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Zuerst das Wichtigste: Ja, Your Day Will Come an, das zweite Album von Chanel Beads trägt denselben Namen wie sein Debüt aus dem Jahr 2024. Aber es handelt sich um ein völlig neues Werk, nicht um einen zweiten Teil oder eine Neuauflage. Der Titel des neuen Albums ist derselbe wie der des Vorgängers - eine perfekte Zusammenfassung der Zweideutigkeit von Chanel Beads: zu gleichen Teilen ein augenzwinkernder Scherz und eine zutiefst ernste Aussage. Während sich die Songs entwickelten, entdeckte Lavers, dass der Satz eine tiefere Nuance hatte und eine Spannung zwischen Gewissheit und Zweifel hervorrief, die seine Psyche beschäftigte. Wird dein Tag kommen? Wie wird er sein? Wie kannst du dir sicher sein? Während er das Album schrieb, hatten Lavers' Gedanken mehr Raum, um in seinem Kopf herumzuschwirren und sich zu verdrehen, und er fühlte sich oft abgestumpft von einer Welt, die sich absurd grausam anfühlen kann. Die zweite Inkarnation von Your Day Will Come dokumentiert eine klangliche Verschiebung und Weiterentwicklung des Chanel-Beads-Sounds. Dieses Mal ist alles stärker geschichtet, mit mehr eigenständigen Parts und Mitwirkenden. Es entstand in seinem kleinen, spärlich eingerichteten Studio in Brooklyn, wo die Lautsprecher so nah an seinem Gesicht standen, dass er bei jedem Schlag der Bassdrum die Luftwelle spüren konnte. Geiger Zachary Paul tritt präsenter in Erscheinung, während Lavers weiterhin mit der semiotischen Bedeutung von Plug-ins spielt. Auch die ätherische Stimme von Maya McGrory ist erneut auf dem Album zu hören; sie schrieb zudem am majestätischen ,Silver Cup" mit. Die 14 Songs sind ausgearbeiteter und strukturierter - Ergebnis eines kollaborativeren Ansatzes, der Spontaneität und Unvollkommenheit bewusst zulässt. Er folgt der Devise "Wenn es funktioniert, lass es so", nimmt einfach mit dem Mikrofon auf, das gerade zur Hand ist, und baut den Song auf dieser Aufnahme auf. Aus lockeren Treffen ergaben sich Beiträge von Freund*innen wie Tchad Cousins (Urika's Bedroom), Mari Maurice (More Eaze), Anastasia Coope und Bella Litsa. "Dust in the Wind" entstand gemeinsam mit Isaac Eiger von Strange Ranger und Threshold und markiert die erste Co-Autorenschaft außerhalb des Kerntrios aus Lavers, McGrory und Paul. Lavers' fragmentierte Texte sind voller offener Fragen. Er war besonders von der Koexistenz von Nihilismus und Liebe eingenommen und sagte: "Es fühlt sich an, als müsste das eine das andere auslöschen, aber das tut es nicht." Emotionale Sublimierung steht im Mittelpunkt von Chanel Beads, als könne man etwas so fest umklammern, dass es transzendent wird. Your Day Will Come nutzt Traumlogik, um sich mit Liminalität und prekären Erinnerungen auseinanderzusetzen. Es ist geprägt von den Schatten bestimmter Verluste, aber auch davon, wie man sich selbst heimsuchen kann, indem man in alte Gewohnheiten zurückfällt.

Zuerst das Wichtigste: Ja, Your Day Will Come an, das zweite Album von Chanel Beads trägt denselben Namen wie sein Debüt aus dem Jahr 2024. Aber es handelt sich um ein völlig neues Werk, nicht um einen zweiten Teil oder eine Neuauflage. Der Titel des neuen Albums ist derselbe wie der des Vorgängers - eine perfekte Zusammenfassung der Zweideutigkeit von Chanel Beads: zu gleichen Teilen ein augenzwinkernder Scherz und eine zutiefst ernste Aussage. Während sich die Songs entwickelten, entdeckte Lavers, dass der Satz eine tiefere Nuance hatte und eine Spannung zwischen Gewissheit und Zweifel hervorrief, die seine Psyche beschäftigte. Wird dein Tag kommen? Wie wird er sein? Wie kannst du dir sicher sein? Während er das Album schrieb, hatten Lavers' Gedanken mehr Raum, um in seinem Kopf herumzuschwirren und sich zu verdrehen, und er fühlte sich oft abgestumpft von einer Welt, die sich absurd grausam anfühlen kann. Die zweite Inkarnation von Your Day Will Come dokumentiert eine klangliche Verschiebung und Weiterentwicklung des Chanel-Beads-Sounds. Dieses Mal ist alles stärker geschichtet, mit mehr eigenständigen Parts und Mitwirkenden. Es entstand in seinem kleinen, spärlich eingerichteten Studio in Brooklyn, wo die Lautsprecher so nah an seinem Gesicht standen, dass er bei jedem Schlag der Bassdrum die Luftwelle spüren konnte. Geiger Zachary Paul tritt präsenter in Erscheinung, während Lavers weiterhin mit der semiotischen Bedeutung von Plug-ins spielt. Auch die ätherische Stimme von Maya McGrory ist erneut auf dem Album zu hören; sie schrieb zudem am majestätischen ,Silver Cup" mit. Die 14 Songs sind ausgearbeiteter und strukturierter - Ergebnis eines kollaborativeren Ansatzes, der Spontaneität und Unvollkommenheit bewusst zulässt. Er folgt der Devise "Wenn es funktioniert, lass es so", nimmt einfach mit dem Mikrofon auf, das gerade zur Hand ist, und baut den Song auf dieser Aufnahme auf. Aus lockeren Treffen ergaben sich Beiträge von Freund*innen wie Tchad Cousins (Urika's Bedroom), Mari Maurice (More Eaze), Anastasia Coope und Bella Litsa. "Dust in the Wind" entstand gemeinsam mit Isaac Eiger von Strange Ranger und Threshold und markiert die erste Co-Autorenschaft außerhalb des Kerntrios aus Lavers, McGrory und Paul. Lavers' fragmentierte Texte sind voller offener Fragen. Er war besonders von der Koexistenz von Nihilismus und Liebe eingenommen und sagte: "Es fühlt sich an, als müsste das eine das andere auslöschen, aber das tut es nicht." Emotionale Sublimierung steht im Mittelpunkt von Chanel Beads, als könne man etwas so fest umklammern, dass es transzendent wird. Your Day Will Come nutzt Traumlogik, um sich mit Liminalität und prekären Erinnerungen auseinanderzusetzen. Es ist geprägt von den Schatten bestimmter Verluste, aber auch davon, wie man sich selbst heimsuchen kann, indem man in alte Gewohnheiten zurückfällt.

Jimpster delivered some great releases in 2023, most notably his Natural Child collab EP with Crackazat as well as his Tribute EP featuring South African vocalist Mavhungu and including heavy Osunlade remixes. He also produced some of his best remixes to date including Thakzin’s Don’t Let Me See, Blaze’s Wonderland and Detroit Rising’s Rocket Love.

It’s always a good day to announce a new Jimpster EP on Freerange and with two captivating originals plus a stunning Atjazz remix you’re in for a treat! You’re My Ecstasy sets the tone with Jimpster’s trademark deep Rhodes pads, punchy bassline and shuffling classic house drum groove. He once again manages to strike a great balance between soulful, musical, warm and just a touch moody.

Next up we have The Passion which builds a deep and jazzy mood around a 4 bar piano progression whilst the sampled interviewee gives his insight into how he maintains his passion for music. London based trumpet player KingCrowney adds some lovely horn parts, emphasising the jazz feel to compliment the spoken word.

Atjazz gets well and truly stuck in on his remix of The Passion. Reportedly completed in just two studio sessions the hardest working man in deep house (as Jimpster calls him) brings his well-loved deft touch introducing an beautifully syncopated bassline and classic Atjazz drums making for a clubby interpretation for the deep, discerning dance floors.

Techno House Connoisseurs are back with their 8th release by Bay Area producer Tranquil Elephantizer. This 3 track ep covers all the bases with equal parts tribal and acid culminating into that West coast sound you have come to love and miss. The A side starts off with the Silverwind Mix....deepish house music with flutes and mood for days teasing and drifting with tight percussion keeping the track grounded yet still dreamy. Long winded but in the best way. The 2nd track on side A is the Brother Lee Love mix which has a similar vibe but transitions into layers of crisp and subtle 303 acid lines all throughout. Wonderful end of night or middle of set escapism for side A. Side B has a lone track titled 5 Strobes mix that will get yours and the dance floor's attention. Panning and hypnotic with skipping percussion and spoken word....truly psychedelic west coast vibed out acid house.

Random ReVINYL Edition. Black Mountain, the front-line soldiers for the Black Mountain Army, an arts collective from Vancouver, British Columbia, write, perform and record music that speaks (and sings) to this realization: that solutions are rarely simple, that the world is as complex as it is ambiguous, and that music sprinkled with an inoculating dose of madness may well be the Pied Piper that takes us all back into the primordial mountain, where our hearts can be made steady and our minds can be set free. Their debut self-titled record, like a space probe built of erector set parts and transmitting secret and arcane messages to earth by string, charts territories unknown yet remains grounded by the roots of classic rock and roll. It is easy to discern these roots: Black Sabbath, Animals-era Pink Floyd, Blue Cheer, Led Zeppelin and Can. Principal songwriter Stephen McBean's vocals are a smoother, bluesier amalgam of the voices of Neil Young, Mick Jagger and perhaps a James Brown loaded on cough syrup. And when Amber Webber's voice joins Stephen's, the combination brings to mind the potency and chemistry of Richard and Linda Thompson singing together on Shoot Out The Lights, or of Meat Loaf and Ellen Foley howling together on Bat Out Of Hell. Musical comparisons aside, the Black Mountain full-length is one part protest song, one part pop-cultural commentary, and one part sick-groove-rock casserole peppered with mesmerizing ballads and intoxicating ditties. "Modern Music" is the lead-off hitter and counts its way to the imposing and riff-rife "Don't Run Our Hearts Around". Immediately thereafter, the sludge-rock masterpiece "Druganaut" establishes the fecund heart and tone of the record. Black Mountain have also just recently released a 12-inch single (on Jagjaguwar), including an extended mix of "Druganaut" on the A-side. And the band's currently sexploitative counterpart The Pink Mountaintops, a band that also pipes into the prolific well-spring of Stephen McBean's mind, released their self-titled debut record (on Jagjaguwar as well) this past summer. A video by Heather Trawick of the song "Druganaut" is included on the CD version of the Black Mountain self-titled record.

Smallville is happy to welcome Axel Fischer aka El Kazed to the family, proudly presenting his very own SXB Deep Tales, hitting the stores worldwide in May 2026 as Part 1 & 2. El Kazed is a DJ & producer from Strasbourg, France. Together with a group of like-minded friends, he is running Ordinaire Records– a vinyl imprint fully dedicated to House music. The collective is throwing parties and a festival, building an underground house community in the heart of the Alsace Region.
Next to releases on his own imprint, El Kazed also appeared on Chez Damiers' „House Of Chez“ label, contributing a track to catalogue number 01, as well as releasing on Brawther's Interweaved label. On SXB Deep Tales, he delivers 8 amazing tracks, stretched onto two 12“ parts, containing all the quintessentials of house music, driving cuts next to deepest shades, solo work as well as collaborations with friends- the result is magical.
Full cover artwork from Stefan Marx – don't miss Part 2 of the series.

The original mix of one of the biggest ever rave-classics is on this 12”-record. And that’s not all, Mr Sam made a massive remix of one of the most groundbreaking EDM-tunes of all times.

Belgian/French DJ-producer Mr Sam turned this amazing classic in a massive peaktime trance-gem for the future. Using the iconic parts of the 1991 original and adding the well-know futuretrance sound that made him famous.

"Melodic, dreamy bedroom pop with a nostalgic sheen" is how Tom Davies, creator of brand new dream-pop artist Flopsy's dream, describes this charming little album.
Some of you may know him as GeoWizard; the mad British adventurer/YouTuber who travels in straight lines, but here you get to see or indeed hear a completely different side to him - one that sings in soft, tuneful tones reminiscent of Damon Albarn or Ray Davies, builds ethereal, layered harmonies that wouldn't sound out of place on a Fleet Foxes track, and crafts gorgeous guitar and synth parts that could easily have come straight out of John Frusciante or Kevin Parker's handbook.
Written in a young Davies's bedroom between the years of 2008 and 2014, the songs themselves are far from brand new, but with the help of his good friend and writing partner Liam Rhodes (with whom he played in Birmingham Psychedelic outfit "Kinds of light"), Davies has brought these sentimental tracks to life whilst keeping them bang in line with their original vision.
The result is an album that doesn't really fit into any specific genre, in fact you could argue it's just regular old generic pop, but there's an innocence and a playfulness in there that disarms the listener and transports them to a simpler time when melody ruled supreme.

Back in 2022, Is It Balearic? Recordings founders Coyote (AKA long-serving producers Richard Hampson aka Ampo and Timm Sure) took time out from releasing music on their own labels to deliver a near perfect mini-album on Phil Cooper’s similarly mind-ed NuNorthern Soul imprint, Everything Moves, Nothing Rests.

A superb exploration of their trademark sound, where gentle downtempo rhythms and nods to dub came cloaked in colourful ambient chords, sun-bright melodic motifs, organic instrumenta-tion and quirky spoken word samples, Everything Moves, Nothing Rests deserved a sequel. So, three and a half years on, the duo has delivered just that: a fine six-track EP that offers an even deeper and more atmospheric exploration of their signature sound.

It is a sonic approach that should now be familiar to Balearic en-thusiasts the world over. Aside from delivering a steady stream of singles, albums and remixes on their own imprint, Hampson and Sure have also showcased their skills and loved-up musical mis-sives on International Feel, Music For Dreams, Needwant, MM Discos and Citizens of Vice.

The Higher The Sky, The Deeper The Ocean, their hotly anticipated NuNorthern Soul return, is named in honour of a quote from Ped-ro Alonso’s documentary series On the Ship of Enchantment, an extended voyage in which the Money Heist movie star meets healers and masters of ancestral medicine across his native Mexi-co.

There’s naturally a meditative and slightly psychedelic sound to much of The Higher The Sky, The Deeper The Ocean, which offers a subtly varied exploration of Coyote’s style and influence. Yearning, soft-focus opener ‘Muted Beauty’ – the kind of immersive, effects-laden and sample-sporting ambient bliss found nestling on Fila Brazillia albums of the mid 1990s – is followed by the similarly gentle ‘Go All The Way’, where delay-laden acoustic guitars, spo-ken word snippets and gaseous chords stretch out atop a languid, slow-motion groove.

‘A Drop in the Ocean’ picks up the pace a little via a glorious hat-tip to turn of the 90s ambient house – all dub-wise bass, heady deep house sonics, spaced-out chords and half-buried references to sunrise-ready Balearic synth-pop records of the late 1980s. Late psychedelic guru Terrence McKenna appears in sampled form on ‘Dolce Far Niente’, a tabla-driven drift and musical hallucination which conjures mental images of lying in the Mexican desert, gazing intently at a starry sky.

In contrast, ‘Riviera Sound’ is a chunkier, brighter and more sun-splashed affair – all deep, dubby bass, sustained piano parts, punchy downtempo breaks and the duo’s trademark ambient pads – while superb closing cut ‘No Coincidences’ fixes jazzy double bass samples, twinkling keyboard motifs, subtle acid lines and Latin-laced percussion to a street soul-adjacent beat.

Heady, impeccably crafted and thoroughly enveloping, The Higher The Sky, The Deeper The Ocean is Coyote at their dazzling best. It marks another significant chapter in their ever-evolving musical journey.

Hotflush label boss Paul Rose aka Scuba returns with a vinyl-only EP for Record Store Day UK 2026.

‘Petrology’ covers the widest stylistic range of Scuba productions, and hints at the breadth and variety of atmospherics found on his last full studio album, ’Claustrophobia’, all the way back in 2015.
Opening track ‘Homing Device’ sets a brutal tone which gives way to the shimmering techno of ‘Puppets’. Side A is closed out by the title track, a dual-parted excursion into ambience and overdriven percussion.

Side B consists of the three parts of ‘Tío’. The extended track opens with DnB inflections, gradually unfolding into deep dub structures and finally resolving into abstract rhythm and melody.

‘Petrology’ is presented as a strictly limited press on transparent blue vinyl.

Complete Body Talk ist die definitive Vinyl-Kompilation von Robyns bahnbrechender Body Talk-Trilogie. Persönlich von Robyn kuratiert, vereint dieses 2LP-Set Body Talk Parts 1, 2 und 3 zu einer durchgehenden Sammlung und enthält Fan-Favoriten wie Dancing On My Own, Call Your Girlfriend, Hang With Me und mehr. Gepresst auf Coke-Bottle-Vinyl, befindet sich das Set in einer hochwertigen Hülle mit silbermetallischem, reflektierendem Frontcover. Ein komplettes und ikonisches Package, das eines der einflussreichsten Pop-Albumprojekte der modernen Musik feiert.

This release is an act of breaking out of conventional categories for Seismic records. Established boundaries of genres are completely dissolved into an unpredictable flow of sonic associations. It’s an unexpected collaboration, yet it makes perfect sense from the first kick. Two artists from seemingly opposite ends of the musical universe come together to create a project which fearlessly embarks on the synthesis of hypnotic trance-techno and utter sonic chaos. This project is anything but predictable.

The duality is noticeable from the very first moment. One side brings relentless movement forward in the project: a raw, hypnotic pulse based on rhythm and precision, locking the listener in the present moment and not letting go. Unpredictable textures and psychedelic ornaments are constantly weaving through the rhythmic framework.

A dedicated listener may recognize that the whole EP carries the legacy of David Lynch’s work. The sense of peculiar uneasiness and indecipherability, overridden by the desire to find out what comes next, are exactly what the artists manage to capture and what is so characteristic of Lynch himself. At one point, the EP even reveals a moment as if a red curtain parts in the depths of the track and the listener momentarily catches echoes from the town where owls are not what they seem. Hidden within is a playful nod to the iconic Twin Peaks soundtrack.

Delivering the second sermon in their Disco Gospel series, Chicago’s Sadar Bahar & Marc Davis hand-pick and re-edit two more under-the-radar disco/gospel fusion tracks for the modern dancefloor.

Both revered selectors and producers, Marc and Sadar are integral parts of Chicago's underground music scene, sharing the city’s spirit with the world. Through his own label, Black Pegasus, and the Chi Talo series, Marc has become an in-demand DJ known for his raw and eclectic sets. He joins forces with good friend, DJ’s DJ and Soul In The Hole head Sadar Bahar, whose name regularly tops the bill at some of the finest clubs and festivals around the globe.

Digging deep once again, the pair serve up two certified secret weapons from their renowned collections. Finding that sweet spot that drew out the most uplifting, powerful, and danceable elements of both gospel and disco, they shine a light on two beauties from Myrna Summers and also The Yancy Family. Tweaked and re-edited with style and consideration, they re-work the tracks with DJs and dancers in mind.

As Robert M. Marovich of Journal of Gospel Music puts it, “The rise of contemporary gospel music in the 1970s and 1980s changed the style, if not the substance, of Black sacred music. Artists, including the Yancy Family and Myrna Summers, worked within the groovy new sound to attract the attention of a generation growing up on rock, jazz, pop, and soul. Bring them into the church through the music, the maxim goes, and they’ll stay for the sermon. Likewise, these two re-edited album tracks by Sadar Bahar and Marc Davis keep the gospel music heritage alive while encouraging a brand-new generation to dance through the church doors.”

Up first, Myrna Summers ‘So Much to Live For’ channels that straight from the heart passion and collective joy that gospel embodies. Bursting with uplifting lyrics, scintillating organ melodies, and an infectious sing-along spirit, Marc and Sadar give it a club-ready DJ edit, extending it for maximum dancefloor deliverance.

The B side sees the duo work their magic on, ‘Lifted Me Higher’. Written by Kevin Yancy and taken from the Yancy Family’s 1989 album From One Christian Family to Another, it features vocals from siblings Kevin, Judy, and Rev. Darryl Yancy, along with Lois Scott. The all-star team of Chicago musicians includes Sherwin (Butch) Yancy on organ, Michael Wade on piano and synthesizer, and Richard Gibbs (longtime accompanist for Aretha Franklin) on piano and bass. With a soulful boogie flavour, dripping in slap bass and ‘80s synthlines, Marc and Sadar rework the intro so it rides out on a section of delectable instrumental grooves, before letting the glorious vocals hit home.

Nia Archives returns with Emotional Junglist, an album about love – but not just the shimmering romantic parts. Written throughout 2025 – a year that saw Nia fall in, and horrifically back out of, love – each track will encompass something of the experience.

Marking her biggest sonic leap to date, her alt-jungle sound honed alongside James Ford (Arctic Monkey’s, Blur), Ethan P. Flynn (FKA Twigs, David Byrne) and Julia Michaels (Lady Gaga, Sabrina Carpenter), will see her flirt with everything from dewy-eyed indie pop and nineties electronica, underscored by the syncopated beats and thudding basslines of her jungle roots with a tracklist that features Jorja Smith and Sampha.

The motif for the album is a shell – tough on the outside, but through pressure, maturation and resilience, something precious is built within. Nodding to the female form, the spiral chamber also symbolizes growth and self-development.

Luca Lozano returns with “Bop (Rad Feeling)”, Released on Southern Fried Records, the track channels Lozano’s love for classic UK club culture through punchy drums, elastic basslines, and infectious vocal hooks that feel equal parts playful and euphoric.

With this release, Luca Lozano once again showcases his ability to blur the lines between retro futurism and contemporary dance music, delivering a track that feels both familiar and fresh.

Berlin Based DJ & Producer Johannes Klingebiel returns to Claptrap with “Dolce” a four-track EP served sweet, rich, and ready for peak-time indulgence.

Three original cuts and a heavyweight remix combine for a release that’s equal parts playful and potent. Consider this your sugar rush warning.

The title track, “Dolce,” is a warm and irresistible disco-house groover. Creamy acoustic drums lay the foundation while spicy xylophones and syrupy flute lines weave through the mix, striking a perfect balance between sophistication and pure dancefloor pleasure. It’s smooth, infectious, and built to move bodies.

Next up, “Follow The Line” blends shuffled house rhythms with 303 basslines and grainy vocal stabs. On paper, it’s an unlikely combination, on the floor, it locks tight. The result is hypnotic, driving, and effortlessly smooth.

On the flip, “Pink Forest” ventures into more mysterious territory. Built around an elusive, shifting time signature (one that even jazz-trained drummer Johannes struggles to explain), the track somehow feels both unpredictable and deeply groovy. It bends perception without losing momentum, a heady but danceable excursion into the unknown.

Closing the EP, Sun Damage delivers a remix of “Follow The Line” that both sharpens and distorts the original’s trajectory. Chunkier, weightier, and slightly off-kilter, this rework injects a tougher edge while maintaining the track’s hypnotic core, primed for late-night floors and heavy systems.

“Dolce” is indulgent yet refined, a release that balances musicality with movement, sweetness with punch.
Consume responsibly.

Timm Sure & Richard Hampson should need no introduction.

Their output is prolific - with their own releases under the COYOTE moniker, as well as their work with other artists on their record label IS IT BALEARIC?

As huge fans of their work and label, we were flattered when they rang and expressed an interest in working with us. The product of this glorious new friendship is a truly exciting and unique sonic experience — one that is comprised of 7 proper tracks laced seamlessly together with African spoken word.

The word Nyabinghi (or Nyabingi) refers to a legendary woman of the Bahororo tribe of Uganda, whose name means "mother of abundance" or "the one who possesses many things" in the Mpororo language.

The 12 tracks of NYABINGHI ebb and flow between prose and melody, putting you into an almost trance like state - the sum of the parts at once meditative yet funky, evocative and spiritual, yet perfect to get people's feet moving at sunset.

2026 Repress

Chlar delivers his debut record for SHDW & Obscure Shapes' Mutual Rytm imprint.

Emerging as artist of note for both now and the future, Chlar continues to craft and shape his sound as he curates his own high-octane approach to techno. Combining dynamic performances taking in three and four deck mixes with his own up front productions and his talents as a former mastering engineer, the Swiss talent has become a respected name amongst his peers. After releases on Lobster Theremin and his own Bipolar Disorder imprint, the Berlin-based DJ, producer and label boss heads to SHDW & Obscure Shape's blooming label Mutual Rytm to deliver six precise and powerful cuts across his 'Optimized Groove' EP.

"As the names states, 'Optimized grooves' is a collection of tracks designed to match specific parts of the event/night. From 'Night Genesis' at the origin of the night through to tracks like 'Maximum Performance', a peak time bomb, and 'Spirit Enhancer' - an uplifting and warm production elevating individuals to higher labels after hours of spiritual connection'" - Chlar

Opener 'Early Morning Acceleration' sets the tone early and dives into a looping ride through slinking hats and bustling arrangements - combining classic influences with forward thinking touches to reveal a dynamic slice of techno. Next, 'Maximum Performance' fuses swelling low-ends, sharp percussion and vibrant leads, while 'Love Blaster' delivers an all out fiesta armed with rolling drums, sharp whistles and rich chords. On the flip, B1 'Night Genesis' sees hypnotic loopy vocals balanced by tough kicks and luminous synths, before 'Spirit Enhancer' showcases a soulful trip as resonant electronics work around the track's tunnelling groove. The digital EP comes with a bonus exclusive production in 'Synaptic Discussion', a euphoric and impactful closer which brings things to a close firmly in the peak time hours.

Chlar 'Optimized Grooves' drops via Mutual Rytm on 9th September 2022.

This 2026 reissue of Isolée’s 'Beau Mot Plage' revisits one of the most quietly influential tracks of early-2000s minimal techno and deep house.

Presenting a trio of reworks that stretch its sun-bleached elegance in different directions. Built around Isolée’s signature warm chords, skittering rhythms, and hypnotic restraint, 'Beau Mot Plage' remains a masterclass in subtle groove and emotional economy.

The A-side opens with the Heaven & Earth Re-Edit, Luke Solomon and Rob Mello's extended take that amplifies the track’s balearic glow while preserving its intimate pulse. This is followed by the Freeform Five vs Idjut Boys Beats version, which nudges the original toward a looser, club-ready feel, adding bounce and attitude without sacrificing its understated charm. On the B-side, Freeform Reform Parts I & II delivers a deeper, more exploratory reconstruction.

Reissue of a lost hit by the British composer Kevan Frost, now championed and given a brand-new Dub Mix by Mark Grusane. Up for pre-order now and due late-March on our RSS series!

Kevan Frost grew up in Jos, Nigeria where he became a self-taught musician and developed a deep understanding of rhythm and melody. In the 90's, Frost was a session musician for many studios in London, one of these was unable to pay him so they gave him a few free days in the studio and the result was "Give It Up" as he explains:

"I went in and recorded all the music in a day, and the vocals and mix on day two. This was the days of only having 24 tracks available on tape so I programmed the drums, bass and keyboard parts on C-Lab which was only available on the Atari computer and the samples I made on my Akai S-1000 sampler. Full of floppy disks I went in early on day one and printed all of this on tape. I then recorded the guitar parts. Day two was me layering the lead vocals and Backing vocal parts as quick as I could before starting to mix."

However, the track fell into obscurity with no major label backing or marketing budget. A friend of Mark Grusane’s came across it in Brooklyn at the African Record Centre and it eventually ended up in Mark's hands and from there he edited the original track to a more stripped-back dub mix and began playing it out to great effect on dancefloors.

After a bit of digging, we tracked down Kevan and a fully licensed reissue is due on Rush Hour in late March 2026, including a brand new ‘Dub Mix’ from Mark Grusane.

A label long synonymous with raw, off-centre electronics and uncompromising club tools, Bjarki’s bbbbbb recors welcomes a producer whose approach feels cut from the same cloth, London’s Henry Greenleaf. In an era where functionality often outweighs feeling, ‘Brawn’ is a record that doesn’t court approval; it insists on impact. Built for high-pressure systems and low ceilings, it channels force not as spectacle, but as design.

Greenleaf’s catalogue to date, spanning labels such as Par Avion, YUKU, and ARTS, sketches a restless trajectory between precision and collapse. His productions operate where rhythm becomes architecture: kicks land like poured concrete, subs buckle and flex beneath shifting percussive grids, and textures are stretched until they fray at the edges. Sound is treated as a physical material, layered and stress-tested, reshaped until the familiar mutates into something tactile and strange.

Across the EP, that philosophy takes full form. A1 ‘Brawn’ sets the tone with dense, piston-like drums and tightly coiled low-end pressure, balancing brute force with meticulous spatial control. ‘Jump Up To Be’ follows with a more fractured swing, percussive shards ricocheting across a framework that feels perpetually on the verge of rupture. On the flip, ‘Gawk’ strips things back to skeletal components, carving negative space between distorted pulses and menacing, warped rhythmic figures, before ‘UNTUNTUNT’ closes the record in driving fashion, delivering a raw, functional workout that reduces the groove to its bluntest, most hypnotic form.

True to the label’s ethos, ‘Brawn’ doesn’t chase trends or smooth its edges. It folds air and pressure into motion, pares club music down to its working parts, and leaves room for spontaneous chaos to erupt within the grid; moments where structure splinters, energy misbehaves, and control gives way just enough to keep things volatile. Engineered yet unpredictable, utilitarian yet unruly, the EP embodies the tension, unpredictability, and uniqueness that have long defined bbbbbb recors.

Somewhere long ago in a vinyl galaxy near you We Play House Recordings released an E.P. called ‘This Is Still Belgium Vol 1’. The release was called like that because the music on it could only have been made by Belgians. Vol 2 never happened…until now. Label boss Red D has always been inspired by the rich Belgian club music of the 90’s and inevitably those influences have sneaked into his own productions, but never as clear as on the three tracks you are reading about now.

And so the original WPH series has been revived with WPH 024.5, aptly called ‘This Is Still Belgium Vol 2’. The music is situated somewhere between house, progressive house and early trance music, basically club music with soul & melody at its core.

On the A-side we find Red D teaming up with his friend Mona Lee, a soul sister who has been making waves in recent years in soulful house circles and who comes up with the vocal prowess to match Red D’s emotional trip of a track and heartfelt lyrics. Can you handle the break?

The B-side opens up with ‘Tides’, a deep hypnotic builder for late night eyes-closed dance floors and closes with ‘Papillon’, a track that came to life long ago in the minds of Telepaticos (Marcos Salon & Sandro Valcke). When Red D heard a demo version of this one the melody got stuck in his head and never really left him. Many moons later he rediscovered the parts of this one on a hard drive and got to work on his interpretation that features on this E.P. Safe to say the track holds a special place in Red D’s heart and we’re sure you’ll feel it as well!

Singer-songwriter and multi-instrumentalist Son Little expands his musical palette on his upcoming album, Cityfolk. Blending elements of soul, folk, and blues, Son Little captures his signature sound along with expressive yet personal lyrics. Cityfolk is a reflection on love, loss, and finding peace in the chaos. It"s about holding on, letting go, and learning to breathe again when the world feels heavy. Born Aaron Earl Livingston to a preacher and a teacher in Los Angeles, Little"s collaborations with The Roots and RJD2 helped him make a name for himself in his adopted hometown of Philadelphia. Critics were quick to recognize the unique power of Little"s solo recordings, which stripped the past for parts that could be reconstituted into something wholly new and original. NPR hailed Little"s "impeccably crafted songs" as "honest and unpretentious," while The Independent proclaimed him "a formidable talent." Since then, his catalog has racked up over 250 million streams, and Little has toured with everyone from Leon Bridges and Kelis to Shakey Graves and Mumford & Sons alongside festival appearances at Bonnaroo, Newport Folk, and more. Never one to rest on his laurels, Little also earned a GRAMMYî for his work helming Mavis Staples" acclaimed "See That My Grave Is Kept Clean."

Detroit original, Terrence Dixon, returns to Tresor Records to kick off 2026 with ‘When Stars Remember’. Despite his thirty-year career, Terrence has always managed to keep a lower profile than his peers; he has given few interviews, preferring instead to speak through his music, with cryptic song titles hinting at the thoughts swirling around their creation.
However, ‘When Stars Remember’ finds him stepping forward. “I wanted to get closer to the dancefloor. I consciously made this one feel louder…made with Tresor specifically in mind.” And the EP does just that: whilst many of the hall marks of a Terrence Dixon production are present, the drums are more forward; the synth arpeggios so bold that ‘monumental’ seems a better descriptor than ‘minimal’.
“I put three or four sounds together on the same track, layering to make something bigger”, he says of opening track ‘Mono Collapse’, though the statement could apply to any of the music appearing on the release as all four pieces fold in sonics to create something hypnotic; more than the individual parts: “If you stick with the same layered tones, and repeat it over, after a while your brain changes it on its own; you hear a lot of things: things that you didn’t notice at first, things that maybe aren’t even there.”
The absence of things is another main theme of the EP, especially what Dixon sees as ‘The Forgotten’, a group of fundamental principles like common sense, trust, loyalty, honesty and respect that are missing from modern life. “This world is different…the love is gone. But I love everybody, man. I think, secretly, everybody love everybody, but they just don’t know it.”

Vintage Pleasure Boutique once again dives deep into the vast catalogue of super-productions by Roberto Zanetti, better known as Robyx and Savage. This time, the journey takes us back to 1984, unearthing a true gem created at the suggestion of Marco Bresciani, Italian DJ and producer, and the same creative force involved with Radiorama. Zanetti delivered flawlessly. He transformed the elegant, high-grade British synth-pop original by OMD into a first-class Italo disco weapon, infused with that unmistakable sweet, melodic touch and fat kick that blended perfectly in clubs alongside genre-defining tracks of the era. “Souvenir” by Saxophone quickly became a classic, a staple of the sound and a cornerstone in countless old-school DJ record bags.

Today, original copies are scarce, highly sought after, and often prohibitively expensive on the secondary market. This reissue is both a tribute to long-time fans of the record and a nod to devotees of Robyx’s unmistakable sound. The vinyl also features a special remix of “Souvenir”, sonically aligned with Savage classics such as “Radio,” “Fugitive,” “Only You,” and “Don’t Cry Tonight.”

A true feast for lovers of this timeless Italo disco aesthetic, equal parts nostalgia, elegance and dancefloor power.

The Bottazz! logbook continues.
With this second chapter, the journey leads us through long-lasting psychedelic suites, towards unexplored territories, between funk, cinematic hallucinations, and synth lashes.
The recipe remains the same:
Live recording, involvement, and interplay between the parts in a dialogue that is never predictable and courageously open to forbidden, and therefore even more ambitious, lengths.
A cathartic album in which to pleasantly lose yourself, only to find yourself different, changed, and at peace.
Enjoy the listening experience and happy browsing.

VA – BLIS002 is a four-track sonic journey into the heart of mood-driven dub techno, curated by BLACKINSTOCK with a focus on emotional depth, spatial exploration, and stripped-back intensity. Featuring contributions from Noosa Sound System, Mac Rattana, and Chain Selector, this EP weaves together atmospheric yet rhythmically commanding cuts—perfect for immersive listening and nuanced set-building.

A1. Noosa Sound System – Trope (Build 2) opens the record with melancholic elegance, where dub textures are sculpted with warmth and restraint, setting the tone for inward reflection. A2. Noosa Sound System – Allways Rains follows with a shadowy, slow-burning progression—equal parts heavy and hypnotic, layered with raw emotional weight that feels both intimate and expansive.

Flipping to the B-side, B1. Mac Rattana – Om introduces a more buoyant, acid-tinged energy. Its pulsing low end and fluid motion give it a meditative yet tactile quality—inviting movement while maintaining a contemplative core. Closing the EP, B2. Chain Selector – Techno Dub delivers a deep, cavernous excursion—dark, refined, and uncompromising in atmosphere. With its textured delays and mounting pressure, it stands as a statement piece for those who crave depth over flash.

At once bouncy, raw, and emotionally resonant, BLIS002 is crafted for listeners who embrace dub techno as a language of feeling and form. Deep, suspenseful, and sonically purposeful—this is a release designed not only for the club, but also for the introspective spaces between.

BLACKINSTOCK is a division of MixCult Records

Limited edition

Bézier ripples their way back to Dark Entries with Decompose, an LP of doomed spa music. Multi-instrumentalist Robert Yang has made numerous appearances on Dark Entries for more than a decade, with releases spanning the stylistic gamut from hi-NRG disco floor-fillers to lush ambient epics. Decompose, Bézier’s second LP, is perhaps his most introspective work yet. It is an album almost ten years in the making, a deep investigation of life, loss, and the struggle of knowing oneself. If one were to pull a tarot deck for this album it would be the Nine of Swords. The album honors the lives of the fallen victims of Pulse Nightclub. It honors lives lost or suffering through the ongoing genocide in Gaza. The title track takes the form of a Buddhist chant, a brooding synth-driven meditation that scales steadily until breaking into John Carpenter-esque arpeggios halfway through. Tracks like “Egg,” “Marionette,” and “A Fading Citadel Atop Black Sand Bluffs” build on this soundworld, one in which intricate melodies and cavernous reverb induce in the listener feelings of both claustrophobia and free-fall. The album’s dancefloor-leaning moments, like “Codebreaking” and “Split a Path Towards the Thicket” are spartan, tunnel-vision techno tracks speeding towards ego-death. Decompose chronicles Yang’s journey to find peace with himself, as a gay Asian American. During this process, they learned to “repot” long-lost parts of their identity so they could grow forth in wholesome fashion. The sleeve for Decompose was designed by Eloise Shir-Juen Leigh, and features a photograph by Frankie Casillo of Robert laying on a bed of rocks in savasana pose, resembling an ascetic, evocative of the monastic vibes of the record.

The union of Antwerp synthesist David Edren and Tokyo minimalist Hiroki Takahashi is a fit so natural as to feel preordained. Both traffic in subtle shades of contemplative electronics, marked by patience, space, and poetic restraint. And both have rich histories of curation and collaboration – Edren in the duo Spirit & Form alongside Bent Von Bent, and Takahashi as proprietor of the Kankyō record shop, as well as one fourth of cosmic ambient quartet UNKNOWN ME. Mutual fans of one another’s work, they began sharing stems in the latter half of 2020, which slowly blossomed into a collection of multi-hued compositions inspired by notions of connectivity and impermanence, translated for east and west: Flow | 流れ.

Opener “Dusk Decorum | 黄昏 礼節” maps the mood of what’s to come, elegantly pirouetting and percolating through an expanding vista of looming stars and half-light horizons. Takahashi describes Edren’s arrangements as evoking “a strange feel, something we haven't heard much of before.” The sensation is one of “in-betweenness,” a restless current whispering beneath the beauty, like seasons seen in time-lapse footage: flickering but infinite, transience turned permanent. Takahashi’s signature sculpture garden tones plot spiral patterns over which Edren cascades dazzling pointillist synthesizer coloration. The pieces veer between delicate and dilated, micro and macro, their aperture forever softly in flux.

From the oscillating orchestral lullaby of “Stalactime | 鍾乳石時計” to the sweeping, sparkling dream sequence closer, “Shift Register | シフトレジスタ,” the album achieves the elusive goal of being more than the sum of its parts. This is music of rare air, elevated and amorphous, shimmering just out of reach. Though Edren and Takahashi have yet to cohabitate the same room in person (a fact that should be rectified soon by an astute festival booker), their palettes and poise are perfectly paired, twin fragilities woven into seven radiant and regenerative vibrational states. The cover design of a beatific, beaded leaf rippling on the surface of a hidden pond aptly captures the record’s muted majesty. Takahashi’s quiet pride is justified: “We are very happy with this time-consuming and carefully crafted work.”

Nicolás Mirón presents Hi-Tech Thoughts, his debut release on Echo Alpha Recordings. A record that draws inspiration from Detroit Techno, as well as New York Hip-Hop and MPC culture, reflected in the way he works with samples and programs chops on his AKAI MPC 2500. His production focuses on beat-making, pursuing a raw, hardware-driven sound rather than an overproduced one.

Nico’s creative foundation is rooted in Black music in all its forms, from soul and jazz to electronic sounds, while also embracing the legacy of figures like Kraftwerk, and genres such as Italo Disco, and New Wave. His musical career began with his residency at Radio Relativa in 2022, with his program “Pa’ Riparla Benne”, a connection between skateboarding and music, as well as its evolution and close relationship with contemporary culture. In the show you can hear different styles of music that have appeared within this scene through legendary video parts from skateboarding history, along with stories and curiosities behind these pieces of art.

DJ Support by Fabrizio Mammarella, Sean Johnston (ALFOS), Erol Alkan, Ame, Fango, Jaye Ward, SHMLSS, Camilo Miranda, Marco Passarani, Logan Fisher, Massimiliano Pagliara, Otto (Bordello a Parigi), Phil Mison, Giulia Gutterer, Pete Herbert, Franz Scala, Lauer, Pedro Bertho, Feel Fly ...

New music from legendary Adriatic DJ and producer Verdo is as rare as an MP3 in the golden age of disco. Which is why you should be hella excited for GRATIS CLUB, his first full-length album and a love letter to the iconic club he once called home in Senigallia.

A true Loyal Hell Yeah Recordings member and consummate musician, Verdo brings his signature piano melodies to Italo disco, hi-NRG, and trance magic across X cuts that are equal parts dancefloor propulsion and cosmic exploration.

GRATIS CLUB captures the energy, eccentricity and euphoria of the club Verdo played and directed, translating the pulse of a local institution into a timeless, high-voltage record. With previous releases on Danny Was A Drag King and this label, including his 2020 Symmetry EP, Verdo continues to prove he’s one of Italy’s best-kept secrets with this new album.

Opener and lead single ‘Let In The Light' is pure Italo disco adrenaline: shimmering arps soar over lush chords and retro analogue drums, igniting the dancefloor. Second single ‘Boulevardier’ is introspective yet radiant with rugged synths spiralling inward while shiny 80s chords inject colour and retro soul, all carried by supple, marching drums. 'Eyes Melody' is an ascent to a higher state with acrobatic drums and bass and more luminous synth magic, 'Ballad' has a more downbeat and late-night feel with pensive pads and sad vocoder, then the title cut is bold, bright and unabashed in its stomping disco brilliance. 'Our Love Come Back' has a sense of yearning that surely translates the sadness felt at the closing of Gratis Club, then 'Lest We Forget' is a reminder of how pumping and sweaty the main room got with Verdo in the booth. 'Little Blue's is the gentle comedown and comforting hand that leads you home in a reverie.

GRATIS CLUB is a pure hit of unbridled Italo disco joy.

Grace & Raffaella is the first collaborative release by ML and Vittoria Totale. Over nine tracks, the album strikes a deceptively minimalist tone, taking in a ton of musical as well as literary references. An elegy on a journey back to the present, with all the hushed intensity of an informed fever dream, Grace & Raffaella has a magic-realist feel. Its vocal parts serve as loopy self-fulfilling prophecies. Cut off from the sun, the gorge grows darker. Using an electroacoustic sense of spacing, as well as abstracted current-day club influences, with scraps of background noise fading in and out, this album's use and treatment of a snippet-like narrative is its core aesthetic. A digital gleam drenches the spoken bits into instances of subtle surrealism. Like a kitchen sink drama stripped of all deadweight. We are on the edge of relinquishing all control here. Rip up your diary and let go of the language of the old ones. Grace & Raffaella is a seductive slice of modern hyper-pop that defines its own intentions over and over again.

We're excited to announce 2 stone cold classics from Theo Parrish on Peacefrog - First Floor Part 1 and First Floor Part 2.

Originally released in 1998 "First Floor” is Detroit/Chicago auteur Theo Parrish’s debut album. Released on vinyl in two parts for maximum playability; the raw bluesy, soulful offbeat grooves have long since buried themselves deep under the skin of the house community.
Showcasing Theo’s innovative use of drum programming and effects its uniquely loose but taut knit of minimalist elements worked to maximal, hypnotic effect have solidified its reputation as a contemporary classic and served as a corner stone for Theo’s truly legendary status.
"First Floor” is one of those albums that has transcended generic borders to influence heads of all stripes with its unmistakable soul-nuzzling texture and groove. Essential.

Maurice “Mobetta” Brown has always thrived at the crossroads—between jazz and hip-hop, improvisation and songcraft, trumpet and microphone. With Betta Days, the Grammy-winning trumpeter, composer, and MC sharpens his genre-bending vision into one of his most dynamic statements yet.

The album plays like a conversation between worlds: lush horn arrangements sit beside hard-hitting beats, verses weave seamlessly through melodies, and Brown’s trumpet leads with equal parts fire and finesse. A student of jazz tradition who came up in Chicago’s storied scene, he’s since expanded his reach into hip-hop and soul, collaborating with icons like Aretha Franklin, Santigold, Talib Kweli, and Anderson .Paak. Betta Days captures the spirit of all those influences while standing firmly in Mobetta’s lane.

At its core, Betta Days is about resilience and growth—finding light even in heavy times. The songs carry a message of pushing forward, fuelled by the energy of community and the joy of creation. Whether he’s delivering sharp verses or soaring trumpet lines, Maurice Mobetta Brown reminds listeners that the future is wide open, and that better (or Betta) days are always ahead.

2026 Repress

Whether in the studio or the club, Daphni has always been a pursuit where Dan Snaith lets the music find its own path. With Cherry this is more evident than ever, this sense of the tracks as objects with life and desires outside of Snaith’s control has now become a driving force in their creation. "There isn't anything obvious that unifies it or makes it hang together" Snaith says, "I think it was good that it was made without worrying about any of that. I just made it."
Recorded over a prolonged period, Snaith let the music go where it wanted to go. It wasn’t until he put everything he’d been tinkering with together that he realised what he had. "It's weird that when the tracks were put in what felt like the right order it took on a new coherence" he says, "where it pings quickly from one idea to the next and, at least for me, hangs together in way that feels unified. Maybe because it's hard to avoid the musical fingerprints I leave on the music I make, whether I want to or not."
The component parts have this same sense of independence, the essence of Daphni always present over music that is more free-wheeling than it’s ever been, almost escaping Snaith's grasp as it tumbles and spirals. "As is often the case when you're working quickly and intuitively, new pieces of equipment played a part" he says.
New gear and ways of working meant Snaith was able to sit at the centre of the music but let things get away from him a bit more as equipment began to make its own decisions before reeling it back in to suit his purposes, or as he puts it "getting the snake to eat its own tail".

We're excited to announce 2 stone cold classics from Theo Parrish on Peacefrog - First Floor Part 1 and First Floor Part 2.

Originally released in 1998 "First Floor” is Detroit/Chicago auteur Theo Parrish’s debut album. Released on vinyl in two parts for maximum playability; the raw bluesy, soulful offbeat grooves have long since buried themselves deep under the skin of the house community.
Showcasing Theo’s innovative use of drum programming and effects its uniquely loose but taut knit of minimalist elements worked to maximal, hypnotic effect have solidified its reputation as a contemporary classic and served as a corner stone for Theo’s truly legendary status.
"First Floor” is one of those albums that has transcended generic borders to influence heads of all stripes with its unmistakable soul-nuzzling texture and groove. Essential.

For its 25th anniversary, Cocoon Recordings returns to its roots with an elaborate vinyl LP box set, marking the first part of a two-volume anniversary project. 25 Years Cocoon Recordings – Volume
One brings together exclusive contributions from international artists who have defined the sound and diversity of the label over the past two decades, complemented by fresh talents who are helping to shape its future.
Over the span of 25 years, Cocoon Recordings has created a catalog that now comprises hundreds of releases, 12-inches, albums, mix CDs, and iconic compilation box sets, always bridging past, present, and future. While firmly rooted in techno and house, the label has also provided space for electronica,
ambient, and other evolving genres.
25 Years Cocoon Recordings – Volume One is more than just a compilation. It is both a homage to the label’s history and a glimpse into what lies ahead. With exclusive tracks that embody the Cocoon sound in all its depth and complexity, this release marks a milestone in the legacy of one of electronic
music’s most influential labels, arguably the strongest compilation in Cocoon’s history. To mark this special occasion, Sven Väth’s label presents the first of two carefully curated volumes, uniting 15 exclusive tracks from international artists in celebration of nearly three decades of Cocoon
Recordings. The luxurious 5x12" box set features a spectral-reflective foil finish and includes contributions from renowned names such as Butch, Robag Wruhme, Josh Wink, Guy J, and Dino Lenny, alongside longtime companions of the label including Extrawelt, Harvey McKay, Johannes
Volk, and Raxon. New discoveries of recent years, Jonathan Kaspar and Riccardo De Polo, enrich the release in their own distinctive ways. The compilation is completed by the unmistakable talents of Damiano von Erckert, Fedele, and ja:ck, who provide the perfect conclusion to the first of two parts.
This release sets the stage for what's next: a daring diptych where musical voices emerge, shining with originality and passion, carrying the spirit forward. The story is just beginning. Something special is on the horizon. One can only wonder which artists will shine on the second chapter.

Itay Dailes & Eran Ben-Zeev A collaborative EP between veteran producer Itay Dailes and label owner Eran Ben-Zeev.
Two sides, two visions — one spirit. A nod to ’90s traditions, each track offers its own distinct flavor, ranging from deep, dub-infused minimalism to warm analog grooves. A versatile release for selectors who value subtle contrasts and timeless dancefloor tools. Higher State Minimal deep house with a hypnotic pull. Built on warm, dubby pads and a rolling, understated groove, *Higher State* draws the listener into a meditative zone — subtle, emotional, and deeply immersive. Dub Rounds A deep, edgy minimal cut powered by a rolling bassline. Vocal fragments weave in and out, while jazzy chords add a dreamy, soulful lift to the groove. Unicorns Can’t Fly A lush, emotive journey of floating grooves, warm pads, and delicate textures. Designed for late-night introspection while keeping the pulse alive on the dancefloor — equal parts body and soul. Jupiter 1 Diving deeper into raw analog territory, Jupiter 1 pairs a rolling bassline with smooth acid contours. Stripped-back percussion channels early ’90s energy, perfect for long sets and locked-in moments.

Benedikt Frey supplies the aid kit. Sonic remedies for the night.

4 transmissions for after-dark navigation. Remix from Carl Finlow.

For its third release, Club Blanco welcomes German producer Benedikt Frey. Aid Kit delivers three original pieces of shadowy club machinery - tense, wonky and charged with late-night atmosphere and rugged vocals. Electro veteran Carl Finlow reassembles the parts with clinical precision, crafting a remix that hums with circuitry and steel. Together they form four doses of deep club music.

Fra Lippo Lippi released six studio albums between 1981 and 1992, two of them on Virgin Records, namely "Songs" in 1986 and "Light And Shade" in 1987. All the original releases were deleted many years ago. There are two previous The Best Of Fra Lippo Lippi releases on CD (1995 and 2003), but this is the first on vinyl. With the limited playing time of vinyl, we had to make some tough decisions, but in the end the song selection very much gave itself. The dark horse here is "Stitches and Burns", an overlooked gem from the final studio album "Dreams" (1992) that didn't make the previous 15 track collection, but in mysterious ways gained new life through organic streaming, with over 70 million streams on Spotify at the time of writing. Included is also the international hit "Shouldn't Have To Be Like That" and "Angel", featuring the late, great Walter Becker on guitar and production duties. The duo is still very popular in various parts of the world and now has 1,2 mill monthly listeners on Spotify. This 2025 reissue is pressed on clear vinyl (500 ww copies).