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A vault of deep pressure unlocked - The Hidden Files collects a set of heavyweight VIPs from The Untouchables, each a reimagined version ofpast dread-infused cuts. Typically crafted for - and reserved within - theirown DJ sets, these alternate versions are now unearthed for wider transmission. Stripped back, rebuilt, and submerged in new layers of sub-weight, they explore a more introspective energy. Tension, restraint, and meditative pressure - the Brussels duo reveals hidden forms with signature finesse.

Ani004 marks a pivotal moment for Animism Records, delivering a versatile VA that captures the label’s evolving sound.

Thoma Bulwer opens with a breaks-and-garage-infused cut, setting a crisp and percussive tone. Tommy Vicari Jnr follows with a bassline-driven house stomper, primed for peak-time floors, while US producer John Manhard brings a deep, rolling groove to B1.

Closing the VA, Tred Benedict shifts the energy with a warm ambient piece, rounding off this finely balanced release.

Mit seinem markanten Flow und einem außergewöhnlichen Talent für schafsinnige Lyrics entwickelt sich JID
vom Geheimtipp aus Atlanta zu einer der prägendsten Stimmen der neuen Rap-Generation. Spätestens mit
seinem hochgelobten Album „The Forever Story“ (2022) stellt der dreifach GRAMMY-nominierte Rapper
nicht nur seine Stärke fürs Storytelling unter Beweis, sondern überzeugt mit einer Vielseitigkeit und technischen Finesse, die sich von der Mainstream-Masse abhebt. In dem 14-Track starkem Nachfolgerprojekt
„God Does Like Ugly“ würdigt er den Hip-Hop als prägende Kraft der Popkultur, aus der Perspektive eines
Künstlers aus dem Herzen Atlantas.
„God Does Like Ugly“ erscheint am 17. Oktober 2025 auf CD und Vinyl.

Back on wax for the first time since its original 2018 release, Stay Cool returns as a limited edition green vinyl repress. This collector's cut includes the extended mix of Stay Cool, plus three versions of You're So Special - the original extended, a peak-time remix from Gerd Janson, and a rave-ready rework by Eats Everything, both appearing on vinyl for the very first time. A favourite among crate-diggers and DJs alike, this rare slice of modern electro-pop and club finesse is back for a limited time only.

Repress
the journey continues...

The third part in the Drexciya re-issue series! Another part of the exciting journey of Drexciya with mind blowing tracks such as You Don't know, Intensified Magnetron, Aqua Worm Hole etc.
One of the finest moments in electronic music history and Detroit techno available in remastered versions including unreleased material. Essential in every serious electronic music collection

Repress!

Biosphere is the main recording name of Geir Jenssen (born 30 May 1962), a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.



Cirque - originally released in 2000 - was Biosphere's first album for the UK label Touch. This new re-issue comes with a 6-track bonus album and new artwork.



Mojo (UK): Fourth full album from ambient pioneer. Coming to prominence with 1992's Microgravity - which along with the first couple of Aphex/Polygon Window CDs, defined the genre ambient - Geir Jenssen as Biosphere has made three of the '90s' best albums, culminating with last year's near beatless Substrata. The idea - as it always was thanks to Eno's On Land - is music as environment (reflecting, creating): working from his base in Tromso, Arctic Norway, Jenssen offers a polar, Apollonian exploration of the human psyche. Cirque is a perfectly constructed 47-minute sequence: cold clarity up against real depth of field, synth cycles dissolving into sudden moments of sonic revelation that sound like a waking dream - try the first 20 seconds of Black Lamb and Grey Falcon. (And if you think that's pretentious - your loss). Inspired by the story of a young American, Chris McCandless, who walked alone into the Alaskan wilderness and perished, Cirque balances the tightrope between warmth and unease, resolving into a moon melody that leaves you a peace. What a good record! Jon Savage.

Two sides, two heatwaves pulled from the depths of Afro-diasporic analogue archives and reborn for contemporary dancefloors.

On the A-side, “Chiacchiere di Lavoro” is a razor-sharp re-edit of a Nigerian track, that is just like its new producers: obscure and way ahead of their time. The B-side dives into the Antilles: "Taxi Safari" is a rare tropical gem, reworked with finesse by editing maestros Lance and Disco Strummer.

But what is La Sirenetta?
La Sirenetta – “The Mermaid” in Italian – is a name that evokes memories of a Riviera discotheque, the faded glamour of a beach club, or a fried fish shack glowing in the sunset.

In fact, this La Sirenetta is a sub-label of Maledetta Discoteca Records, dedicated to digging, selecting, and editing analogue World Black Music bangers from the ’80s and giving them a second life.

The formula? High-quality, highly collectible 12” double-siders.
All La Sirenetta records are a limited edition, one-time pressing only. Don't miss them!

Tuskegee continues apace with ‘Work Come First’ from Life on Planets, a flawless blend of classic house, R&B, and conscious songwriting, remixed with finesse by Omar S and Soul Clap’s Charles Levine.

A modern-day hymn to hustle and stride, ‘Work Come First’ doesn’t chip away at the soul in pursuit of success. Working in collaboration with like-minded producer Seven Davis Jr., Phill Celeste applies his key alias to a triumphant, full-bodied songwriting moment. Led by beautiful organ piano, mingling with the artist’s defiant vocals and defined by the feel of a full live band, ‘Work Come First’ continues Life On Planets' beguiling, genre-crossing journey.

In ever-charismatic and minimal mode, Detroit icon Omar S breaks down ‘Work Come First’ into core elements for the floor, blowing out the system and applying Life on Planets’ vocal performance to a raw, lo-fi arrangement with a hint of street soul. In neat parallel, Charles Levine delves into the more full-bodied, rich elements of the track, tripping on the sophisticated funk long associated with the Soul Clap founder’s oeuvre.

Complimenting both takes, producer Seven Davis Jr. provides an alternate ‘Sev’s mix’, a little rougher around the edges for dancers under red lights.

Braiden, an artist synonymous with the UK’s underground continuum, makes a powerful return after his hiatus with Raindance, a four-track EP of original productions on his own Off Out imprint. First emerging during the post-dubstep era with standout releases on Joy Orbison’s Doldrums and iconic Dutch imprint Rush Hour, Braiden carved a unique path as both DJ and producer through long-standing residencies on Rinse FM and NTS, where his boundary-pushing selections became essential listening.

The record channels the energy of the club and the scene he emerged from, blending freshly explored influences into a focused yet diverse body of work.

The EP opens with its title track, an unruly and visceral cut that channels early grime’s skeletal power into a hypnotic techno landscape. Clattering claps, cascading strings and a guttural bassline drive it forward, shimmering with movement and wired with an unpredictable edge. Touch The Sky, featuring a vocal contribution from multidisciplinary artist KESH, follows as a meditative centrepiece — a weightless, emotional interlude hovering with restrained melancholy and awe. X5x ramps up the energy again, urgent, euphoric, and devastatingly effective, its acid-licked synth line and thunderous kicks recalling the vastness of late-night warehouse catharsis. Lagrangian Point closes the EP on a different axis altogether; a time-dilating drone that strips away the percussion entirely while retaining the physicality and ethereal tone that runs through the EP.

Also a visual artist and photographer, Braiden’s finely tuned aesthetic runs through the record, with him self-designing and photographing the artwork printed on a full colour sleeve. Raindance arrives as a meticulously crafted statement: fierce and cinematic, a notable evolution from his earlier single-led releases, with additional mix engineering support from friends Joy Orbison and Objekt.


b A2. Touch The Sky ft. KESH

The 'Natty Dread a Weh She Want' set brings together two legends of Reggae Music.
The stylish and unmistakable falsetto voice of singer Horace Andy and the production/DJ singing skills of Tapper Zukie.
Both artists catalogues of music stand up strong but this, originally released 1979 set of songs seems to have brought something special out of both of them when producing/writing and arranging this set of tunes.
'Natty Dread a Weh She Want' was a massive hit when it was released by Tapper Zukie and Horace Andy but this timeless track still sounds as fresh today as the day it was released in 1979,as do the other tracks on this fine album...
Hope you enjoy the set....

Following the lush listening LP outing by KAMM, the EG team is back in fine floorrocking form, this time with both label operatives on the dials as Rodney joins Dave Aju for his debut co-production. And what a debut it is: Highly-potent, raw, swinging house music of the highest order, complete with knocking 909 kicks, thick slapping snares, and a hypnotic melodic call-and-response tonal section that keeps things properly lifted and moving throughout. The vox evoke label boss Aju’s earlier catalog work, and he’s in particularly pointed mode here, spitting fire spoken word lines calling out various questionable corners of the dance music scene and humanity on the whole. A bold light-shining display during notably dark times, defending the once-sacred underground dance space against runaway trends of ego-driven capitalism, online image over actual skill sets, and the beyond low-ball barrier of entry into the arena. But by the time the soulful chorus lines hit and rise us up and onward toward the blissful musical finish, it is clear that this is in fact a unifying floor anthem and that indeed despite our differences amidst disheartening global chaos, at least “We Still Dancin". As always with the seasoned DJ-focussed three-piece Elbow Grease EP offerings, here we have the full A-side OG Vocal Mix cut at a crispy and tight 45rpm, a deliciously stripped and leveled-up EG Dub Mix on the B1, and finally the uplifting B2 Vibe Mix which doubles-down as half ambient instrumental builder and essential acapellacapella

London based label Natural Selection present their forthcoming release in the form of a 4-track 12" EP, courtesy of Swarm Intelligence, entitled "Radiance". Mastered by Alain Paul and cut by Simon at The Exchange Vinyl. Record Sleeve and labels printed to premium specification, featuring artwork by Kaan Ulgener.

Born in Dublin and now firmly based in Berlin, Simon Hayes aka Swarm Intelligence has cemented his place in the Techno underground with critically acclaimed LPs and EPs on labels such as 47, Instruments of Discipline and Voitax. He returns to Natural Selection, after releasing his track "Generative" on the label's latest VA release; "Natural Selection: Selected Works Vol. 1" in 2024. Featuring amongst an extensive list of heavyweight label affiliates such as SHXCXCHCXSH, Charlton, ASEC, Nørbak, MAEDON, Annie Hall & more. After further connections with the label via live performances at their regular label nights at FOLD London, it was inevitable that Simon would be invited to release a solo EP on their imprint.

His distinctive sound comes from over a decade of releases spanning multiple genres and tempos and oscillates between rhythmic noise, tense atmospherics, uncompromising levels of distortion, and stark, astute beats. This resolutely non-conformist approach to his productions has earned him a reputation as a true trailblazer in the realm of Techno and has led him to perform at some of the world's finest institutions including Berghain, Tresor and Basement NY.

For "Radiance", Swarm intelligence delves further into the sonic unknown, presenting a bold evolution in his uncompromising vision of Techno. Deep, fragmented textures form the backdrop for thunderous, distorted rhythms and IDM-laden drums and percussion, fused with meticulously designed cinematic soundscapes and powerful low-end muscle. Fierce, unrelenting, and deeply conceptual, all rules and boundaries are smashed to pieces and all tracks are equally suitable for blasting through the world's biggest club systems and rigs as they are for home listening.

Hardcore tracks from Berlin that have never been released on vinyl before. Limited to 100 pieces.

DJ Support: Fred P, Mark Farina, Harvey Sutherland and more

When two underground icons like James Curd and Fred P join forces, the result is more than just acollaboration-it's a cross-continental meeting of deep house minds. The track was born in James Curd's Adelaide studio while Fred P was in Australia, capturing a rare and organic creative moment between two respected figures in house music. James Curd, known for his work with Greenskeepers and his extensive catalog across labels like Classic, Defected, and DFA, brings a playful yet precise groove, while Fred P, the introspective deep house pioneer behind Black Jazz Consortium, adds soulful depth and hypnotic finesse. The remix package elevates things even further. Harvey Sutherland, a staple in Australia's modern funk and electronic scene, brings his analog synth wizardry-his remix credentials include Disclosure and Jamiroquai. Austin Ato, a UK house innovator with a DFTD remix for Groove Armada, injects vibrant dancefloor energy. And Junior Sanchez, a long-time figure in New York's club culture, rounds it out with a heavyweight version - he's flipped everyone from A-Trak to Madonna. This is a lineup that speaks volumes before you even hit play.

After launching Seclusion in 2021, Elyas presents 13130.
A new VA series featuring old-school artists and current techno finest.

On this first one, 13130 offers: Steve Redhead, Not A Headliner, RUIZ OSC1, William Arist and label head Elyas.

Continuing the percussive-driven and emotive themes from his previous EPs, CAIN reaches beyond the boundaries of experimental electronic and Celtic music from the Scottish Highlands. "Lineage" is the result of a life-long goal to combine his passion and experience in these respective worlds. The album includes Brighde Chaimbeul on Scottish small pipes, James Mackenzie on flute and vocals by Katie Mackenzie.

The common thread that connects his discography is the intense rhythmic and melodic elements that convey his love of ‘infectious rhythm, ethereal beauty, or an otherworldly strangeness’. His productions have garnered support from DJs like Ben UFO, Gilles Peterson, Peggy Gou, Hunee, Haai, Erol Alkan, Ame, Oneman, and Midland, amongst others. Balancing rhythmic precision with profound harmonic depth, CAIN weaves evocative builders that ignite dancefloors at peak time and reveal intricate sonic tapestries in the intimate confines of headphones.

CAIN's musical background is rooted in traditional Scottish bagpipe music, which evolved through his competitive performances on an international level. His experience and knowledge enhanced CAIN’s understanding of how regional folk music reflects specific environments and cultures. Through the competition circuit he met Brìghde Chaimbeul, out on the scenic games fields of Uist, Glenfinnan and many others. He also competed against James Mackenzie, an amazing piper and flautist. James is a former member of the band Breabach. His wife, Katie Mackenzie is a superb Gaelic singer.

The recordings with James and Katie were done on the island of Bernera, off the Isle of Lewis in the Outer Hebrides and recordings with Brìghde were made in Edinburgh.

Mastered by Sam at Precise, Design by Alexander Horne, Pressed and printed at Record Industry

CAIV deliver rigorous, syncopated machine rhythms on the Lives EP from U.S bi-coastal collaborators Israel Vines and Camile Altay, following on from their formidable debut EP Dwellers on Tresor last year. Lives is four finely calibrated cuts riding a diverse tempo range, unified by rich harmonics and resonant percussive layering over veiled bass textures, where distortion becomes detail. Observe-Orient-Decide-Act.

NOW Music proudly presents the next release in our “NOW That’s What I Call An Era” series - Such A Good Feeling: 1988-1995 – a euphoric celebration of a truly transformative time in music.

This stunning 3LP set pressed on blue, white and yellow vinyl showcases 46 essential tracks that soundtracked the dancefloors, charts, and airwaves from the late ’80s through the ’90s — an era when dance culture reshaped the mainstream, soundtracked a generation, and lit up the charts across the UK and beyond

LP1 – Side A opens in style with ‘Such A Good Feeling’ from Brothers In Rhythm, this collection’s inspiring title…followed by Black Box with ‘Ride On Time’ — the best-selling UK single of ’89, and one of dance music’s defining tracks. Massive club classics continue with C+C Music Factory’s ‘Gonna Make You Sweat (Everybody Dance Now)’, house anthems from Inner City with ‘Good Life’, and ‘Dirty Cash (Money Talks)’ from Adventures Of Stevie V, plus dance-pop gems ‘Not Over Yet’ from Grace, and Billie Ray Martin with ‘Your Loving Arms’…Flip the LP over for the pioneering ‘Theme From S-Express’, a chart-topper from 1988, before dancefloor earworms from Kenny “Dope” Presents The Bucketheads with ‘The Bomb! (These Sounds Fall Into My Mind)’, Nightcrawlers with ‘Push The Feeling On’ and ‘People Hold On’ from Coldcut and Lisa Stansfield. The influential ‘Beat Dis’ from Bomb The Bass is up next ahead of Tony Di Bart’s #1 ‘The Real Thing’, Saint Etienne’s sophisticated dance-pop nugget ‘He’s On The Phone’, and LP1’s closer from D:Ream with the Perfecto radio remix of ‘U R The Best Thing’.

LP2 – kicks off with a run of electrifying Eurodance – all massive club anthems. ‘Rhythm Is A Dancer’ from SNAP! leads off; a UK No. 1 and another defining track of the decade – followed by smashes from Corona, Real McCoy, Dr. Alban, Haddaway, KWS and Cappella, before the side closes with the techno-pop of Opus III with ‘It’s A Fine Day’… The party continues on Side B with an irresistible lineup led by Deee-Lite with ‘Groove Is In The Heart’, their brilliant fusion of funk, house and pop that continues to be a massive floor-filler… as is ‘Dreamer’ from Livin’ Joy, a 1995 No. 1 smash, and vocal house classic ‘Finally’ from CeCe Peniston. Urban Cookie Collective scored a huge hit with ‘The Key, The Secret’, which is followed by the rave energy of Oceanic, N-Trance, Felix – and Utah Saints who sign-off LP2 with the epic ‘Something Good’.

Kicking off the final LP, Side A explodes into life with massive feel-good tunes:- Yazz & The Plastic Population’s ‘The Only Way Is Up’ – a 1988 No. 1 and landmark UK house hit ahead of 49ers with ‘Touch Me’ and Baby D with their #1 ‘Let Me Be Your Fantasy’. Another run of floor-fillers from Rozalla with ‘Everybody’s Free (To Feel Good)’, JX with ‘Son Of A Gun’, Blue Pearl’s ‘Naked In The Rain’ and ‘U Sure Do’ from Strike follows and the side closes with the electronic acid house of ‘Killer’ from Adamski that hit the top of the charts and introduced Seal… and over on the final side, the collection moves toward it's close with stunning and enduring tracks of the era – opening with Soul II Soul & Caron Wheeler’s #1 ‘Back To Life (However Do You Want Me)’ blending soul, R&B and club rhythms to perfection, while Beats International’s fusion of dub reggae and house: ‘Dub Be Good To Me’ (another chart-topper) follows with its iconic bassline and leads us into the stylish and smooth ‘Turn On, Tune In, Cop Out’ from Freak Power. The journey through this incredible era is completed with genre pioneers The Prodigy with ‘Charly’, ‘Infinity’ from Guru Josh, and closing with ambient house, ‘Pacific - 707’ from 808 State, and the timeless ‘The Sun Rising’ from The Beloved.

An unforgettable journey through the sounds that defined an era:- NOW That’s What I Call An Era - Such A Good Feeling: 1988-1995 — the definitive celebration of a golden age of dance music.

Celebrating another phenomenal year, Jackies Music Records proudly presents Finest Vol. 2 — a curated selection of modern house music from some of the most respected names in the scene.

This 7-track vinyl-only release features standout cuts by Piem, CASSIMM, St. David, Moon Boots, David Penn, Fleur De Mur, and a special collaboration between Jason Herd and Todd Terry. Crafted for timeless energy and pressed on vibrant red wax, each track delivers the signature Jackies groove.

Strictly limited to 300 copies, this collector’s edition is a tribute to the label’s rise and the unforgettable atmosphere of the Barcelona party series.

With shimmering synths, driving basslines, and cosmic rhythms, each track becomes a time machine—rooted in retro aesthetics, yet engineered for tomorrow’s dancefloors. The result is a sonic experience that’s as cinematic as it is danceable, channeling the spirit of neon-drenched nights and digital utopias alike.

Scannoir. After their previous releases as ½GOTT and GOTT on Uncanny Valley and some remixes, the duo returns with a third solo EP, marking their first appearance on the Berlin-Basel-based label Reach Another System. Their passion for EBM, Synth Pop, and New Beat comes to life with a fine array of classic drum machines and FM-synths, topped with Teutonic lyrics and archival samples. The A-side opens with a bang: "Magnet" critiques social expectations and pressures, backed by hard-hitting snares and tom fill-ins in Front 242 fashion. Next up, "Tschernobyl" warps the listener back to 1986 – a musical report of the Soviet nuclear disaster. Equally dystopian, the B-side hymn "Matrix Leben" depicts life inside a structured system that continually shapes and restricts us. The final track "7 Minuten" pushes the limits of restless staccato EBM madness. Mission accomplished!

Fruits Records proudly presents ‘Let Peace Reign’, the brand new instrumental single by Nat Birchall and The 18th Parallel.

Hailed by Gilles Peterson as ‘one of the best musicians in the UK’, jazz and reggae saxophonist Nat Birchall has grabbed listeners attention with his soulful sound and inspirational spiritual music. He has produced some of the finest vintage roots reggae instrumentals including majestic works with Vin Gordon and Al Breadwinners. His ethereal tone reminiscent of reggae giant Cedric ‘Im’ Brooks (Light of Saba) is the perfect match to The 18th Parallel raw and heavy sound.

Recorded fully live on 2-inch tape by the Swiss rhythm section, the session captures the raw, authentic energy of roots reggae at its purest. With warm, organic tones and a timeless feel, ‘Let Peace Reign’ not only pays homage to the greatest days of instrumental music and to the golden era of reggae recording, but also send a much needed message to a troubled world: Let Peace Reign. Pressed with care on 7-inch vinyl, with a super heavy dub mix on B side by French duet Dub Shepherds, this release is more than just a record – it’s a tribute to the culture of collecting records, preserving sound, and sharing vibes across generations.

Eclectic and genre-fluid, Whoosh is a masterful showcase of the expansive musical sensibilities of Vik Srinivasan—known as Vikmatic—and the finely tuned ear of co-producer and TSoNYC label head Danilo Braca. Drawing from a rich tapestry of sonic influences, the EP unfolds with effortless depth and elegance. Its title track opens with wistful spaciousness, unhurried in its approach, as layers of ambient texture float into view. Around the three-minute mark, a freeform trumpet—played by multi- instrumentalist, producer, and songwriter COULOU—enters like a gentle breeze, pairing seamlessly with a humblingly gorgeous vocal from indie pop artist Rén with the Mane. Her voice, set cool and weightless amid the atmospheric array, anchors the track in emotional resonance

In contrast, “Dream” quickens the pulse. It opens with a crisp hand drum before giving way to a forceful Italo rhythm and driving synths. The return of the meandering trumpet offers a warm counterbalance—a humanizing thread weaving through the escalating sonic tension. 


“Jungle” follows with a playful sense of experimentation, placing the trumpet at center stage. It’s accompanied by a whimsically off-kilter selection of textures: crisp, deliberate percussion; a brooding electric guitar line courtesy of the ever-versatile Alvise Marino (aka Al-Veez); lush retro synth glides; and

The EP closes with “We Should Go,” where Rén with the Mane returns in more earthly form. Her vocals drift in and out between acid burbles and Italo arpeggiations, both intoxicating and charged with quiet urgency. It’s a fitting finale—elevated yet grounded, dreamy yet directive. 


Across four free-flowing yet meticulously crafted tracks, Whoosh captures the essence of collaboration and creative freedom. It’s a transportive listen that resists genre boundaries, inviting the listener to drift, dance, and discover within its lush and unpredictable terrain.

Words by Mira Fahrenheit

2025 Repress

More than once Jay Richford and Gary Stevan’s Feelings has been described as the greatest library record ever released. Of course Be With can’t be seen to be playing favourites, but we have to admit, it’s pretty good. Insanely rare and immensely sought-after, it’s a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres.

Since its original release on Italian label Carosello in 1974, Feelings has appeared on several labels with different sleeves and even under a different artist. Indeed cult library label Conroy put it out in one of their iconic red sleeves in 1976 and yes, Feelings has indeed had more than one modern re-issue since these “original” releases. But a record this special deserves to be kept in press and we think it deserves the Be With treatment.

No, Jay Richford and Gary Stevan aren’t two of the most Italian sounding names. As the story goes these were the pseudonyms adopted by Stefano Torossi and Giancarlo Gazzani who wrote the album but couldn’t use their real names on the original release for legal reasons. But Stefano Torossi himself later both clarified and confused the tale further by explaining that Feelings was the work of four people not just Gazzani and himself. Fellow composers and musicians Sandro Brugnolini and Puccio Roelens also worked on the album and as Torossi himself explained “we all worked together”, with all four gents “dividing the royalties in equal parts… that’s the story.” Right, so, with that all sorted out let’s get back to talking about the music. And what music it is.

Long hailed as a holy grail of library music, Feelings is the epitome of the sort of cinematic orchestral jazzy funk that is “that 70s library music sound”. Infectiously funky, deliciously melodic and with impeccible, elegant production, this record is the showcase for a stunning set of compositions and arrangements and with performances that are nothing short of virtuoso.

The record’s first side lifts off with “Flying High”, soaring brilliant and shimmering. Funk licks, menacing strings and swaggering horns combine for an ice-cold intro groove that Isaac Hayes would surely have envied, before the steady-paced drums deliver the slo-mo TKO. The string-drenched cop-funk of “Going Home” raises the tempo. All funky quick-fire bass lines and killer electric guitar soloing. A real thriller.

“Walking In The Dark” positively drips in blaxploitation-funk drama strings and horn struts, all laced with delicate drums, velvet piano and more filthy wah-wah. “Fighting For Life” is another funk-fuelled workout built around an effortlessly relentless drum track that refuses to give up until even the stiffest-necked head is nodding.

The loping, open drum break that guides the much-loved “Feeling Tense” through its early stages would be good enough on its own. The heavy bass gloss, swirling strings and ominous horns that follow take things to the next level.

The second side opens with another favourite “Running Fast”, and the track does precisely that. This is one fine rollicking chase theme underpinned by frenetic (yet funky) Fender Rhodes and skipping bass and drums. Those sweeping strings are a gorgeous extra. It’s a deliciously feel-good groove that sets the heart racing.

“Loving Tenderly” envelops us in warm, velvety night-time vibes with easy listening horns and slinky strings dialing up the seduction. Definitely one for the lithe lovers out there. The pace picks up on the electrifying “Fearing Much” where strings dart around deep bass, buzzing guitars and another funky drum break. The lush, melancholic “Being Friendly” is another easy beauty, all warm Rhodes and strings. Majestic stuff that puts an aural arm around you. The climactic “Having Fun” rides a pulsating, bass-heavy drum break with snatches of a funky guitar refrain, some luxurious keys, sweeping strings and triumphant horns. Sensational.

Montreal duo Flabbergast—aka Guillaume Coutu Dumont and Vincent Lemieux—return to Circus Company, the label where it all began with their debut EP in 2015. Now seasoned veterans of leftfield club experimentation, they deliver Weirdo Active, a two-track vinyl release that distills their signature
blend of groove, absurdity, and refined weirdness.
On the A-side, “Timecrowave” is a swung, syncopated burner built around fragmented drum programming, warbled synth textures, and subtly detuned atmospheres. It's a tool that thrives in the inbetween moments of a set—unpredictable yet fluid.
On the B-side “Serpentoute,” a slinky groove laced with dubwise processing and modular squelch, maintaining tension through micro-edits and playful FX. Perfect for after-hours transitions or more openminded floors.
Following standout releases on Yoyaku, Copier/Coller, and Chapelle XVI, Flabbergast continue to offer up dance music that’s deeply heady, subtly unhinged, and always full of intent. A finely sculpted dose of dancefloor surrealism—just the way Flabbergast likes it.

Big one from Milanese maestro Inner Lakes. Hell-bent on making 2025 his year, the Kalahari debutant maintains form and momentum with the latest in a flurry of vital releases.

A meticulously-crafted 4-tracker imbued with menace and urgent, late nite throb, it’s precisely the spiralling, nocturnal kinda style that has become his hallmark. Streetwise, upfront and packing a sizeable amount of f*ck-off NRG.

Expect noirish, night-stalking rave suspense and hardware-fuelled, high-velocity torque. Best heard in the company of shadow-dwelling spectres, or perhaps, at the event horizon of a black hole.

DJ tools reveal greater depth and nuance upon closer inspection, and disembodied vocals lure inquisitive ears deep into the dream state. Finely measured throughout, it’s a masterful balance between functionality and full-blown dancefloor immersion, all courtesy of a fella at the top of his game.

Written and Produced by Inner Lakes.
Mastered and cut by Kassian Troyer at Dubplates & Mastering.
Distributed by One Eye Witness.
Artwork by S.O.N.S

A1 - The Moon On The Moors
ASC opens the EP with a distinctive, purposeful and dancefloor-friendly piece, driven by an intensely memorable drum pattern that will have your head nodding instantly - that's before the deep, earthy room-filling bassline quakes below. Filtered metallic breakbeats join the mix periodically along with string melodies and a plethora of sci-fi effects and classic micro samples. Absolutely essential stuff from the atmospheric wizard that is ASC.

A2 - Persuasion
A measured approach introduces Persuasion, with light hats and a subtle bleepy melody gradually pulling us toward a stunningly crisp slice of breakbeat heaven. Impossibly detailed rapidfire snares dominate the mix with incredible clarity that just has to be heard to be believed. Light bongos and airy synthwork nestle beautifully alongside trademark old school high pitched female vocal hits to cap off another stunner.

AA1 - Time and Again
Setting the tone immediately with thunderous, deep Hot Pants breaks - finely crafted as ever - Time and Again sees ASC explore an other-worldly setting with an uneasy intrigue to the echoing keys, while rousing strings provide a suitably nervy backdrop to the mix. A mellow yet tense breakdown is quickly nudged aside with the crunching breaks and darkly bassline, while echoed vocal hits add further texture.

AA2 - Severance
A wonderfully old school slice of breakbeat action quickly unfolds as Severance sees ASC playfully experiment with varied break patterns riddled with delicious little details you will pick out with each repeated listen. Sublime intent is present throughout with a heavy undertone bassline, not to mention the excellent sampled quote from the show of the same name - eventually we all have to accept reality. If this is our reality, bring it on.

Words by Chris Hayes (Spatial / Red Mist)

A remarkable release in John Lee Hooker's vast catalogue, Folk Blues, released by the Crown label in 1962, puts together tracks originally recorded for Modern Records between 1951 and 1954.

Among its many highlights are Bad Boy, one of the finest examples of Hooker's wordless humming and singing in unison with his guitar figures, and Rock House Boogie, which offers a sampling of Hooker's use of bottleneck style.

"Essential in any collection of postwar blues." - ***** Downbeat:






f A6. I Need Love So Bad Solo Version







[n] B6. I Need Love So Bad [Group Version]






[f] A6. I Need Love So Bad [Solo Version]







[n] B6. I Need Love So Bad [Group Version]






[f] A6 | I Need Love So Bad [Solo Version]







[n] B6 | I Need Love So Bad [Group Version]

Experience the magic of a timeless classic reborn: this exclusive 7" vinyl features a brand-new remake of the iconic "I Believe in Miracles", produced by French groove maestro MonsieurWilly and performed by the radiant soul vocalist Natalie Nova. With a perfect balance of vintage disco vibes and fresh production finesse, this release breathes new life into the legendary track, making it both nostalgic and clubready. Adding to its irresistible charm, the remake is infused with a Latin summerinspired rhythm—a driving, syncopated beat that designs the heartbeat of Latin music. Ment to be upbeat and danceable, the track incorporates percussive grooves, rhythmic guitars, and tasteful electronic elements to create a vibrant, sun-soaked atmosphere that feels right at home from beach bars to dancefloors. The collaboration between MonsieurWilly and Natalie Nova delivers a unique blend of soulful warmth, infectious energy, and rhythmic flair. Natalie Nova’s powerful vocals shine with emotion and style, while MonsieurWilly’s production wraps it all in a groove-heavy, analog-inspired soundscape. This 7" is pressed on high-quality vinyl and is ideal for collectors, DJs, and lovers of soul, disco, and feel-good summer anthems. Don't miss this limited edition release - proof that miracles still happen on wax.

Eternal Atake is the second studio album by Lil Uzi Vert and features a guest appearance from American singer Syd. The production was handled by Bobby Raps, Brandon Finessin, Bugz Ronin, Chief Keef, Oogie Mane, TM88, Wheezy, and more. The album was supported by the singles "Futsal Shuffle 2020" and "That Way", which later appeared as the album's bonus tracks. On release Eternal Atake received widespread acclaim from critics, debuting at number one on the US Billboard 200

- Originally released in 1993, 'The Brown Album' marked a significant evolution in Orbital's sound - and was met with widespread critical acclaim. NME awarded it 9/10 in their review, and it was chosen as one of Mixmag's best albums of all time.


- Standout track, "Halcyon + On + On", became an instant classic, known for its ethereal atmosphere and haunting vocal sample from Opus III's It's a Fine Day. The track's dreamy progression and uplifting yet melancholic tone made it a staple in film soundtracks and DJ sets, embodying the emotional depth electronic music could achieve. "Impact (The Earth Is Burning)" is another defining moment, an evolving journey of layered breakbeats and dynamic synth arrangements, reflecting the duo's ability to create both club-ready and introspective music. Meanwhile, "Lush 3-1" and "Lush 3-2" demonstrate Orbital's knack for crafting intricate, evolving grooves, balancing pulsating rhythms with melodic flourishes that keep the listener engaged.


- 'The Brown Album' 2LP reissue has been cut at half speed, to ensure maximum audio fidelity for this landmark release, and is the first time the album has been pressed on vinyl for over ten year

- The Brown Album' 2CD includes a 2nd disc of rarities, including the full 11:09 version of Halycon and the 13-minute Underworld mix of Lush.

Ten years, a compilation. It"s not a conclusion, nor a greatest hits. More like a pause, a moment to reflect - a look back to better move forward. Since 2015, Les Disques Bongo Joe have been navigating instinctively, yet with a compass all their own: a love for free-spirited sound, a curiosity for the undefined, and a clear idea of what a label can be - a space for listening, care, and invention. The compilation offers a journey - subjective, fluid, and unapologetic - through ten years of sonic activism. A selection of tracks drawn from the label"s corners and crevices: from early releases to recent ones, from essentials to rarities, from cult reissues to contemporary works that carry the label"s energy forward. The record flows between raw intensity and sonic finesse, between remastered archives and flashes of electronics, between fragile voices and hammered percussion.

432HERTZ BERLIN Returns With a Fierce Second Vinyl: “303rd Dimensions”

After the hypnotic depths of its debut release, 432HERTZ BERLIN surges back with a blistering six-track compilation crafted for the more daring corners of the dancefloor.
“303rd Dimensions” is a raw and relentless journey through acid-laced techno and electro, where analog grit meets mind-expanding energy.

The label continues to push boundaries, cementing its place in Berlin’s underground with a second release that’s as functional as it is uncompromising.

Side A: Acid Pressure and Dancefloor Dynamics

• A1: Cognitive Dissonance – Dan Piu
An acid-drenched techno voyage from Dan Piu, where 90s-inspired psycho vocals intertwine with layered pads and driving TB-303 lines. Tension builds, reality blurs.

• A2: Reverse – Rinaldo Makaj
Rinaldo Makaj delivers a raw analog workout with “Reverse”: pounding drums, sizzling acid riffs, and sensual vocal snippets collide in a late-night warehouse ritual.

• A3: TAR 1000 – Electric City
A full-throttle electro weapon — massive analog sound design, laser-sharp grooves, and pure machine funk engineered for peak-time destruction.


Side B: Acid Tension and Mind Games

• B1: Drop The Bass – Gela
Obscure, elegant, and acid-infused — Gela crafts a stripped-back electro trip that hypnotizes dancers with subtle menace and percussive clarity.

• B2: Pressure – Mathii
Mystical vocals echo through a lattice of electro arpeggios, as Mathii channels tension and atmosphere into a slow-burning, magnetic groove.

• B3: Functionality – Gianluca Pellerano
A masterclass in minimal effectiveness — Gianluca Pellerano’s contribution is pure dancefloor utility, built with MPS precision, rhythmic control, and vocal finesse.

A Testament to Underground Electronic Music

Curated by Rinaldo Makaj, 432HERTZ BERLIN's second vinyl release is a powerful testament to the boundless creativity and diversity of underground electronic music.

Minnesota-born, L.A.-based musician, mastering engineer, and co-founder of the Jungle Gym label Jared Carrigan records solo and in collaboration under a web of guises: V. Kristoff, Congo River Club House, Freaks of Nature, Easy Rider, Lac Seul, Las Cuevas, M.M.C.J., Scout Island, Twin Lakes. Of these, René Najera is his longest running and most liquid. One decade after the project's 2015 debut (as Jungle Gym's inaugural release, JG01), he presents his first vinyl full-length.

Painted Life took shape from the seeds of a 2023 set prepared for a string of shows in Japan. Elements were later remixed, finessed, and expanded by a cast of inner circle collaborators: Leech, Tile Plazas, Precipitation, Maria Minerva. Carrigan calls the album a “memory book” – each track a snapshot of cities and sessions, filtered through a fusion of club smoke, mood house, psychic acid, and sunrise electronica. It's music of movement and discovery, celebratory and semi-improvised, chasing the pure essence of fleeting moments.

JTQ Return to Acid Jazz… At the very birth of Acid Jazz there was the James Taylor Quartet. Hammond player extraordinaire James Taylor was fresh from the split of The Prisoners when he recorded Herbie Hancock’s ‘Theme From Blow Up’ and signed with Eddie Piller’s Re-Elect The President label, the precursor of Acid Jazz. Then, in 1993, after albums for Polydor and Big Life, Acid Jazz and James hooked up again and released ‘In The Hand Of The Inevitable’, for many the finest JTQ album. In March this year James found himself backstage at the Royal Albert Hall - The Brand New Heavies were about to take the stage - with Acid Jazz’s Eddie Piller and Dean Rudland and a plot was hatched... James returns to the label with this brand new 7-inch single: ‘Wildflower’ b/w ‘Guiding Light’.

The A-side is Bossa-nova tinged slice of sunshine pop featuring James’ vocals. It sounds like an old private-press 45, unearthed in a dank warehouse basement in Oregon, and is another JTQ classic. The flip takes us into jazz funk territory. Presented in a one-o^ version of the latest Acid Jazz house-bag, with classic labels.

“BIR004 – Ultranoise – Circuit Breaker” is a bold and exhilarating five-track statement from Believe In Records, placing Ultranoise firmly at the forefront of forward-thinking electro. Fusing raw textures, heavy low-end pressure, and meticulous programming, the release channels the spirit of industrial and grunge aesthetics—reimagined through a sleek, modern electronic lens.

A1. “Thread Execution Failed” kicks off with urgent glitch-laced detail, instantly gripping the listener.
A2. “Operator Activated” follows with tight, kinetic rhythms and metallic flourishes, blending mechanical precision with creative unpredictability.
A3. “Rebel Code Injection” delivers a concentrated blast of sonic attitude—disruptive in all the right ways.

The B-side expands the scope.
B1. “Transmission Line Corrupted” plunges into a darker, immersive landscape, balancing tension and groove with finesse.
B2. “db Unit Assembly” closes the EP on a richly layered, atmospheric note—anchored in rhythm but open to abstraction.

Energetic, suspenseful, and sharply crafted, Circuit Breaker is more than a genre exercise—it’s a high-impact, high-integrity release for adventurous selectors and deep listeners alike. Each track carves out its own moment, built to move both the floor and the mind.


Believe In Records is a division of MixCult Records

Limited edition

raum…musik welcomes Italian producer Santos for his debut on the label with Human Factor EP — a versatile four-tracker blending tech house, deep house, minimal, and acid, crafted with the finesse of someone two decades deep in the game.

The EP opens with “Some We Are,” a deep acid house track driven by a steady groove, bubbling 303s, and teasing vocal snippets. Atmospheric pads and warm chords emerge as the track evolves, balancing dancefloor function with rich detail.
“Paragonal” shifts gears with sampled breaks and emotional synth stabs layered over a 4x4 pulse. Hazy vocals and spacey effects give it a bright, euphoric edge while keeping it floor-ready.

On the B-side, “Done Everyday” leans into swing-heavy deep house territory. Shuffled hats, micro-programmed percussion, and a solid sub-bass glue everything together — minimal house with punch and precision.
“Kink In Me” closes the record with a more experimental mood. Sparse and hypnotic at first, it patiently unfolds into a deep, quirky, and rhythmically rich groover of jazzy chords and dubby textures.

With Human Factor EP, Santos delivers a polished and dynamic record that speaks to seasoned diggers and fast-moving dance floors alike. raum…musik continues its tradition of top-shelf, club-focused curation with this timeless release.

With two critically acclaimed compilations already under his belt, DJ / collector miche returns to Mr Bongo with the third instalment of his With Love series. Testament to his ever-expanding taste, Volume 3 isn’t just a subs bench call-up from the past compilations, it’s an evolution and progression casting the net deeper and wider than before.

Keeping true to the series, but with some fresh surprises along the way, this carefully curated compilation is a celebration of soulful, independently released music from across the globe, and the amazing (often unsung) musicians and vocalists that made these sublime records.

Across the third volume, miche explores a jazzier side of his tastes. “The deeper I went, the more I found myself gravitating towards jazzier music - not leaving soul behind, but following that same feeling into new territory”, he explains. Tracks like the gliding jazz funk found on Late Nite Music Band’s ‘Sundance’, or the glorious jazz-soul number ‘In Flight’ by Spectrym are shining examples of this.

That defining soulful thread of previous volumes is still in full effect throughout this latest edition. “There’s a healthy dose of impossible-to-find soul gems that have that unmistakable, heartwarming feel. Tracks like John Simmons' 'Ain't Nothing Like The Love', which I've adored ever since Zaf Love Vinyl played it, sit perfectly alongside records like Le Cop and New Way”, states miche.

The addition of some top-tier Turkish music showcases another side to his ever-broadening taste. Nükhet Ruacan's 'Gölge' is something unique, a floaty Brazilian-inspired gem recorded in Turkey and not what you’d typically expect from Turkish records of this era. 

It also wouldn’t feel right to leave out a stop in Brazil, with miche looking to the work of Carlos Bivar whose track 'Amargo Amar' carries that undeniable groove of samba-funk from Rio.

Spreading the With Love message far and wide the series has led to miche DJing across the globe, “from batucada sessions in Timisoara, to all-night sets in a club in Beijing, and even an eight-hour Root Down With Love stage takeover at We Out Here festival, joined by Danilo Plessow, Jeremy Underground, and of course, my mentor and buddy Rainer Trüby.”

Volume 3 then, carries that message even further. It’s an eclectic but intentional collection, built for the music lover who wants to discover something new. Working just as well as a soundtrack to cook dinner to, as it does keeping a packed dancefloor moving into the small hours.

The 7:45s are an original soul collective from Manchester, UK – the brainchild of songwriter and bassist Sam Flynn. Inspired by the house bands of soul labels from Motown to Big Crown, the young collective spotlights guest vocalists such as Martin Connor and Nicole Battick. Named after 7-inch vinyl, The 7:45s write snappy singles that blend the vintage feel of rare groove with the songcraft of perfect pop.The 7:45s have been played on BBC Radio 6 Music by Craig Charles, Stuart Maconie and Chris Hawkins and on Jazz FM by Simon Phillips.

A concept album for the soul, Spinning is a retro-soul love story. Side A is sunshine soul about the dizziness of an on-off relationship, as heard in the Charles Bradley-inspired opener 'The Way That I Love You'. Side B is nocturnal. Head-spinning heartbreak is the subject of rare groove-influenced 'The Writing's on the Wall' while dancing to a new dawn is the theme of Prince-inspired disco number 'We Will Be Friends'. The album also features a reimagination of The Beatles' 'Don't Let Me Down'.

Wax Digits hits release number five with a tight and tidy two-tracker from the late veteran Robert Ouimet who passed a couple of years ago. Before then he cooked up these gems with his pal and production partner Dave Godin. They are being released as a tribute to the memory of Ouimet and a fine one they are too. 'Plenty' has a raw groove and big chords with jangling guitars adding hints of melancholy that counter the big stabs. Soulful vocals are a great finishing touch then 'Funky Together' is more loose and strident with big horns leading the way under psyched-out chords. Two quality party starters.