1200 Music and in recent times under his DFD moniker on
labels such as Down Low and We’re Going Deep.

Impeccable production and musicality is evident across the record. Tight percussion,
searing synth leads and well-tempered acid lines meld together into rolling techno
and electro. Each track ebbs and flows through moments of hypnotising rhythm and
pockets of bliss.

Troy got in contact with us off the back of PT006 (Joe DeWaal) and with Joe having
been inspired by Troy’s music while making the record, it seemed a synchronicity we
couldn’t ignore. We’ve all big fans of Troy’s music and thus the wheels were set in
motion for the seventh instalment on Palace Trax.

A note from Troy:
‘So the name "Cityboy" is actually a slang term used here in Texas by someone that
lives out in the country that makes fun of someone that lives in the city. These
country folk often say things like "Listen here cityboy, you might have been born at
night, but not last night" or something stupid shit like that. It's an inside joke
between me and Gerard Hansen). Since you are going with the Cityboy moniker we
should make use of that saying.’

Wabi-Sabi Records embraces imperfection, incompleteness, and the ephemeral essence of sound. The third chapter of the Ensō Series, “まだ夏、どこか - Still summer, somewhere“ is s soundtrack to an everlasting dusk, blending Balearic warmth with the misty glow of dream house. It drifts with the nostalgia of summer's end, while holding onto the hope that summer never really fades away. After all, beneath some other sky, it is still summer.

Hit the North is a DJs’ movement
Not a label. Not a revival. A discipline.

Over the years, the collective travelled across multiple states in the US and parts of the UK, digging deep into private collections, basements, garages, storage rooms and forgotten boxes.

They weren’t looking for classics.
They weren’t looking for hits.
They were looking for attempts.

Artists chasing something bigger than themselves.
Trying to sound like Motown.
Trying to sound like Detroit.
Trying to sound like the records that saved them.

Many of them dreamed — at best — of becoming a one hit wonder.
Most never got that far.

Some never crossed a state line.
Some never crossed the street at the end of their block.
Some never played outside their hometown.
Some never played at all.

What they left behind were fragments.

Raw versions.
Unfinished recordings.
Alternate takes.
Rejected mixes.
Test pressings.
Acetates passed quietly from hand to hand.

Sometimes with real credits.
Sometimes with fake ones.
Sometimes with handwritten labels leading nowhere.
Titles that didn’t match the music.
Stories that changed every time you asked.

Often, the trail simply disappeared.

What remained was intention.

Energy.
Urgency.
Hope pressed into sound.

So the collective worked on it.

They edited certain parts.
Extended others.
Cut what didn’t serve the floor.

Not to modernise.
Not to rewrite history.
But to unlock the power that was already there.

The result sounds like Northern Soul pushed to its breaking point.
Fast. Physical. Emotional.
Built for movement.

Some circulated privately.
Others were never pressed at all.

Recorded in personal studios, borrowed studios, friends’ rooms, temporary spaces.
Always outside the system.

This is not nostalgia.
This is unfinished business.

he all-time house music legend Roger Sanchez drops his brand new studio album ‘Spectrum’ - his first in twenty years. Previewed by three high-energy bangers - ‘Grinnin’ (with Fedde LeGrand), ‘Come My Way’ and ‘Temptation’ (with Low Steppa, featuring Ragdoll) - the record features the new focus track ‘How Do We Say Goodbye’, a collab with Karen Harding.

The globally celebrated and Grammy-winning DJ, producer and label head has been working on the album for years, much of it during his time in Shoreditch which has informed its euphoric UK summer sonic influences. But its diverse tracks reflect a spectrum of sounds, from pulsating club tracks to dancefloor fillers, through to more emotional moments and atmospheric elements. Lyrically it’s also the result of translating his personal experiences into song.

Roger says, “I’ve been working on this for the past six years, so it’s definitely a labour of love. During that time I got the chance to travel around the world and work with some amazing vocalists and songwriters to help me bring this project to life. I’ve got flavours from the UK, Spain, the US - all of this is part of the spectrum for. This project is about music and frequencies and light: so everything from the light to the soulful to the club-ready infrared, the emotionally-weighted ultraviolet. That’s what ‘Spectrum’ is all about for me.”

The new focus track ‘How Do We Say Goodbye’ was created with the topline extraordinaire and always in-demand collaborator Karen Harding, whose all-star credits include work with MNEK, Armand Van Helden, Rudimental, Wilkinson and many more. It’s a massive highlight of the album, with Karen’s soaring vocal class bringing both an irresistible hook and a touching sense of nostalgia, while Roger’s dynamic production ascends from a trance-like ambience into an electrifying drop.

Beyond the singles, ‘Spectrum’ also features a diverse array of other talents spanning multiple genres and nationalities. These include Melanic C, Kele Le Roc, Chico Castillo, Kelli-Leigh, Carnao Beats, Donae’O and more. It’s a guestlist which lives up to the anticipation for the record.

‘SPECTRUM’ is available as a special 3LP limited-edition pressed on red transparent vinyl.

Another haul of hard hitting house gems from Duster Valentine’s debut album pressed to vinyl for the first time.

A love note to formative years in the ‘80s and early ‘90s, off his chops at The Haçienda and other legendary Manchester clubs, it’s a masterclass in demonstrating the flavours-within-a-theme that emerged from the Chi, 313, and NYC during that pivotal era, and would light the touch paper of a UK club revolution.

In Duster Valentine’s hands the sound is presented stripped to salient fundamentals, prizing the sound before it went commercial, ranging from sampler-knuckling garage-house stabbers thru haughty canter and plushest, pendulous grooves. He homes in hard on that point when hip hop and electro gave way to house in the Todd Terry-via-Pal Joey style jam »Getting’ Dub«, and gives a big salute to Chez N Trent’s rugged, chord-riding haughtiness via Levon Vincent in »Hit Me From Behind«.

»Strobelight Honnies« leans into the sound’s deepest ends with perfectly weighted bassline, cold drums and sublime string tension dubbed with hypnotic elegance, where »The KatG Chord« follows with shimmers of Anthony Shakir via Michael J Blood. Suffice it to say they’re all perlers and bang on the £ if you know what’s good.

TAR-LP6
- Casual Treatment -
5 Hours Later LP
TH Tar Hallow

Designed and timed to loop and overlap. All the hours did not follow a straight path. All the events fold in on themselves. And 5 hours later they still form an unbroken line, but every edge is touching the others.

Welcome to THE VAULT for 1985. A collection that digs deeper into the year’s musical landscape – uncovering singles that may not have always reached the highest chart positions but remain essential to the rich and diverse pop story of 1985. Some were overshadowed at the time, some were highlights from albums that had already sold huge amounts, some found greater success internationally – but all deserve their place in this continued celebration of 80s pop.

45 tracks across 3-LPs – pressed in gorgeous green vinyl – NOW Yearbook – The Vault: 1985.

LP1 opens with a trio of tracks from huge-selling albums:- Bruce Springsteen’s ‘My Hometown’, the sixth single in the UK from ‘Born in the U.S.A’ - one of the best-selling albums of the decade, followed by Bryan Ferry with the stunning ‘Windswept’ from ‘Boys And Girls’ and Sting’s ‘Love Is The Seventh Wave’, taken from his solo debut ‘The Dream Of The Blue Turtles’. Next up, Go West with a U.S single release ‘Eye To Eye’, Scritti Politti with ‘Perfect Way’ – their biggest hit in America, and ABC with ‘Be Near Me’. The first side closes with two established bands; Heaven 17 and Orchestral Manoeuvres In The Dark… Flip the LP over for Adam Ant with ‘Vive Le Rock’, Midge Ure, Blancmange and the second collaboration between Philip Oakey & Giorgio Moroder with ‘Good-Bye Bad Times’. The Style Council’s ‘Welcome To Milton Keynes’ leads to LP1’s closer’s from Simply Red and Fine Young Cannibals who followed their debut ‘Johnny Come Home’ with ‘Blue’.

LP2 opens with Cocteau Twins and the dream-pop atmospherics of ‘Aikea-Guinea’, ahead of The Jesus And Mary Chain with ‘Just Like Honey’, and The Dream Academy with ‘The Love Parade’.

Brilliant with their cover of James Brown’s ‘It’s A Man’s Man’s Man’s World’ and jazz-influenced pop from Matt Bianco are up next ahead of the sublime ‘Castles In The Air’ from The Colourfield and Elvis Costello & The Attractions, who released the 1979 track ‘Green Shirt’ to promote their ‘Best Of’ collection … and the side closes with The Clash’s ‘This Is England’ which would become their last originally released hit…whilst on the other side…celebrate the dancefloor, with a vibrant mix of Hi-NRG, soul, electro and club-influenced pop:- Opening with Sheryl Lee Ralph’s ‘In The Evening’ and Barbara Pennington’s equally superb ‘On A Crowded Street’, the hi-energy continues with Miquel Brown and Hazell Dean ahead of a US hit from Laura Branigan (‘Spanish Eddie’) and Divine’s cover of ‘Twistin’ The Night Away’. LP2 finishes with a massive U.S. dancefloor smash for Eddie Murphy with ‘Party All The Time’.

The final LP kicks off with a bunch of singles that achieved bigger hit status in the US than here and opens with Billy Joel’s ‘You’re Only Human (Second Wind)’, a track written exclusively for his ‘Greatest Hits – Volume I & II’ compilation, ahead of pop-rock from John Mellencamp plus an anthemic smash from Bon Jovi. Pat Benatar’s ‘Invincible’ features ahead of The Power Station’s third US Top 40 hit…whilst back in the UK Chris Rea enjoyed his biggest chart hit to date with ‘Stainsby Girls’ and the side is completed by Marillion with ‘Heart Of Lothian’ the third hit from their huge ‘Misplaced Childhood’ album… Flip to the final side for the stellar vocals on ‘Act Of War’, the huge collaboration between Elton John & Millie Jackson ahead of dancefloor smash ‘New Attitude’ from Patti Labelle and ‘Show Some Respect’ a U.S. single from Tina Turner. Sophisticated pop-R&B from Michael McDonald and Daryl Hall & John Oates come ahead of the collection’s closers- and two outstanding vocal performances: Chaka Khan’s ‘Through The Fire’ and the U.S. breakthrough hit from Whitney Houston with ‘You Give Good Love’ – signalling the arrival of one of the decade’s brightest new stars.

NOW Yearbook – The Vault: 1985 – A deeper dive into an unforgettable year in pop.

Originally released by Time Capsule in 2021 and long out of print, Stories From Another Time 1982-1988 returns in an upgraded edition following years of demand and rising collector prices on the secondhand market. Widely regarded as a modern cult classic, Mário Rui Silva’s visionary recordings blend acoustic folk, cinematic soul, spiritual jazz and saudade-filled Lusophone rhythm into a deeply timeless and universal work that transcends genre and geography.

This new edition features half-speed mastering cut at Metropolis alongside an expanded 4-page insert with a tribute essay and unseen photographs following Silva’s passing in 2024.

Double LP + 4-page insert

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The roots of Angolan popular music explored in the meticulous guitar studies of Mário Rui Silva. For fans of Naná Vasconcelos, John Hassell’s Fourth World ambient, Eduardo Mateo’s psychedelic folk and Cameroonian electronic music visionary Francis Bebey.

Whether on mesmerising acoustic ballads or hypnotic groove-led tracks, the music of Angolan guitarist, researcher and intellectual Mário Rui Silva has a beguiling, melancholy quality, woven into the dynamics of his deft guitar playing.Rhythmically complex yet supremely effortless, the music collected here stems from three albums Mário released in Luanda in the 1980s that reflect his diverse range of influences, from traditional Angolan and West African rhythms to European jazz and classical instrumentation. It is united by a sense of low-key beauty, whether on the chugging opener ‘Kazum-zum-zum’, the jazz-funk keys of ‘Lembrança Dum Velho’, or the twinkling, late-night poly-rhythms of ‘Kizomba Kya Kisanji’.

Born in Luanda, Angola in 1953, Mário dedicated his life to Angolan popular music. His fifty-year career has seen him live between Angola and Europe, rub shoulders with Cameroonian musicians Francis Bebey and Ewanjé, record the seminal album Angola ’72 with fellow Angolan musician Bonga, and draw influence from Brazilian guitarist Baden Powell.

It was the teaching of Angolan legend and Ngola Ritmos co-founder Liceu Vieira Dias that Mário gained a technical, political and spiritual understanding of Angolan musical culture. In the hands of Liceu, the traditional Angolan semba and kazukuta rhythms of the 1940s and ‘50s helped create an emancipatory sense of national pride and collective agency that awakened its listeners to the racism and tyranny of colonial rule, underpinning the country’s push for independence in the process.

What might sound like the intonations of Brazilian influence are what Mário attributes to the “African rhythms taken by the slaves which gave rise to other musical cultures” around the globe. Instead, this music emerged from a collective instinct to assert a cosmopolitan Angolan identity free from the patronising falsehoods of Lusotropicalism.

“There was a need within me to contribute in doing new things,” Mário describes. “In the sense of solidifying the music of Angola that was the result of the meeting of two cultures, and wanting to value the Angolan part whenever possible.”A selection from Mário’s three 1980s albums, Sung’Ali (1982), Tunapenda Afrika (1985) and Koizas dum Outru Tempu (1988) have been compiled here as a 2xLP release by Time Capsule’s Sam Jacob and Kay Suzuki. Together, they provide a snapshot of one man’s journey to the core of his nation’s music, charged with the search for a culture uprooted by colonialism

Welcome back to a time when Bulletin Board Systems were the social media, it was too dark for influencers, hardware predated plugins, and a home studio was a cumbersome necessity in the absence of ghost producers.

The vinyl-only Kilotoni series returns with another faceless batch of radioactive techno from the previously unreleased tape archives.

A1 The classic acid techno anthem formula is utilized in its purest form for prime time main floor use. Steady build-ups keep the tension going in what is otherwise a simplistic live recording style performance.

A2 Compressed-to-death hard techno and a detuned lead that could have come straight out of late-90s Sweden. A rare cheeky vocal snippet from an old Trax record and submarine sonar pulses provide some relief from the pressure.

B1 Melancholic but funky acid house for warming up the dance floor in your local club basement. A bouncing bassline and flanging chords meet for the sweetest treat.

B2 Cruiserweight ghetto techno meets dubby, modulating chords — perhaps unexpectedly. The last sweat of the morning hours.

Following the release of the digital single, Berlin-based groove collective The Ruffcats and Chicago soul singer Doug Shorts return with a strictly limited 7-inch vinyl edition of “I Ain’t Worried” , pairing the original retro-soul cut with an exclusive remix by none other than Erobique. The original version is a timeless slice of analog soul: laid-back yet confident, driven by a deep pocket rhythm section, warm horn arrangements, and Doug Shorts’ unmistakably smooth, Chicago-rooted vocal delivery. Written by The Ruffcats and Doug Shorts, the song carries a quiet message of resilience and inner calm, echoing the spirit of classic late-’60s and early-’70s soul without ever slipping into pastiche. On the flip side, Erobique brings his unmistakable touch to the track: playful, groove-heavy, and full of character. Known for his ability to bridge deep musicality with infectious dancefloor energy, the Hamburg-based producer reimagines “I Ain’t Worried” as a loose, funk-infused roller, retaining the song’s soulful heart while nudging it firmly toward late-night dancefloors and sweaty club rooms.

Originally created in the wider context of the charitable Soul Rabbi – Shine On project, “I Ain’t Worried” has since taken on a life of its own. This 7-inch release celebrates that journey, honoring the song’s roots in community and friendship while expanding its reach through a fresh, club-ready reinterpretation. Pressed on classic 7-inch vinyl, this release is aimed squarely at soul lovers, DJs, and collectors alike: a record that feels just as at home in a crate next to vintage originals as it does in a contemporary DJ set.

ALERT: BIG 90s ITALIAN RAVE COMP - a lot of very in demand tunes on here.

Navigators

Franco Falsini and the Interactive Test Universe

There are musicians who follow their time.

And then there are those who seem to move along a different trajectory—like navigators crossing sonic eras without ever truly belonging to any one of them. The story of Franco Falsini belongs to the latter. It is a story that begins long before raves, before techno, before the word “electronic” had even become a recognizable musical genre. A story that moves across continents, technologies, and sonic visions, eventually arriving at a small creative laboratory born in Italy in the early 1990s: Interactive Test. This compilation is a fragment of that universe. But as often happens with the hidden histories of music, understanding it requires going back. Far back.

The Beginning: Machines, Tape and Space

In the late 1960s Franco Falsini leaves Italy and moves to the United States. It is not merely a geographical journey—it is also a journey into a new idea of music. At the time, synthesizers are only just emerging from research laboratories. Multitrack tape recorders allow musicians to build entire sonic worlds on their own. Technology is still far from standardized: every studio is almost an experimental workshop. In Virginia, Falsini builds one of his own. Among cables, oscillators, electric guitars and reels of magnetic tape, a kind of music begins to take shape that resembles nothing else being made at the time. It is not simply rock, and it is not yet truly electronic. It moves somewhere in the space between the two. Out of these explorations emerges Sensations' Fix, the project through which Falsini releases a series of albums during the 1970s. Records that seem to come from a parallel dimension: cosmic landscapes, electronically treated guitars, synthesizers drifting like satellites. Many years later those albums would be rediscovered as visionary works. But at the time they were simply the result of relentless curiosity. A curiosity that would never fade.

The City That Never Sleeps

In the 1980s Falsini’s trajectory leads him to New York. The city is a sonic organism in constant transformation. In its clubs and recording studios something entirely new is beginning to take shape: music built from drum machines, sequencers, and samplers, created for the body before the living room. It is the dawn of modern dance culture. Falsini works as a sound engineer, producer and experimenter. From close range he observes electronic music transforming into a global language. Machines become more accessible, computers begin entering studios, and rhythm takes on an increasingly central role. Yet even in this phase Falsini does not simply follow what is happening. He absorbs. Observes. Reimagines. When he eventually returns to Italy, he brings back not only technical experience but also a clear vision: the conviction that electronic music is an open space, a territory still waiting to be explored.

Tuscany, Early 1990s

At the beginning of the 1990s something is happening in Italy as well. In clubs, abandoned industrial warehouses and clandestine parties, a new scene is beginning to form. It is rave culture: a spontaneous movement bringing together DJs, producers and listeners in a collective experience driven by rhythm, technology, and creative freedom. It is within this context that Franco Falsini, together with his brother Riccardo, creates Interactive Test.

The name almost sounds like a scientific experiment. In many ways, it is. Interactive Test does not emerge as a traditional record label. It begins as a laboratory—a place where ideas, sounds and musical identities can be tested and explored. Around the Falsini studio in Tuscany a small constellation of artists and DJs begins to gather, helping to shape the sound of Italy’s emerging electronic scene. Among them are Andrea Giuditta, Francesco Farfa, Gabry Fasano, Roby Mastelloni, Roby J and many others. Each brings a different musical sensibility. But they all share the same intuition: electronic music is not a genre. It is a language.

The Laboratory of Identities

One of the most fascinating aspects of the Interactive Test universe is its constant play with identity. Franco Falsini releases music under several different names: Open Space, Youth Wave, Agent Fylfoyt, Man Myth Magic. These are not simply pseudonyms.

They are different sonic perspectives, as if each project were a window opening onto a parallel musical universe. Open Space, for example, explores more atmospheric and visionary territories. Youth Wave moves between electronic groove and club-oriented rhythms. Other projects experiment with digital psychedelia or hypnotic techno textures. Interactive Test becomes something more than a label. it becomes an ecosystem.

Domestic Machines, Infinite Worlds

Looking back today at the technology used in those productions, one might almost smile. Many tracks were created on Amiga computers, MIDI sequencers and analog synthesizers wired together in home studios—tools that appear modest when compared to today’s digital possibilities.

Yet precisely these limitations became a creative force. Every sound had to be built, shaped and reinvented. Sequences developed slowly, almost like living organisms. The tracks did not always follow traditional dance music structures; often they felt like genuine sonic journeys. Music built from space.

A Hidden Constellation

Many of the records released by Interactive Test in the 1990s remained for years almost invisible objects, circulating quietly among DJs, collectors, and devoted listeners. Yet it is precisely this underground existence that helped preserve them. Listening again today, one perceives something rare: the feeling of music that does not fully belong to its own time. Music suspended between different eras. Perhaps because it comes from a vision that both precedes and transcends trends.

Continuing the Journey

Looking at Franco Falsini’s entire path—from the electronic psychedelia of Sensations’ Fix to the rave culture of the 1990s—a surprisingly coherent line emerges.

A line defined by exploration.

Each project, each pseudonym, each record appears as a new route within the same great sonic voyage.

Interactive Test was one of its stations.

A laboratory.
A community.
A creative platform.

This compilation gathers some of its traces.

Not as a simple archive of the past, but as a map of a musical territory that continues to expand even today.

Like all true sonic explorations.

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)

The Dead Mauriacs is the project of French artist Olivier Prieur, "Paravents et miroirs, une cérémonie" is a live soundtrack.

The Dead Mauriacs describe their music as "Exotica Concrete" - their music is composed of field recordings made on a daily basis, as well as a diverse collection of sounds, including piano, Indian harmonium, violin, ukulele, didgeridoo, pieces of wood, glass, paper, and metal plates. The album is a spectacular 40-minute sound collage, assembled by sampling Exotica music represented by musicians and arrangers such as Les Baxter and Arthur Lyman, who were active in the 1950s.

"Exotica is a musical genre or sub-genre that emerged in the 1950s in the United States with musicians and arrangers like Les Baxter or Arthur Lyman. It is an extraordinary music because it is false: bird calls imitate bird songs, you can hear the sound of the waves, it is a Western fantasy, particularly North American, of a world and an imagery that never existed. It is a music associated with mass tourism, mass entertainment, consumerism. Arthur Lyman recorded about 30 records in 10 years in Waikiki. With his band, they played and recorded under a geodesic aluminum dome. The dome belonged to the owner of the hotel he played for every night. They did this at night to avoid noise. It's music that is both profoundly naive and totally flawed. In this, it is seductive and intellectually interesting. It is music that could easily be criticized today, but it is an imaginary in itself, like the Italian film music of the 1960s and 1970s." (Excerpt from the calax's interview)

The Dead Mauriacs are not only involved in music, but also in a wide range of other creative endeavors, including video and painting. He also repsonsible for the artwork of this LP. The inside of the product is also accompanied by an 8-page interview with Mauriacs and compiled his amazing artworks.

The Dead Mauriacs
Paravents et miroirs : une cérémonie / Screens and mirrors: a ceremony

Side A
Courte dérive, une ouverture / Short drift, an opening
Le retour des insectes électriques / The return of the electric insects Les oiseaux étranges / The strange birds Tension, terreur factice / Tension, false terror
Dénouement malais / Malaysian ending
Rituels et vanités 1 / Rituals and vanities 1
Rituels et vanités 2 / Rituals and vanities 2
Italiens dʼHambourg / Italians in Hamburg

Side B
Secrets pour piano / Secrets for piano
La suite Monory, Padoue-Le Caire-Nassau / The Monory Suite, Padua-Cairo-Nassau Hommes à découper / Men to cut out Lassitude moite / Clammy weariness
Le soleil artificiel du pont croisière / The artificial sun on the cruise deck
Pirogues et palmiers, vus de la scène / Pirogues and palm trees, seen from the stage La traversée / The crossing Rideau / Rideau
Fields recordings : Semproniano and Siena, Italy, Figueira, Portugal, Charentes, France. An electrical wire with a frequency shifter gave birth to the insects. Real and fake piano. Everything made with a computer and a midi keyboard.
Music premiered at Hörbar, Hamburg, 28th of December 2017. Music (and video) Olivier Prieur.
Thanks to Thorsten Soltau and all people at Hörbar.
Hello to Felix Kubin & Marie-Pierre Bonniol, Julia & Jan Warnke. Kisses to Hélène.

Following in the steps of last year's mysterious "Beyond the Garage" 12 inch, L.I.E.S. throws another curveball with a 30 track continuous LP from veteran West Coast producers, Vinny+Charlie. Each side running 20 minutes, this can best be described as a smoked out, haze filled afterparty beat tape on wax. Obscure samples, dusty sp-12 crushed beats, head nodding loops, sweet low rider soul..chopped, sped up, slowed down and ready to wreck your system. Limited edition white label housed in a lp jacket with custom art by LA artist SOB STORY. 300 copies worldwide.

Staffan Lindberg’s Revéillon EP links Rio baile funk, São Paulo club mutations and Stockholm electronic craft. Made with Brazilian MCs Maromba and G7, it grew from Instagram DMs, nights at Pedra do Sal, Copacabana on New Year’s Eve and a shared taste for whisky, Red Bull and pick-and-mix.
Raw, playful and transportive, the EP landed digitally on April 3rd, with vinyl to follow in June on Studio Barnhus.

A little over a year ago Tim Reaper made his first appearance in the town LoDubs is based in, Portland, Oregon, at the always forward thinking westside venue Barn Radio. The bill was rounded out by yours truly, Jon AD, who set the standard for the night, which was a boggy, thick warehouse vibe, even though the venue was more of a tightly packed repurposed storefront with an overactive fog machine.

This stop turned into a bit of a several day stopover for the TR, who saw the town, met up with other Portland people, and after that was left with a bit of a aural vision of the whole experience, the DIY ethos of the Portland, and the desire to document these impressions on the label of his bill mate for the aforementioned night, LoDubs.

Shortly thereafter "Triumphant March" arrived at the LoDubs mailbox, and reverb heavy, oozing slab of Jungle funkiness.

Upon realizing this would be good material for a dubby remix, the next step was reaching out for people to do so, and Beatrice M was at that time really getting noticed with their take on Dub. This year has seen them really move up the ranks, needless to say.

This is a bit of a rare gem from the Ellis Dee. Back in 1995 he made the track 'Synthetic Disco' but for some unknown reason (I'll have to ask him and let you know) it was never released and remained a mystical track lost in time. The flipside 'Atmosphere' was only released as part of the Total Science 2 compilation that came out in 1996. Both tracks compliment each other beautifully and are both very much on a similar tip to his Norty But Nice 12" that we put out a few years ago. Deep but rolling drum and bass for the massive!

,Rainbow Body" ist das Debütalbum einer außergewöhnlichen musikalischen Zusammenarbeit mit Taylor Goldsmith und Griff Goldsmith (Dawes), Rick Mitarotonda (Goose), Eric Krasno (Lettuce, Soulive), Ross James (Phil Lesh & The Terrapin Family Band) und Adam MacDougall (Chris Robinson Brotherhood, Circles Around the Sun), mit Gastauftritten von Oteil Burbridge (Dead & Company, The Allman Brothers Band) und Nicki Bluhm. Das in Island aufgenommene, selbstbetitelte Album verschmilzt nahtlos Psychedelic Rock, Americana, Soul, Folk und Improvisation zu einem Sound, der sich zugleich zeitlos und abenteuerlich anfühlt. Getragen von Taylor Goldsmiths ausdrucksstarkem Songwriting und bereichert durch die Chemie der versierten Musiker ist ,Rainbow Body" ein facettenreiches Debüt, das den Raum zwischen Americana und Alternative Rock ausfüllt.

Like a meteor striking earth, two forces hit each other. Merkelbach and Nathan Homan found each other in a shared vision in music, and this is the reason they’ve started the label Beau Brummel. Combine the two and you get the alias Merkoman. If you were to take a look at both of their agendas, you’d see Thursday crossed off because that’s Brummel Day. After two years of Thursday evening Brummel sessions, a big vault of music has been filled. The result is The Story of Brooks Pipe, a two-part story of a refreshing new sound that only Merkoman can achieve. In Part 1 you’ll find four tracks strictly made for all sorts of dance floors. An additional injection of creative artwork was given by Sjeng Schupp.

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)

Packed with live classics and brimming with his frenetic brand of mutated, electronic, anti-pop, this album marks the next step in Anklepants' march to world domination.

Anklepants' act gets a reaction from everyone that witness it. The hysteria surrounding him has gained momentum since the release of his 12' vinyl 'SPEEK You Little Re-facéé' on Love Love in 2013, propelled by a European tour last year with Otto Von Schirach and his sensational Boiler Room set. The 'SPEEK You Little Re-facéé' vinyl single served as a taster of what was to come with its 2 bombastic extended cuts (both also featuring here). Now, having sown the seeds of his message around the world, his debut album has arrived on Vinyl and CD.

The CD version of this album comes with a second disc containing reworkings of Anklepants' original tracks by other artists similarly carving their own paths through the modern übergründé, including Eomac, Valance Drakes, Kraig Grady, Lenkemz, Monster X, Bintus, FUKNO + more.

“Nimm die rosa Brille … sag was Du siehst … alles viel besser”

44 years after its original release, one of the most idiosyncratic DIY minimal electronics / synth / new wave records of the early ’80s returns: the legendary 7” by German group DEUTSCHE SCHÄFERHUNDE (engl. German shepherds)—now remastered and reissued for the first time as a one-sided 12” on Anna Logue Records. Recorded in the winter of 1981/82 between rehearsal space, provincial disco and bar nights, and a humble four-track setup, these tracks capture the raw spirit of a generation that simply started creating—no formal training, but plenty of attitude. Minimalist, uncompromising, and inspired by krautrock, punk, new wave, electronic music and dub, the songs move between raw electronics, percussive noise, new wave experimentation, and sharp social commentary. „Rosa Brille“ (rose coloured glasses) in particular feels as urgent today as it did back then—a track that has lost none of its relevance, „Gasmasken“ tells of gas masks dancing in the woods to the sound of sirens, and a timeless Holger Czukay/Jah Wobble inspired „Mein Herz“ (my heart).

Originally pressed in a small run of just 500 copies and later becoming a sought-after collector’s item now worth 200€, the record now returns in a carefully crafted edition featuring a laser-printed reverse side and additional materials such as original lyric sheets and articles, postcard and poster. DEUTSCHE SCHÄFERHUNDE thrived on paradox—a provocative name paired with a clear stance, and lyrics that still resonate today. Shaped by Cold War tension, political unease, and youthful rebellion, their sound refused to fit into any neat category. Only few other bands, such as Der Musikant, Im Namen des Volkes, Thorax Wach, Klinisch Sauber oder Stephan Eicher spielt Noise Boys come to mind.

This release is more than a reissue—it’s a document of its time that still hits with full force.

12″ features: limited to 400 copies, hand-numbered, one-sided 180g black vinyl, laser-etched B-side, outer sleeve printed on reverse side of the board, printed inner sleeve with original lyrics sheets and original articles, DIN A3 poster, double-sided postcard

2026 Repress

Here's to a special one..

Ashtar Afterhours is Kenneth Graham - originally from Los Angeles, he has been a defining presence in electronic music ever since the 90s. Buying his first classic synthesizer, a Yamaha CS01, in 1984, he delved into music production at an early stage. Kenneth put out over 40 releases over the years- under his own name as well as stepping up under various aliases- Estelle Montenegro, KG Beat, Exit Strategy and many others. Kenneth also formed some super-groups together with friends, his Sun Children / Sunkiss project- together with David Alvarado- put out highly influential music on legendary Peacefrog Records.

Body Music was originally released on Plastic City in 2001 and it has been a Smallville favourite since a long time, so we are super happy to present this beauty as a repress, as always with a full cover artwork by Stefan Marx.

All tracks written & produced by Kenneth Graham, B3 w&p by Kenneth Graham & Gabriel Ortega
Vinyl cut by Helmut Erler at Lathesville

DJ support from Soul Clap (Soul Clap Records) / Walla P (Voyage Funktastique) / DJ Notoya (Tokyo Condition)

Minoru “Hoodoo” Fushimi is something of a cult favorite among purveyors of obscure Japanese sounds from the 80's. Running parallel to the city pop phenomenon but existing distinctly outside of it, Fushimi's sound is a lo-fi blend of electro synth funk, drum machine beats, & early hip hop. His “Thanatos Of Funk” album lives on many a record collector's want list, and has already been

reissued more than once. Upstart imprint Tokyo Love Song, a spin-off of XL Middleton's MoFunk label, brings one of Fushimi's signature cuts, “In Praise Of Mitochondria,” to the 7” format for the first time ever. On the flip, Middleton himself teams up with Japan's leftfield modern funk favorites Milk Talk to deliver a remake of the song, entitled “Funkin Me Up.” This quasi-cover blends XL's signature squiggly funk sound with the quirky vocal stylings of Q.i, along with guitar & bass licks courtesy of Hairkid, the other half of Milk Talk.

2026 Repress

We feel like Frank & Tony and Smallville have been on the same musical wave-length since forever. Our musical paths have crossed back and forth over the years and we have always shared a lot of the same values- steadily putting out quality music, that stands the test of time - growing consistently - never stop following our very own way - always not-following trends forever..
Frank & Tony is the collaborative guise of Scissor & Thread co-founders Francis Harris and Anthony Collins aka Grant. Both have long been staples of the underground with material under their own names and numerous other guises shaping the musical landscape of House Techno and beyond since the turn of the millennium. Both lived together in New York and as Frank & Tony the pair have delivered multiple albums and many EP’s on their own label, Tokyo’s Mule Musiq and Pacific Rhythm- now they are warmly welcomed onto the Smallville Records roster with their latest collection of works.
‘Ways Of Mine’ leads on the A-Side and showcases the pairs signature deep hypnotic house style via soft billowing pads cascading metallic chimes psychedelic spoken word and dreamy dubbed out keys floating atop a robust bouncy rhythm
section.To open the flip-side title-track ‘After All’ lays down a subtly blooming chord sequence shuffled drums and bumpy bass stabs at its core all subtly nuanced while the latter half introduces more dynamic rhythmic elements and intertwined melodic touches. ‘Dimension’ then concludes the release diving deeper with saturated ethereal pads and bubbling resonant arpeggio lines alongside heavily swung crisp drums jazzy keys and delayed vocal chants.
After All comes with a full cover artwork by Stefan Marx.

All tracks written & produced by Francis Harris & Anthony Collins
Mastering and Vinyl cut by Helmut Erler at Lathesville

Following up on the hidden wonder of Ellis Swan's twilight folk-noir masterpiece 3 AM (Quindi Records, 2022), Altrimenti commissions three bold remixes by Madteo, Simone and Mass Prod, with a wayward slant to rival Swan's own outsider status.

Mr Bongo presents a reissue of one of the rarest releases on the illustrious and now ultra-rare tax scam label TSG Records. A label with a checkered past, operated by Lloyd Price and with alleged ties to boxing promoter Don King. The album in question, Disco Party by Reality, is a stunning journey through ‘70s dancefloor-focussed funk into early proto-disco grooves. Back in mid-‘70s Manhattan, Dr. Otto Gomez and a group of fellow New York musicians including Tony Dixon, Norman Drayton, Tony Dupree, Al Jones and Fred Nanton were brought in for a recording session by songwriter and producer, Billy Nichols. Laying down one of Nichols' songs and a selection of the group's own, they were paid as session musicians and thought little of it. The tapes came to the attention of Lloyd Price who struck a deal with Nichols unbeknownst to Gomez and the rest of the band. Price then pressed the album and put it out in 1976 on a newly formed subsidiary label, TSG Records, that would later be documented as one of the US tax scam labels of the ‘70s. Such labels were created to exploit a loophole in the US tax system, running up inflated production costs / losses that investors or the parent label could write off against their tax bills. Releases on these labels were never intended to have commercial success. They would usually be produced in incredibly limited pressing numbers and have little to no promotion or distribution. As such many of these records instantly fell into obscurity, becoming mythical amongst DJs and record collectors. Sadly, this meant that artists like Dr. Otto Gomez and friends never had the chance for their record and their talents to shine at the time. In fact, it was only when Jazzman reached out for their 2022 reissue that Dr. Otto Gomez became aware that the album had ever been released and heard the story behind it. Disco Party is a time capsule where ‘70s instrumental funk edges and intertwines into an early disco sound. The sessions are for the dancefloor, minimalist and groove-based. The bass and drums are at the forefront, providing the pulse of the album. Driving funky guitar licks, and a brilliant horn section weave their way in and out of the productions. Highlights include the uplifting feel-good ‘Let's Party People’, the early disco swagger of ‘Reality’, and ‘Disco Party (Let's Have A)’ with its wah-wah groove and percussion break, which could easily have found its home on a Blaxploitation film soundtrack of the period. It’s not just rarity that makes this record so sought after, but rather the fact that it is a superb example of dancefloor-focussed mid ‘70s funk and disco.

POEME ELECTRONIQUE was Dave Hewson (synthesisers, production), Sharon Abbott (lyrics, lead and backing vocals), Julie Ruler (backing vocals) and Les Hewson (bass), formed in 1980 by Dave Hewson in South London, UK, in 1980. Dave was studying music and as a rare kind of student species he had a deep fascination for New Wave and electronic music thus also playing and recording electronic music ever since like using the Boss DR-55, Cosmo Sound Super Drum, Elka Rhapsody 610, EMS Synthi AKS, Korg MS-20(X2)/Polysix/Polyphonic Ensemble 1000/VC-10 Vocoder, Linn Electronics LM-1, Octave Kitten, Roland RS-09/VP-330 Vocoder Plus, Simmons SDS-V Kit and Yamaha CS-80 on this retrospective POEME ELECTRONIQUE album with original material from 1981/82 only. Over the period of more than two years, Dave has remastered these tracks using the latest high-end tools making them sound better than ever before. The deluxe 2LP vinyl album comprises 16 tracks of which 14 have never been published before. “The Echoes Fade” and “Voice” are the original versions taken off their original 7” from 1982. The album “The Echoes Fade” cannot be described other than being a masterpiece and one of the best-ever early 80’s electropop records ever, and it surely has to be lined up with Rational Youth or Experimental Products’ cult albums (in terms of being minimal synth/wave scene reference albums), but to be frank, Anna thinks that POEME ELECTRONIQUE were even above their level.

Truly, they had deserved to go on the successful path like Depeche Mode, OMD or Soft Cell, but fate was against them as it seems. The main difference to other electropop groups of the time was definitely that Dave did not only master his synths technically-wise, no, he also knew how to actually play, and when you hear his amazing multi-track ‘manual sequencing’, programming skills, great harmonies and melodies throughout the tracks, along with the two girls’ performances – well they can really sing! – you will agree there is some something remarkably extraordinary in these tracks. You will find minimal electropop super hits like “Rendezvous”, “She’s an Image”, “Fragile”, or “Dilemma”; hauntingly beautiful melancholic tracks like “A Mourner’s Lament”, “This Night” or “It’s in the Atmosphere”; darkest minimal electronics on “Inside his Head”; and even more poppier tracks like “Follow”. This record will hopefully be loved by any electronic music lover and most probably marks the highlight in the growing Anna Logue Records catalogue – therefore Anna did not shy away from any costs and the album is truly an outstanding release in every single aspect including sound and artwork presentation. Apart from the bonus tracks you will find in the 2LP deluxe vinyl edition glossy inner sleeves with lyrics to all songs, as well as individual mini 7” sleeves for each song designed by our dear graphic designer Steve Lippert plus many additional group photos on the gatefold sleeves’ inner. After so many efforts and more than two years passing by, Anna is so over the moon to see this release being ready now and we have done all we could to make this an outstanding release, so now it’s up to you to give the band their final glory, but Anna is in no doubt that – at least after hearing the sound samples – you will.

Take Me, I’m Yours is the first collaboration album between Alan Abrahams and Jan Jelinek. Released through the latter’s faitiche, it builds upon multi-layered vocal sketches by the former. The Paris-based artist, primarily known for his work as Portable and Bodycode, supplied Jelinek with multi-layered song sketches that the German artist subjected to a rigorous process of manipulation, excavating the ambiguities of the original material and transforming its rhythms into subtle pulses. Take Me, I’m Yours is neither a typical Abrahams record nor a classic Jelinek album—it is something third, mediating between the physicality of the voice and the abstraction of electronic sound design.

The two had crossed paths before really getting to know each other after Abrahams invited Jelinek to play at one of his Süd Electronic parties. The idea of a collaboration emerged slowly. “It started as an experiment, and over the past few years grew from a few tracks into this album,” says Abrahams. He describes recording the basic material as a “tantalizing” process, not knowing how Jelinek would transform his material, some of which was based on wordless chanting, while other tracks were working with lyrical content. However, their mutual trust allowed Jelinek to remove the harmonies, radically reduce the rhythms, and concentrate on Abrahams’ voice.

Jelinek heard something “fragile” in this voice, “moments of doubt and dark premonitions.” He points to Forever as an example. “Alan’s original song reminded me of classic vocal house, but his voice seemed to almost break,” he says. “This contradiction made the piece even bigger, because we hear a singer in the moment of an awakening.” He further accentuated such tensions through arrhythmic synth modulations and time-stretching algorithms, while also adding concrete sounds from a variety of sources. With its dedication to both transforming and amplifying the emotional qualities hidden within Abrahams’ pieces, Take Me, I’m Yours functions as a dialogue between those two singular artists.

LIMITED TO 150 COPIES! 2 x 12" Black Vinyl w/ Gold Foil Embossed Cover, shrink wrapped.

‘Elevation’ is album eleven from High Focus Records founder and 1/4 of The Four Owls Fliptrix.

The latest instalment in a formidable run sees the lyricist further his vision of the world in the hope of elevating the collective mind and spirit of both artist and listener across 19-tracks.

Having worked with Forest DLG in some capacity across all of his records over the past fifteen years, from mixing and mastering, but also collaborating on multiple tracks as rapper / producer, it is surprising that it took so long for the pair to come together on a full-length collaborative project.

‘Elevation’ is that record.

Fliptrix reached out to Forest with a view to creating something completely different from his previous boom bap heavy outing ‘Dragonfly’, he is always looking to advance his craft and take things higher, and after Forest responded with a pack of 70+ instrumentals the direction of travel became crystal clear. The result is an album designed to lift the listener into a higher state of consciousness and trigger conversations about the state of the world, in the hope of enacting positive change during tumultuous times.

Fliptrix’s vision and Forest DLG’s style feel perfectly aligned. The album is truly collaborative; Forest going away and creating the artwork inspired by Fliptrix’s otherworldly experiences with the Shipibo tribe in the rainforests of Peru; from the single covers, to the album cover and merchandise as Fliptrix focussed on writing.

Having worked with all the greats in the UK hip hop scene, Fliptrix actively sought out new energies on ‘Elevation’, especially when it comes to the album features. Jungle forefather General Levy on lead single ‘ENERGY! ENERGY! ENERGY!’ Grime legend Frisco on ‘Visionaries’, Ayah Marar on ‘Transform’, Da Flyy Hooligan, Kamakaze, Coops, and a 19-strong HF posse cut in the shape of ‘Dangerous’ make this album a must-listen for anyone looking to elevate.