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2025 Repress

Acidcore and acid hard techno dancefloor... Bringing some of the greatest artists of the moment... Needed !

It was less than a year ago that Italy-born but Denmark-based musical artist Alex Puddu released his latest album Deliria, an enticing blend of erotic disco, soulful grooves and electronica inspired by Italian pop music of the late 70s / early 80s, which went on to enjoy extended radio play across the globe including on BBC 6, NTS, KCRW, and national Spanish station Radio 3, to name a few.

But it wasn’t long thereafter that indefatigable groove purveyor Puddu travelled back to Rome for a new musical adventure, heading straight to The Sound Work Shop, the recording studio of legendary Italian composer Piero Umiliani, where he recorded the 10 new tracks that are included in his latest musical opus, Professione Reporter, another funky and soulful adult-oriented disco-pop album entirely sung by himself in Italian.

Professione Reporter tells the story of a photo reporter who travels the world following and stalking rich recently-widowed women whose husbands died in mysterious circumstances. Attracted by their charm and wealth, our protagonist transforms himself into a gigolo, becoming a dedicated lover-boy to these rich sugar mamas and a slave to the sweet life, going so far as to become an accomplice in their criminal plans to ensure the inheritance of their dead husbands.

Once again Alex Puddu has hit the mark with a collection of polished and ear-friendly grooves that tell the alluring story of a private eye embroiled in a web of love affairs, wealth and deceit, evoking images of satin sheets, champagne and dim lights set against the backdrop of one of the most hedonistic decades so far.

To continue the around the globe VA series “Untitled III” is here. As per usual 8 different artists with different musical backgrounds, inspired by different melodious influences which has resulted in this VA to take shape. All of the tracks featured on this double are in line with the label’s vision and demonstrate a vast range of sounds that can be used in many different settings. The art theme as always done by the legendary bad boy graffiti artist Gkoner, this time takes a theme of garden and its mysteries where he drew an inspiration from. The plants are overtaking giving their roots and even sometimes can absolutely capture and possess the host while trying to look so innocent. We know what you are up to plants and you cannot fool us.

This is the first full-length album by bojvck, an artist deeply embedded in Seoul’s street culture. Blending breakbeat-inspired sounds with raw audio textures sampled straight from the street culture, the album captures the restless energy of youth and the spirit of the city. If the keywords “boy” and “street” speak to you, this is one you shouldn’t miss.

Enter the glittering world of Italo Disco with the exclusive 4LP
box set „The Italo Disco Collection Vol. 2“.
This limited edition box features four vinyl records that capture
the essence of the Italo Disco era. Discover and enjoy musical
treasures from Ken Laszlo, Miko Mission, Baby‘s Gang, and
Laserdance. „The Italo Disco Collection Vol. 2“ is not only a
musical journey through time, but also a collector‘s item for
all vinyl lovers and fans of Italo Disco. This carefully compiled
collection has been designed with great care and attention to
detail and includes a colorful beach ball as a summertime fun
maker. This box brings the best of the 80s straight into your
living room and guarantees unforgettable musical moments.

Tauchen Sie ein in die glitzernde Welt des Italo Disco mit der
exklusiven 4LP Box „The Italo Disco Collection Vol. 2“.
Diese limitierte Box enthält vier Vinyl-Schallplatten, die
die Essenz der Italo Disco Ära einfangen. Musikalische
Schätze von Ken Laszlo, Miko Mission, Baby’s Gang, und
Laserdance werden hier geborgen. „The Italo Disco Collection
Vol. 2“ ist nicht nur eine musikalische Zeitreise, sondern
auch ein Sammlerstück für alle Vinyl-Liebhaber und Fans des
Italo Disco. Diese sorgfältig zusammengestellte Kollektion,
wurde mit großer Sorgfalt und Liebe zum Detail gestaltet und
enthält als sommerlichen Spaßbereiter einen farbenfrohen
Wasserball. Diese Box bringt das Beste der 80er Jahre direkt in
Ihr Wohnzimmer und garantiert unvergessliche musikalische
Momente.

Provoker return with Mausoleum. Refined, ornate and bigger than ever, Mausoleum takes Provoker's shadowy sound to new heights, aided by executive producer Kenny Beats. "Pop on the outside, dark on the inside". Embodied by the garish arcade machine on the cover, the songs on Mausoleum lure listeners in with addictive melodies and slick production, but hold them tight with the tales of heartbreak, loss and revelation within.

Pathagonia, the talented Italian duo of Noha & Alex Tea, have their first release on HOME//GRXWN. With their EP entitled - 'Let Me Go'. On the A-side, 'Let Me Go' delivers a hypnotic, groove-driven beat. 'Swirl' follows, with its infectious bassline and uplifting energy. On the B-side, 'Atomic' draws you in with its deep, rolling percussion, making it a staple across dancefloors. Closing the EP with 'Boys Can Cry' a high-energy final track with euphoric synths with rhythmic hooks. The EP has already had support from the likes of Enzo Siragusa, ROSSI., Chris Stussy & More.

Gifted Yorkshire producer Sikka delivers an outstanding 6-track selection of cuts taken from his forthcoming “Junglist Code” LP on New York’s Liondub International label. Sikka’s exciting take on 90’s Jungle is unmatched in its authenticity, musicality, drum sequencing, and soulful sample selection. These are throwback Jungle gems crafted with brilliant modern production values and techniques. Dedicated to the old school, but made for the new, these tracks maintain the sound and feel of the classic Jungle music that we came to know and love, but they are tastefully updated for 2023 by one of the most powerful, versatile and under-rated producers in the UK right now.

BEATALISTICS, the soulful South-German Drum & Bass label, run by Enea and MC Fava, is celebrating its 100th release. ONEHUNDRED reflects on almost one and a half decades of label back catalogue with a 29 tunes strong 'best of' various artists digital compilation. Included are also 6 brand new tunes which are packed on a vinyl sampler In addition. Featured is orchestral DnB pioneer KEENO who puts his magic hands of 'Sarah', taken off FAVA's Destiny EP with Smote & Becca Jane Grey and rounds up the meaningful song with his cinematic trademark sound . FAVA also adds some decent chants to COMMAND STRANGE'S 'Kindness Flow, a positive and uplifting liquid roller that is going to make your soul smile for sure. Long time label friend PAUL SG, head honcho of the brilliant soul driven Austrian imprint Jazzsticks delivers one of his signature amen break soul-rollers with 'Pale White Boy'. Label boss ENEA can't be missed on here and literally delivers the 'Heat' with his contribution. Beatalistics sticks to the label philosophy and supports local talents and important label representatives DAVA and MOJOMAN.'Pictures' delivers dancefloor vibes with a deep bassline and strong vocal arrangement and proves that Dava is one to watch out for in the near future. MOJOMAN maintains a desire to dance with the hypnotizing 'Pillers of Nah', following his unmistakably melodic and hymnal style.

Long out of print new one-off limited-edition heavyweight special-edition orange coloured vinyl pressing (+ download code) exclusively for Record Store Day 2025 of their out-of-print classic 400% Dynamite! Ska, Soul, Rocksteady, Funk and Dub in Jamaica. 400% Dynamite is the most in-demand of all Soul Jazz's groundbreaking Dynamite! series that brought a whole new audience to reggae music. Often copied, never equalled!

This album is fully remastered, relicensed and with new tracks exclusively for RSD 25 and featuring classic and rare ska, soul, rocksteady, funk and dub, 400% Dynamite will rock any party, fill any dancefloor, anywhere, any time – guaranteed!

Googling “paradise house”, the first results to pop up are an endless list of European b&b’s with whitewashed lime façades, all of them promising “…an unmatched travel experience a few steps from the sea”. Next, a little further down, are the institutional websites of a few select semi-luxury retirement homes (no photos shown, but lots of stock images of smiling nurses with reassuring looks). To find the “paradise house” we’re after, we have to scroll even further down. Much further down.

It feels like yesterday, and at the same time it seems like a million years ago. The Eighties had just ended, and it was still unclear what to expect from the Nineties. Mobile phones that were not the size of a briefcase and did not cost as much as a car? A frightening economic crisis? The guitar-rock revival?! Certainly, the best place to observe that moment of transition was the dancefloor. Truly epochal transformations were happening there. From America, within a short distance one from the other, two revolutionary new musical styles had arrived: the first one sounded a bit like an “on a budget” version of the best Seventies disco-music – Philly sound made with a set of piano-bar keyboards! – the other was even more sparse, futuristic and extraterrestrial. It was a music with a quite distinct “physical” component, which at the same time, to be fully grasped, seemed to call for the knotty theories of certain French post-modern philosophers: Gilles Deleuze, Félix Guattari, Paul Virilio... Both those genres – we would learn shortly after – were born in the black communities of Chicago and Detroit, although listening to those vinyl 12” (often wrapped in generic white covers, and with little indication in the label) you could not easily guess whether behind them there was a black boy from somewhere in the Usa, or a girl from Berlin, or a pale kid from a Cornish coastal town.

Quickly, similar sounds began to show up from all corners of Europe. A thousand variations of the same intuition: leaner, less lean, happier, slightly less intoxicated, more broken, slower, faster, much faster... Boom! From the dancefloors – the London ones at least, whose chronicles we eagerly read every month in the pages of The Face and i-D – came tales of a new generation of clubbers who had completely stopped “dressing up” to go dancing; of hot tempered hooligans bursting into tears and hugging everyone under the strobe lights as the notes of Strings of Life rose up through the fumes of dry ice (certain “smiling” pills were also involved, sure). At this point, however, we must move on to Switzerland.

In Switzerland, in the quiet and diligent town of Lugano, between the 1980s and 1990s there was a club called “Morandi”. Its hot night was on Wednesdays, when the audience also came from Milan, Como, Varese and Zurich. Legend goes that, one night, none less than Prince and Sheila E were spotted hiding among the sofas, on a day-off of the Italian dates of the Nude Tour… The Wednesday resident and superstar was an Italian dj with an exotic name: Don Carlos. The soundtrack he devised was a mixture of Chicago, Detroit, the most progressive R&B and certain forgotten classics of old disco music: practically, what the Paradise Garage in New York might have sounded like had it not closed in 1987. In between, Don Carlos also managed to squeeze in some tracks he had worked on in his studio on Lago Maggiore. One in particular: a track that was rather slow compared to the BPM in fashion at the time, but which was a perfect bridge between house and R&B. The title was Alone: Don Carlos would explain years later that it had to be intended both in the English meaning of “by itself” and like the Italian word meaning “halo”. That wasn’t the only double entendre about the song, anyway. Its own very deep nature was, indeed, double. On the one hand, Alone was built around an angelic keyboard pattern and a romantic piano riff that took you straight to heaven; on the other, it showcased enough electronic squelches (plus a sax part that sounded like it had been dissolved by acid rain) to pigeonhole the tune into the “junk modernity” section, aka the hallmark of all the most innovative sounds of the time: music that sounded like it was hand-crafted from the scraps of glittering overground pop.

No one knows who was the first to call it “paradise house”, nor when it happened. Alternative definitions on the same topic one happened to hear included “ambient house”, “dream house”, “Mediterranean progressive”… but of course none were as good (and alluring) as “paradise house”. What is certain is that such inclination for sounds that were in equal measure angelic and neurotic, romantic and unaffective, quickly became the trademark of the second generation of Italian house. Music that seemed shyly equidistant from all the rhythmic and electronic revolutions that had happened up to that moment (“Music perfectly adept at going nowhere slowly” as noted by English journalist Craig McLean in a legendary field report for Blah Blah Blah magazine). Music that to a inattentive ear might have sounded as anonymous as a snapshot of a random group of passers-by at 10AM in the centre of any major city, but perfectly described the (slow) awakening in the real world after the universal love binge of the so-called Second Summer of Love.

For a brief but unforgettable season, in Italy “paradise house” was the official soundtrack of interminable weekends spent inside the car, darting from one club to another, cutting the peninsula from North to centre, from East to West coast in pursuit of the latest after-hours disco, trading kilometres per hour with beats per minute: practically, a new New Year’s Eve every Friday and Saturday night. This too was no small transformation, as well as a shock for an adult Italy that was encountering for the first time – thanks to its sons and daughters – the wild side of industrial modernity. The clubbers of the so-called “fuoriorario” scene were the balls gone mad in the pinball machine most feared by newspapers, magazines and TV pundits. What they did each and every weekend, apart from going crazy to the sound of the current white labels, was linking distant geographical points and non-places (thank you Marc Augé!) – old dance halls, farmhouses and business centres – transformed for one night into house music heaven. As Marco D’Eramo wrote in his 1995 essay on Chicago, Il maiale e il grattacielo: “Four-wheeled capitalism distorts our age-old image of the city, it allows the suburbs to be connected to each other, whereas before they were connected only by the centre (…) It makes possible a metropolitan area without a metropolis, without a city centre, without downtown. The periphery is no longer a periphery of any centre, but is self-centred”.

“Paradise house” perfectly understood all of this and turned it into a sort of cyber-blues that didn’t even need words, and unexpectedly brought back a drop of melancholic (post?)-humanity within a world that by then – as we would wholly realise in the decades to come – was fully inhuman and heartless. A world where we were all alone, and surrounded by a sinister yellowish halo, like a neon at the end of its life cycle. But, for one night at least, happy."

Perc Trax is proud to unleash the second EP of remixes of tracks from Perc's Resident Advisor recommended album 'The Cut Off'. Following on from EP1 this collection of remixes again covers a range of sounds from cutting edge Parisian deep techno to the sound of the UK underground scene.

Opening up the EP is Mac Declos, a breakout star of the Paris techno scene and a key member of Anetha's Mama Told Ya crew. Mac takes 'Full Goblin', one of the more uncompromising tracks on 'The Cut Off' and transforms it into a slice of grinding stripped back techno, recalling the glory days of Daniel Bell's DBX project.

Next up Sweden's Peder Mannerfelt, who has a long association with Perc & Perc Trax, remixes album standout track 'Static' which features his regular collaborator Sissel Wincent. Peder's version of 'Static' recalls classic Detroit electro with the addition of gliding harp runs providing a glistening counterpoint to the jabbing drums and Sissel's deadpan vocal delivery.

On the B-side Perc Trax new boy Million follows up his recent 'Six Ways To Die' EP taking hold of 'UK Style', originally one of the 'The Cut Off's more abstract tracks, energising it into a driving techno / jungle hybrid with just a sprinkling of classic UK rave to raise a smile on the face of the most exhausted raver.

Finally UK underground legend Boy Pete drags 'Imperial Leather' to the nearest free party, dirtying up Perc's epic original delivering a remix that will keep any 4am dance floor bubbling with energy. The relentless energy that Pete's productions are known for is all over this remix as it continuously powers forward.

Good friends and Record Mission co-captains, Dan Tyler (one half of the Idjut Boys) and Nick The Record, take the reins for the third volume of the Mr Bongo Edits 12" series. With previous editions coming courtesy of Danny Krivit and Luke Una, Dan and Nick set their sights on a hand-picked selection of iconic ‘70s Cuban recordings for this three-track cosmic whirlwind. Across the A side, Dan picks out two Juan Pablo Torres tracks, with Nick taking on Grupo Los Yoyi on the B. Tweaking, extending and reworking the recordings with a dose of extra magic they remould the tracks to fit the sounds and structure of today’s dancefloors.

Having formed the Idjut Boys in the early ‘90s, Dan and Conrad McDonnell have crafted a dubbed-out, disco-tinged style that permeates their countless productions, remixes and DJ sets. Speaking of the two tracks Dan has chosen to rework for this EP he mentions, “Having been caught under an avalanche of good music from Mr Bongo, I took it upon myself to extend and add effects to a couple of the fantastic tracks from the Juan Pablo Torres LPs they recently re-issued. Just for disco jockey and barn dance use.”

First, Dan looks to Cuban maestro Juan Pablo Torres’ 1978 album 'Algo Nuevo', taking one of the standout tracks ‘Cacao’ and giving it more space to breathe. Teasing out the scatting vocal line and percussive climax that nods to George Kranz's ’83 electronic disco anthem 'Din Daa Daa', whilst adding more cosmic tripped-out synths and space echoed dubs, Dan builds the tension to fine effect. This track sounds immense on a big club system and the swirling synths felt like they were lifting the ceiling off when we played it at the amazing La Paloma ballroom in Barcelona.

Dan then turns his attention to Torres’ 1977 'Super Son' album, giving the psych-Latin-funk track 'Pastel En Descarga' a dub makeover. Rich in delay and drama, whilst maintaining and extending the breakers funk intro, he juices it up into a punchy, no-nonsense, cosmic-funk delight.

On the B side, Tangent co-founder, long-standing Life Force resident and seasoned rework master, Nick The Record, revisits an edit that he originally constructed in 2009. Clocking in at over double the length of the original cut, Nick’s edit of Grupo Los Yoyi’s 1977 cut 'Paco La Calle', is made with dancers firmly in mind. This secret weapon builds and simmers, with the drums and percussion pushing and pulling before the psychedelic synth lines return in a sweltering fashion. In this new 2025 version, Dan is drafted in to work some brilliant new synth lines into the mix.

The fifth album from H. Hawkline (Huw Evans), ‘Milk For
Flowers’, is released via Heavenly Recordings.
Following the 2017 album, ‘I Romanticize’, and 2015’s ‘In
The Pink of Condition’, the album was produced and
features musical contributions from long-time collaborator
and celebrated solo artist Cate Le Bon. Artwork is
designed by H. Hawkline.
Recorded at Rockfield Studios in Monmouthshire, the
album features a host of musical collaborators - Davey
Newington (Boy Azooga) on drums, Paul Jones (Group
Listening) on piano, Tim Presley (White Fence, DRINKS,
The Fall) on guitar, Stephen Black (Sweet Baboo) and
Euan Hinshelwood (Younghusband, Cate Le Bon) on sax,
Harry Bohay (Aldous Harding) on pedal steel and John
Parish (PJ Harvey, Aldous Harding) on infrequent bongo.
The record was then engineered by Joe Jones (Aldous
Harding, Parquet Courts) and mixed, after an unlikely and
fortuitous crossing of paths, by the Grammy-nominated
Patrik Berger (Charli XCX, Robyn, Lana Del Rey), and
mastered by Heba Kadry (Deerhunter, Cass McCombs,
Cate Le Bon).
‘Milk For Flowers’ is at once visceral and enlightened, its
soundscapes verdant yet delicately rendered, and with this
latest, most intimate work, H. Hawkline bares his blood,
bones and soul beautifully. And quietly, along with the
entrails and rubble held in ‘Milk For Flowers’’ reliquary,
there hides a small, green kernel of life; hope, perhaps,
that today’s decay might nourish tomorrow’s blooms.
Available on CD and LP with rigid ‘tip-on’ sleeve with antiscratch matt lamination and digital download code.

"30 unforgettable hits from the decade that brought movie classics from The Breakfast Club to Back To The Future.
There was no greater era for movie soundtracks than the 80s! Featuring some of the most iconic and memorable soundtrack moments including the title track from Ghostbusters, ‘Holding Out for a Hero’ from Footloose, ‘I’ve Had The Time Of My Life’ from Dirty Dancing, ‘A Kind Of Magic’ from Highlander, ‘Eye Of The Tiger’ from Rocky III, Gladys Knight’s classic Bond theme from Licence To Kill plus many more. This epic double vinyl will have you reminiscing on those beloved 80s film classics and their amazing music."

The Shard: A colossal feat in engineering, savagely piercing the London skyline with zero f**ks.

Shard View: An uncompromising moment in Boylan’s bass engineering, piercing the London soundscape with even fewer f**ks.

It’s 2025. We’ve officially moved a second closer to extinction and Boylan’s wasting no time. After years of releasing noxious missives on the most influential likes of FWD>>, Artikal, Deep Dark & Dangerous, Sentry and Mean Streets, he finally launches his own label - Shard View.

A brand new vehicle for the potent strain of ice cold apocalyptic breakbeat he and his closest allies are currently making, Shard View is inspired by the vista he and the likes of Slimzee, Trends, D.O.K, U.S.F and Youngsta see every time they’re cooking up a darkness in his Peckham studio.

Coated in visual armor from Simon Oil Gang, Shard View is London, Detroit and Berlin wrapped up in one. It’s bass, it’s techno, it’s tribal, it’s No U-Turn, it’s Virus, it’s Horsepower, it’s warehouse raves. It’s timeless. And it starts with ‘Tunnel’, an extensive 10 track trip into instrumental, full physical, heavily percussive unapologetic breakbeat music. Boylan is the main consistency throughout but all the above-mentioned names are involved and always will be. Like the great collectives of past bass epochs, the energy here is molten as the friends inspire each other with this fresh take on a classic sound.

Two more EPs should follow later this year. And as the world continues to ramp up the turbulence, so will Shard View. This is not a drill.
Any questions about any of these products feel free to get in touch and we'll help you out!
albert.preston@sequence.cc

Meet Kitchen Plug, the Parisian trio that somehow combines the rebellious energy of punk, the synth-driven chaos of electro, and the charisma of a boy band... except, they don’t really dance (yet).

With their new EP "Nice To Meet You," these self-proclaimed nerds have served up an unpredictable, colorful mix of electronic anthems and rock-infused vibes. It's like if your favorite computer-generated juice suddenly turned into an unstoppable emotional rollercoaster.

Expect cheeky melodies, emotional highs (and occasional lows), and enough playful swagger to make you question why you’re not already in their inner circle of "copains" (that’s French for friends, by the way). Kitchen Plug isn’t just making music; they’re creating a sound so lively and full of attitude that you’ll probably feel like you're getting a bear hug from your favorite nerdy best friend — just with more synths and less homework.

"Nice To Meet You" is the kind of EP that doesn't take itself too seriously, but it’ll still make you feel something. So, what are you waiting for? Plug in, and let's see if they can live up to their own hype. (Spoiler alert: They will.)

Boys Noize presents ONES and ZEROS OAZ, a new experimental record label with the mission of breaking open the space of possibilities for techno and beyond. Reflecting new modes of subcultural circulation and integrating music,
objects, and a pluralistic network of artists, OAZ debuts with the 22-track Bo compilation, including two Boys Noize solo tracks, one of them “Bvrning” (Vinyl Only), as well as tracks by Locked Club, Safety Trance & umru, DJ Babatr, Slim Soledad, Schacke, KFR, TINKERHELL, David Löhlein, MarcelDune, and more.

Source of an all-time 'Breaks and Beats' classic, Mr Bongo reissue Herman Kelly’s timeless 1978 album Percussion Explosion!. Immortalised in hip-hop folklore, when the anthemic 'Dance To The Drummer's Beat’ was featured on the influential Ultimate Breaks & Beats compilation series in 1986.

Percussion Explosion! was the brainchild of drummer, percussionist, producer and arranger, Herman Kelly and his percussive disco-funk group from Miami, 'Life', that featured Aaron McCarthy, Oliver Well, John DeMonica, Michal Cordoza and Travis Biggs. The album houses a collection of disco, funk and Latin-inspired cuts that were destined for greatness. Nestled within the grooves is the B-Boy and B-Girl’s anthem, 'Dance To The Drummer's Beat’, which contains a now legendary break. A cursory glance at Whosampled will show that it has been sampled in over 125+ songs. These include Double Dee & Steinski on their groundbreaking 1985 production 'Lesson 3 (History Of Hip Hop Mix)', as well as by DJ Shadow, N.W.A, Masters At Work, Run D.M.C. and a whole host of heavyweights across hip-hop, dance and pop music.

When the album was released in 1978 it came out on two different labels, Alston Records and Electric Cat. Each label pressed different versions of 'Dance To The Drummer's Beat’, with the former featuring a 4:12 version and the latter a longer 5:09 version that has a different structure, crowd noise at the start and overdubbed percussion.

For this Mr Bongo reissue, we have chosen the classic 4:12 version from the Alston Records release, which would later find its way on to the illustrious Ultimate Breaks & Beats compilation. To make matters even more confusing the Alston version art on the back cover also states the track length as 5:09, whilst the centre label lists it correctly as 4:12.

Aside from the much celebrated 'Dance To The Drummer's Beat’, the album includes a range of other fantastic overlooked cuts. From the percussive soul stepper 'Share Your Love', to the beautiful Latin-flavoured 'A Refreshing Love' or the party disco-funk groover 'Who's The Funky D.J.?'.

This wonderful and inspirational record features an important piece of hip-hop heritage and deserves a place in every collection.

CUPULA006 is a landmark release that introduces a new boy band formed by Vince Void, Pau Rosés, and Adria.

Side A takes you deep into the realms of progressive house, featuring tribal grooves and lush textures created using rare analog machines from the 1990s. The warm, intricate production invokes nostalgic feelings.

On Side B, the trio shifts gears into a striking fusion of EBM and synth pop, offering pulsing rhythms, electrifying synths, and irresistible melodies.
This dynamic contrast between the two sides creates a story told through sound, forging a deep connection with emotions.

Soulful hip hop instrumentals from Italy on Best Record-affiliated Quattro Bambole! "The "Moderna Sonorizzazioni" series by Quattro Bambole Music continues its investigation of the infinite expressive possibilities of instrumental hip-hop, recognizing it as the most contemporary form of library music. After the first two chapters - signed by Biga and JayBee Vibes - the third volume of the series, "Sport & Calcio", features the Roman producer Delphi for whom there was a lot of anticipation on the part of both Italian and scattered beatmakers everywhere in Europe and the United States. With the subtitle which is already a declaration of intent ''Tales of a boy from Rome....'' etc. etc., "Sport & Calcio" is an instrumental fresco in which football and sport become narrative pretexts to evoke images, memories and suggestions. The twelve tracks that make up the album are real cinematic sketches, in which Delphi (born Valerio Del Prete) combines raw beats, nostalgic loops, sample-delia and a narrative that evokes family Sundays, spent on the street as well as stadium, and the heat of the crowded stands. Therefore a work that is musically declined based on moments and emotions.. ''Sport & Calcio'' is therefore a deliberately introspective and not very ''danceable'' work. Sound photographs, short descriptions, themes, small fragments associated with television reports on sport... with which the artist touches chords that allow him to express a different compositional depth, a conceptual work, more descriptive and functional to the line of "Moderna Sonorizzazioni" series."

2025 Repress

Running Back’s Double Copy subsidiary for house music history returns with four musical masterpieces from Chicago, London and an international cast from Italy on its first various artist sampler.
Originally released on Roy Davis Jr.’s Undaground Therapy outlet, Destination Heaven by the enigmatic Earth Boys project delivers a piece of cloud-nine-deep-house that was a staple at Frankfurt’s Wild Pitch Club and during the early days of its successor Robert Johnson. Produced by Cloudy Eyes and Cole Brooks, we unfortunately have never heard from the duo again. Luckily, Family of Few have been a little bit more productive. Also known as Mind Readers, Kevin Elliot and Billy ‚Jack“ Williams produced some of the more tender moments on Detroits 430 West label. Intervoles is amongst the most peculiar and catchy tracks that slow-burning dance floors can hope for.
The flip side turns the attention to the conclusions that Europe drew from its US-role-models. Released in 1992 on Rena Records with the involvement of New York’s JoVonn (a distinct genius of deep grooves himself), the keyboard skills of Pierre Audetat and the production work of I. Betti, M. Clemente and W. Brown, Dummy Head is one of a kind. Swirly echoes, dubby textures and a heavy bass line mate on the Edit Mix of I Have Been Wanting You to create one of the very first examples of fully formed dub-house.
Similar pioneering properties can be ascribed to the work of Rob Mello. We don’t have enough room here to list all his merits, but rest assured that the UK’s house scene wouldn’t be the same without him (Luxury Service Records, Classic et al). Under the Karim guise, Mello delivered a unique stroke of genius. Distilling the essence of deep house, while looking far into the future, In My Mind is many things at once: broken beat, electro, house with embracing chords, and – if you will – a warm-up banger. and does, what all the tracks in here do: turning heads then, turning heads now. Hardcore Deep House!

SEVENs first VA introduces seven new names to the label.
Kicking off this VA is vinyl enthusiast Sol Ortega with her fast paced track Dabz. With 4 r Luv, Posture created a melodic house tune that is sure to put you in a good mood.

Mastermind producers, Bailey Ibbs and Fergus Sweetland, join forces under the name DD Boys on their track Cannot Stop. Retromigation delivers old school tech house vibes with a touch of hip hop and funk in his track Cariati Feels
.

The G in Baka G stands for groove, and The Blue Spirit is real proof. CucaRafa delights with his debut track as Oliver Benji in Voice Mail.

Finally Ackermann rounds out the VA with another, more fast paced tune called Make You Wanna Do Right, sitting in the sweet spot between house and techno.

Parade Ground has always been the duo of brothers Jean-Marc and Pierre Pauly from Brussels, Belgium formed in 1981. Taking cues from Post-Punk, Coldwave, Dada and Surrealism, Parade Ground channeled suffering, tension and rage through pulsing synthesizers, skeletal guitar, severe bass and Jean-Marc’s expressive vocals as the most melodic and emotional instrument. The Golden Years is an 11-song, career-spanning collection of Parade Ground’s long out-of-print 7” and 12” singles as well as rare compilation tracks from the pioneers of electronic body music created during 1982-1988.

Parade Ground first appeared on the Nationale Rockmeeting LP in 1982, striking straight to the heart with the passionate plea “I Shut My Eyes.” Later that year the brothers met Daniel B. and Patrick Codenys of Front 242 beginning a collaborative partnership that continues to present day. In 1983 they released their debut 3-song 7” EP Moan On The Sly on the New Dance label, musically a hybrid of Joy Division and Fad Gadget. 1984 brought further explorations into the world of electronic body music with the 3-song Man In A Trance EP and 2 tracks on the live concert compilation Mask Promotion both records released on Front 242's Mask Music label. The following year the single Took Advantage/Moral Support 12” was released incorporating then, state-of-the-art modular synthesizers programmed by Daniel B. and back-up vocals from Flo Sullivan (A Formal Sigh, Shiny Two Shiny). Then in 1987 the brothers collaborated with Colin Newman of British post-punk band Wire, who produced and lent his vocals, guitars and keyboards to two songs ("Moans"/"Action Replay") while Daniel B. produced flipside "Gold Rush" on the Dual Perspective EP that stands alongside 80s anthems from Tears for Fears, Modern English, Echo & The Bunnymen. Finally in 1988 their debut album Cut Up was released on Play It Again Sam Records and featured the singles Strange World and Hollywood. In 1993 the brothers wrote and composed the vocals on two Front 242 albums Up Evil and Off. After 15 years of silence the boys released their second album Rosary in 2007 and continue to write new material and tour with their extensive catalog of dark dance classics. Each LP includes a 6-page press kit with lyrics, discography, photos and liner notes by Daniel B. of Front 242. The history of Belgian electronic music would not be complete without a trip through “The Golden Years” of Parade Ground.

Here is our Hot Sauce Volume 5 showcasing some seriously groovy and rare Rocksteady,
Boss and Reggay tracks mixed expertly for yet another thrilling early Reggae experience on vinyl.


Here is the much anticipated volume 5 of the HOT SAUCE compilation LPs dedicated to the Trojan related labels between 1965 and 1975.
HOT SAUCE volume 5 features outstanding original Rocksteady, Boss Reggae and early Reggae (“Reggay”) tracks including rare songs, overlooked gems, hidden treasures and a couple of hits. The record labels showcased on this fourth volume are Amalgamated, Bread, Downtown, Duke, Explosion, Grape, Harry J Records , JJ Records, Rio, Splash, Upsetter and Techniques.

The tracks here have been selected according to their musical interest firstly, their rarity, and their complementarity.
These tracks are all outstanding tracks, “killer tracks”, there is no “filler” whatsoever.

Particular attention has been paid to the way the songs are sequenced (or “mixed”) so that the album builds up nicely and gradually, generally starting
with the Rocksteady songs on the A side and the 70s songs on the B side.
The HOT SAUCE series is a musical journey across Trojan and its labels showcasing early Jamaican Reggae’s diverse musical genres and outstanding artists.
Since the early 70s’ “Tighten Up” and “Club Reggae” series, no compilations have really explored these labels in depth on vinyl.
It might be the last volume of the series as we know it so we wanted to make a splash for volume 5.
It is a nod to self-censored lewd Reggae covers from Trojan and Pama in early 70s. So don't fret,
a collectible yellow sticker has been strategically applied on the shrink-wrap to cover Miss Rocksteady's bottom!!
With its striking cover and its thrilling Reggay selection, volume 5 is bound to become another successful album in the Hot Sauce series...

Sound the alarm, we’re back! PAGER15 is our first VA since 2020, and it’s a special one— dropping soon with four tracks, four unique voices, and enough groove to shake your neighbor’s picture frames off the wall!

First up, our homeboy Phil Evans, aka "the coach” aka daddy cool, with Chocolate Funk. Imagine warm pads, crispy drums, and a bassline so addictive it should come with a warning. Add his signature offbeat stabs and a swing smoother than the creamy drizzle on kimchi fries, and you’ve got a groove that lingers long after the needle lifts.

Fresh blood incoming! Wavelength Infinity marks the Pager debut of the Parisians Aline Umber & Maxime dB, and they’re making waves. Deep, undulating basslines meet shimmering pads in a hypnotic blend of rhythm and texture. It’s a groove-roller that pulls you in faster than a free drink at the bar.

Flip it over, and California Sunshine Boy Rocky delivers debut number two with Aquatic Maneuvers. Flowing pads and bubbling percussion weave together a lush, evolving soundscape. Organic and intricate, it shifts like underwater currents, with each layer wrapping around you like the warm embrace of an after-hours vibe you never want to end!

And then there’s the Gude-Launebär himself—Markus Sommer, aka Frau Hommer, answering the eternal question: Does it Funk? Spoiler: absolutely. Rolling basslines, sharp percussion, and cheeky melodic twists come together. This is Hommer energy at its peak!

You know the drill: Either you grab it while it’s hot, or you’ll be left watching it spin on someone else’s deck. PAGER15 is calling—don’t let it go to voicemail!

Repress!

It's been four eventful years since Keinemusik's Adam Port, &ME and Rampa joined forces and laid down their collaborative debut album ‘You Are Safe.’ Taking time to explore new territories and sourcing material for their second offering, 'Send Return' is the product of this creative 'time-out:' a positive message requiring positive feedback, and hopefully making things a little better along the way. To get that message across, the boys invited a variety of voices from both past collaborative projects and new ties built over the last few years, to take part


Limited Edition, Silver Sleeve with silk-screen printing, flip image sticker on the front

Impressing the next set of colossal armaments onto wax, 'Order / The Mould' introduces a multitude of esteemed producers from London's musical melting pot to the high-grade Sentry artist roster. Fusing the sounds of bass music heavyweight Boylan and the enigmatic Logos, Slimzee the Grime visionary and co-founder of Rinse FM as well as the trio of veteran producers USF top off this epic collaboration. Following up on the latest anthem with Killa P and Long Range on the microphone and the label boss Youngsta himself on the controls, the 14th vinyl release of the esteemed UK imprint once again demonstrates its eminent value.

An exemplary no-holds-barred sound system eclipse, 'Order' kicks off with granular foley and restrained percussive ambience, invoking the impending militant pressure excursions with haunting precision. As the mammoth bassline unloads onto your listeners with unbridled might and the full force of the law, the ensuing staccato pressure artillery leaves no headroom behind - dance floor levitation at its finest. Witnessing the B-Side, 'The Mould' incorporates meticulous breaks alongside the scattered percussion and thunderous bassline foundation, not for the faint of heart. Two murderous sound system cuts, primed and ready for the dance.

The first-ever vinyl reissue of the classic 1986 debut album from perennial pop icon and pin-up Samantha Fox. The only British female solo artist to score three Top Ten hits on both sides of the Atlantic in the 1980s, Samantha made her name as the nation’s favourite Page Three girl before launching an enviable music career.

Touch Me features four hit singles: the international smash ‘Touch Me (I Want Your Body)’ (#3 UK and #4 US), ‘Do Ya Do Ya (Wanna Please Me)’ (#10 UK), ‘Hold On Tight’ and ‘I’m All You Need’. Immediately establishing Samantha’s signature pop-rock sound, on its original release the album hit #17 in the UK, going silver, before reaching #24 in the US with a gold certification. Pressed on striking black vinyl with white and pink splatters to complement the original aesthetic, this edition boasts painstakingly rebuilt artwork and a newly designed inner bag featuring full lyrics. A strictly limited-edition picture disc is also available. Touch Me is reissued alongside Samantha’s self-titled second album and 1989’s I Wanna Have Some Fun.

90’s House Nostalgik duo “ No Hype DJ’s ” formed by DJ Stenn and DJ Stanic is coming back with new dancefloors heavy weapons, this time in ghetto house style like they used to make those Dance Maniacs bad Boyz .
Pure tribute to the Chicago House Pioneers Paul Johnson, DJ Deeon or Robert Armani and all the devoted.

Written, Mixed and Produced by ‪St. David‬ at TOW Records Studio in collaboration with No Hype Studios and Wildbox.

2025 Repress

Midnight In Tokyo 2, the second installment to the compilation series that rounds up hidden gems by Japanese artists that's perfect for listening at night in Tokyo, is here. This time the collection brings together some tasty electric jazz fusion from the '80s , compiled by Dubby, the man behind the online record store Ondas.

The compilation begins with "Hikobae," a dark and slow cosmic jazz by saxophonist Genji Sawai, followed by "Danza Lucumi," an odd Caribbean-style jam by Today's Latin Project, a band fronted by Tadaaki Misago of Tokyo Cuban Boys, with arrangements by Yasuaki Shimizu. "On The Coast" is a soulful and mellow vocal track arranged by Ryuichi Sakamoto, from guitarist Shigeru Suzuki's album White Heat, and fusion boogie cut "In The Hot City" is by Mr. Theodore, which was a one-off project by a mysterious artist.

The melancholic soul jazz number "So Long America" is the title track from the album Yasunori Soryo released in '82, following a stint in America with the band Brown Rice. "Twisty" is a tropical reggae tune from the album Samba Kathy, an underrated classic by Jugando which was released on Trash, a sublabel of one of Japan's finest jazz labels, Trio. "Samarkand" is an electric Latin jazz jam that sounds like something Miles Davis and Santana could have played on, performed by a Latin funk band from Fussa. "Imagery" is a primal African fusion track by Katsutoshi Morizono, a member of the prog rock band Yoninbayashi.

"Windmill" is the most acoustic sounding tune on this compilation, a breezy Brazilian affair with a Hermeto Pascoal feel. "Mystery Of Asian Port" is by the band Parachute, which consisted of Japa-nese fusion giants like Akira Inoue, Tatsuo Hayashi and Masaki Matsubara. The cosmic jazz record sounds like something Daniele Baldelli would play in his sets. "Bay Sky Provincetown 1977" is a classic Japanese fusion tune by guitarist Yuji Toriyama.

The set also features the mellow but danceable "Heatwave" by keyboardist Keiichi Oku, featuring a female vocalist (which some have identified as Rie Ida), and last but not least, closing out the 13 track compilation is "Day Dream At The Bob's Beach," a wonderful urban fusion with a beautiful vibraphone melody, from the Japanese fusion classic album that was a one-off project by studio musicians

Neuauflage zum 30-jährigen Jubiläum!

Zum ersten Mal seit seiner ursprünglichen Veröffentlichung im Jahr 1994 auf Vinyl erhältlich und jetzt auf über 2 LPs verteilt, um ein besseres Klangerlebnis zu bieten.

Das Doppelvinyl wurde von Frank Arkwright in den Abbey Road Studios geschnitten und von Robin Proper-Sheppard aus der Band betreut.

The God Machine waren eine alternative Rockband, die 1990 in San Diego gegründet wurde und in ihrer kurzen Lebensspanne zwei sehr einflussreiche Alben auf Fiction Records veröffentlichte, 'Scenes From The Second Storey' (1992) und 'One Last Laugh In A Place of Dying' (1994).

Jim Chancellor, Chef von Fiction, schreibt: "The God Machine sind einer der unbekanntesten Influencer dessen, was heute als Post Rock / Metal bekannt ist." Er zitiert Lobeshymnen von so unterschiedlichen Künstlern wie Tool, Rage Against the Machine, Mogwai, Converge und vielen mehr.

Arun Starkey von Far Out – The Independent Voice of Culture trifft den Nagel auf den Kopf, wenn er sagt: "The God Machine klingen wie nichts, was vor ihnen kam. Sie klingen wie The God Machine, was auch immer das ist, und der Name hätte nicht passender sein können."

Obwohl sie begeisterte Kritiken für ihre zwei bahnbrechenden Alben und Live-Auftritte als Support von Nick Cave & The Bad Seeds, The Cramps, The Fall, My Bloody Valentine und The Jesus and Mary Chain erhielten, litt die Band darunter, zwischen zwei Stühle zu fallen, weil sie "zu Indie für das amerikanische Publikum und zu rockig für das britische Publikum" war.

Oslo’s Sex Judas feat. Ricky announces 2 x LP for Norway’s Snick Snack Music
The band’s varied concept album portrays a break-up of epic proportions and releases Jabnuary 2025
Digital Release Date: 3rd May 2024
Vinyl Release Date: Jan 2025

“Are you ready for the big disaster? The moment when everything unravels?

On their third album, Sex Judas feat. Ricky portrays a break-up of astronomical proportions. The band's mascots, Sex Judas and Ricky, embodied by artist Sindre Goksøyr, find themselves in the midst of a separation, and their feelings are sprayed all over the big screen.

But what is actually going on? Sex Judas feat. Ricky consists of the musicians Tore Gjedrem (Ost & Kjex), Sidiki Camara, Ivar Winther, Tracee Meyn, Tore Brevik, Kristian Edvardsen and Linn Nystadnes, a stellar team part of Oslo's musical underground. Together, they play a mixture of funk, disco, post-punk, traditional music from Mali and electronica that always moves the dance floor, with two previous critically acclaimed albums on the Scottish Optimo Music and a Norwegian Grammy to show.

Sex Judas’ third album, ‘The Book Of Dreams / After Sex’, is a double disc and a two-part musical affair. In the first part, Sex Judas' version of the breakup is depicted in a band format, with music inspired by the alternative 80s. Think Grace Jones, Tom Tom Club, DAF, No Wave, and the Compass Point Studio backing band in a blissful cocktail.

In part two, depicting Ricky’s breakdown, the band has created their most experimental music to date in close collaboration with contemporary composer Ole-Henrik Moe. The songs influenced by Ole-Henrik's tones are fluid and beautifully ambient, with inspiration ranging from 30s and 40s film music, Norwegian folk, contemporary electronica and IDM topped with Moe’s modern string arrangements.” - Snick Snack Music

Another 4 tried and tested club weapons straight from the Toolroom with huge support across clubland from LF System, Bob Sinclar, Claptone, David Penn, Ferreck Dawn, Danny Howard, Low Steppa, Roger Sanchez, Jodie Harsh, MK, James Hype, ACRAZE, Tiesto, Adam Beyer, Duke Dumont, Dombresky & the Solardo boys!

Studio, the influential project of Swedish musicians Dan Lissvik and Rasmus Hägg, presents their legendary 2006 debut in remastered form, in partnership with Ghostly International. Available in limited edition "Fog Machine Vinyl", CD, and cassette. "One of the finest pieces of electronic music you'll hear this year.” - The Guardian (2006). Included in year-end best-of write-ups by Pitchfork, FACT Magazine, and Rough Trade. Physical copies have long been out of print for West Coast, and the album has also been notably absent from most streaming services until now.

“Somehow, I knew I wanted to make a conceptual record that, although only imaginary at that point, could represent or define how our city sounded,” says Lissvik of Gothenburg's influence on West Coast. Some called Studio, the project of Swedish musicians Dan Lissvik and Rasmus Hägg, “the missing link between The Cure and Lindstrøm,” Pitchfork heard Durutti Column and Can, as the duo’s story became swept up in a loosely developing scene — adjacent first to the label Service (Jens Lekman, The Whitest Boy Alive) and later Sincerely Yours (The Tough Alliance, jj) — and a precursor to the 2010s boom at the axis of electronic and psychedelic music guided by indie greats like Caribou, Four Tet, and Darkside.

West Coast, their seminal 2006 debut, captured a faraway romanticism of Balearic brushed up against Krautrock, disco, dub, and afrobeat, with pop lyricism lifted from new wave, all made modern by two art school grads in Gothenburg. First pressed in a small vinyl-only run via their own Information label, the album has been notably absent from most streaming services, and the internet’s record of its initial impact is all but fossilized from a bygone blog era, while its sound is simply untraceable to any one moment in music.

Outside of three 7” releases, they’d keep the music to themselves for several more years. In 2005, Hägg remembers, “We got our degrees and were kicked out of our studio spaces so all these recordings were just piled up. A year later we dusted them off and started to deconstruct and assemble them in a more drawn-out fashion.” In the same breadth, they cite DJ Screw, J Dilla, and Joy Division, along with early ‘80s European live DJ sets from the likes of Beppe Loda, Dj Mozart, and Baldelli as reference points.

“The anything-goes mentality was very encouraging and was a big cornerstone to the Studio sound,” says Hägg. “But there’s so much more to the picture, we were not that young then and had lots of musical baggage in our suitcases, the new thing was that we finally let it all come through, not bound by any borders that was often the case with music identity in Sweden during the 90s.” In the afterglow of the record’s 2007 reception, Studio receded from view, clouded behind a mountain of remix requests (including one for Kylie Minogue that saw release) and label bureaucracy. “It’s easy to wish we would have done some proper recordings of our own instead,” Hägg reflects. But both artists, now well into respective careers beyond Studio, have come to peace with West Coast as their most enduring effort together. Lissvik adds, “It serves as a good reminder for me to keep to that decision and promise and to continue exploring and growing

lunch Money Flips Vol. 1: Espresso Con Panna b/w Pain Au Chocolat by | Galaxy Sound Company — GSC45-045, @galaxy_sound_company is reknowned for its always on-point, cop-on-site 45 edit series but over the last few years has also turned plenty of heads with their instrumental hip-hop interludes with label regular Michigan’s @strictlybutters who hails from the same small place that gave us Lyman Woodard & now gifts us with a super sweet pair of beatstrumentals. I’m fortunate to get a limited test pressing to share with you all to preview what the skateboarder, runner, sneaker-head & bedroom b-boy beat maker has in store.

For those that follow him, Strictlybutters frequently shares his lunchbreak/dollar bin finds that he has flipped & spun into juicy, head-nodding gold. With this release, no. 45 in the GSC45 series, we get that on wax live & direct.

Side A’s “Espresso Con Panna” flips the gospel, soul-funk gem “Love Light II” by Salt Of The Earth, from the 1984 LP “He Will Deliver”. SB delivers that thumping bass, hip-hop flip that keeps you going until he tops you off with a jazzy-sax outro to smooth things out just right. On the flipside, “Pain Au Chocolat” hits you in the gut with what feels almost like an alternate Detroit-style beat that ATCQ might have dug into & felt right at home with. & like the A-side, he gives us an “extra butter bonus beat” outro with a funky bass line you will hit the back button to replay more than a few times. & the subtle extra buttered sauce of unique samples with more Axelrod groovy flares & flourishes to tickle your fancy.L

Back in stock soon !

First Word Records is very proud to present a brand new EP from Yazmin Lacey - 'When The Sun Dips 90 Degrees'.

This EP follows on from her two recent singles, '90 Degrees' and 'Something My Heart Trusts', both of which are included here, along with three previously unreleased tracks, 'Heaven', 'Body Needs Healing' and 'Burn & Rise'. This set illustrates again Yazmin's candid songwriting delivered in her uniquely laidback soulful style, whilst a glorious fusion of neo-soul and jazz performed by Pete Beardsworth and her trusty band rides throughout.

In recent times, Yazmin has made live appearances on Jazz FM, BBC Radio 4, 1Xtra and NTS, & received widespread acclaim across the airwaves, including BBC Radio 2, BBC 6 Music, Worldwide FM and Mi-Soul, plus Spotify love from the likes of The Independent and heavy support from DJs such as Gilles Peterson, Jamz Supernova, Tom Ravenscroft, Huey Morgan and Jamie Cullum. Yazmin appeared heavily in The Guardian / The Observer's recent extensive feature on the UK's new Jazz movement too.

Initially a Brownswood 'Future Bubbler' graduate, Yazmin self-released her debut EP, 'Black Moon', last year. This lead to a Maida Vale session late 2017 with Jordan Rakei, Moses Boyd, Oscar Jerome and now label-mates, Children of Zeus. She kicked off the year with a performance at the Worldwide Awards with Skinny Pelembe, and has recently done shows with artists such as Ezra Collective, Tall Black Guy and Fatima. Yazmin has a UK tour scheduled for later in the year, as well as several festival appearances across Europe locked in. There's a lot more to come from this Notts-based Londoner yet.

In Yazmin's words: "'90 Degrees' is about that time of the day / night when there's a shift in pace and energy. When you decide to lock off from the 'outside' world and create your own atmosphere, take some time to give thanks for what's breathing love into your life and smoke off the fuckeries. Everyone needs a little routine for self preservation."