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2026 Repress

Rain&Shine proudly present ENERGIZE, a band out of Marin County, California in 1979. Previously unobtainable even for top DJs due to rarity, Rain&Shine gives this double A side modern soul/disco 45 an official re-issue treatment. About ENERGIZE (words by Dan Hays - Guitarist, Songwriter):

ENERGIZE came to age in a post-hippie era, where musicians went back to playing covers in bars. However Marin was still inexpensive and it was possible to pool money together to buy studio time.

That's how ENERGIZE formed - working musicians led by the superb producer and guitar player, Archie Williams (son of Archie Williams Sr - a passionate educator, WWII air force pilot and 1936 Olympic champion) Dan Hayes - songwriter and guitarist, and John Isabeau - lyrics and our executive producer.

John is now a successful Hollywood producer, Oscar documentary award winner, and resides in James Brown's former house in Las Vegas.

The record also features a hugely successful blues vocalist who has asks to remain uncredited. Archie, John and I now have grown children and a few grandkids as well and getting a kick that 40 years later, our self-produced record has found an audience. Far Out

DJ support: Tim Sweeney, Make A Dance, Parris, Pleasure Voyage, Camillo Miranda

Back yard - Back yard is the first single from the new Teen Daze album, Elegant rhythms, and features singer-songwriter Andy Shauf on drums, and LA jazz staple, Sam Wilkes, on bass. This is a stark change in sound for Teen Daze, who’s last album Interior was an exploration of neon-lit House music. Back yard is a mellow groover, conjuring up images of Laurel Canyon in the 70s, yet still with its flourishes of contemporary sounds.

We’re out of phase again - We’re out of phase again is another vulnerable glimpse into the inner world of Teen Daze, and marks the release of his most personal album to date, Elegant rhythms. In contrast to the synthesized, digital world of his prior album, Interior, here we’ve been brought into a lush, organic arrangement, brought to you in large part to the stunning bass playing by Sam Wilkes. While the verses pulse forward, the chorus slows things down, and evokes the sophisti-pop sounds of The Blue Nile. This track is a stunning showcase of the world of Elegant rhythms.

Nothing’s gonna change my love - Teen Daze returns with his second single of the year, Nothing’s gonna change my love. The stark change in sound, as heard on previous single Back yard, is on display here again: a smouldering, 2 and a half minutes of slow jazz-pop, indebted to the great Sade, or perhaps the feeling of leaving downtown LA at 2 AM. Lyrically, we hear a story of a love, challenged by the unpredictable nature of our lives. This may be Teen Daze’s smoothest song to date.

Neighbourhood - Neighbourhood is the third single from the recently announced LP from Teen Daze, Elegant Rhythms. Along with Andy Shauf on the drums, and Sam Wilkes on the bass, Teen Daze gives us a languid tour of his quiet neighbourhood. The sun has set on the pleasant, tree-lined streets, and a stranger, more surreal environment presents itself. The song plods forward at an extremely comfortable pace, held down by the paradoxically loose-yet-tight rhythm section. Lyrically, we walk around the Neighbourhood at night, and while the chorus reveals a type of sobriety, the vibe of the song makes it easy to feel a little…effected.

Fade away - Fade away sets the tone for Elegant Rhythm’s side B: a deeply personal, though somewhat veiled, confession of loss. How does it feel to grieve something that was never really here? A smouldering, slowly progressing first half erupts in synthetic noise, and then fades into the ether with it’s repeating refrain, “I can feel you / feel you fade away / when there’s nothing / nothing left to say”.

Fall ahead - A sweet piano tune which serves as a quiet break in the record, intended to help the listener reflect and take a moment of pause before we reach the final two songs on the album.

HST underwater - The penultimate track on the record tells a story where the narrator finds themself in an alien, yet oddly familiar place. Arpeggios soaked in crystal blue water flow through the stereo field, while the narrator, vocoded and drenched in autotune, searches for meaning and purpose in a confusing world. This is one of Teen Daze’s most cinematic, emotional songs yet.

In the rain - It’s never really made explicitly clear on this record, but a lot of these songs find Teen Daze wrestling with life as a new father, and this song, the final on the album, expresses the fears of generational trauma. A touching, tender ode to his children, we hear Teen Daze at his most personal and vulnerable. The falling rain surrounds some absolutely breathtaking bass playing from Sam Wilkes, and Teen Daze’s signature ambient keyboard sounds.

Radio Support: Ruf Dug (Soup To Nuts on NTS)

Since we finally brought Countdown into the Acid Jazz orbit
four years ago, we have released a series of excellent records,
all tied to our own Ed Piller’s roots in the mod scene. After all,
Ed originally founded the label (with Maxine Forte and Terry
Rawlings), as an offshoot of Stiff Records, against the backdrop
of the mod revival of the early ‘80s.
Something that we have been looking to do for a while is launch
a special series of Countdown 7” singles, looking back at the
original Mod classics of the 1960s – and the time is now!
The first release is from the Fleur De Lys – who we have been
working with for some time – pairing their 1965 cover of Pete
Townshend’s ‘Circles’, with the first-time single release of their
cover of The Temptations’ ‘You’ve Got To Earn It’.
The band emerged from the vibrant Southampton scene with a
love of Soul and R&B, and were signed to the Immediate label
by Tony Calder, who had connections on the South Coast. Their
first single was ‘Moondreams’ (produced by Jimmy Page no
less), before their incendiary take on ‘Circles’ – a number
originally slated as The Who’s follow up to ‘My Generation’,
before getting caught up in legal matters. The Fleur De Lys
version remains one of the finest slices of the Pop Art Mod
sound, and is as fresh today as it was then. Originally released
to take advantage of The Who’s misfortunes, it was rushreleased and failed to chart. It proved to be their final release on
Immediate, before they signed with Frank Fenter.
‘You’ve Got To Earn It’ is from a tantalising, lost session from
1966 (which also included takes of The Impressions ‘Amen’ and
Don Covay’s ‘Sookie Sookie’). All that survived from the
session was an acetate of this amazing cut, found by group
member Gordon Haskell, from which this cut derives. We
originally released it as the title track of the first Fleur De Lys
compilation on Acid Jazz in 2013. It has never before been
available on 7” vinyl.

25 killer library music cuts by the German film music maestro on audiophile pressing in deluxe 2x10" set. Uberrare and never released before material from 1968-1976, sourced from Peter Thomas' personal reel-to-reel tape archive. Limited edition of 500 pieces.

From brassy big band funk, space jazz, krauty synth experiments to proto-hiphop, cosmic schlagers, heavy easy listening, soulful soundtrack moods and absurdly dreamy LSD ballads, this compilation encompasses the composer's most obscure and yet most transcendent work.

Peter Thomas is widely acknowledged as Germany's most inventive film music composer of the 1960s and 1970, best known for his iconic soundtrack work. He scored over 600 films and episodes, from the crime blockbusters of Jerry Cotton and Edgar Wallace to indie arthouse films like Playgirl, Bruce Lee's The Big Boss and the extraterrestrial Space Patrol and Chariot of the Gods.

His recordings for music libraries often provided an even more leftfield approach. Their visionary 'dope beats' appeal provoked a keen interest from vinyl aficionados, beatmakers and rare groove DJs alike. Unavailable for the public, the original "for professional usage only" albums are now sought-after collector's items that fetch astronomic prices on the 2ndhand market.

This double 10" album is the definite selection of Thomas' best library cues from the Golden Ring Records, KPM and DeWolfe catalogues, many of them available publicly for the first time - plus four recently unearthed "lost" tracks from Warner Chappell's CPM Archive series that have never been released on vinyl before. All music was carefully transferred from Peter Thomas' private master tapes and cut in full dynamics, housed in a beautiful fold-out cover with liner notes and private pictures. The compilation was realised in cooperation with Peter Thomas' son Philip who takes care of the Peter Thomas Sound Orchester catalogue after his father's death in 2020.

- For this brand new chapter in the highly acclaimed Wamono series, DJ Chintam goes digging into the vaults of one of the most revered Japanese labels, Trio Records, and unearths some killer drum breaks, dope bass lines and funky horns, for an essential selection of jazz funk fusion and rare groove vibes produced on Trio between 1973 and 1981!

- 180g heavy vinyl pressing, reverse board jacket.

- Fully licensed Trio Records masters.

- Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.

- Signature artwork by Yoxxx.

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After many years working as a buyer for several record stores, DJ Chintam opened his own Blow Up shop in 2018 in Tokyo's Shibuya district. A member of the Dayjam Crew and a specialist of soul, funk, rare groove and disco music, Chintam is also an expert of the home-brewed Wamono grooves. He supervised and wrote the legendary Wamono A to Z records guide book together with DJ Yoshizawa Dynamite.

For this brand new chapter in the highly acclaimed Wamono series, our man Chintam goes digging into the vaults of one of the most revered Japanese labels: Trio Records. Established in 1969 by audio manufacturer Trio Electronics, now known as Kenwood, the label - and its subsidiaries such as Showboat and Trash - released high quality music spanning a large variety of genres including rock, jazz, fusion, soundtracks and popular songs, until its end in 1984. Through the eight tracks selected here, Chintam unearths some dope drum breaks, heavy bass lines and funky horns, for an essential selection of jazz funk fusion and rare groove vibes produced on Trio between 1973 and 1981.

Put the needle on the record, turn up the volume and dig right now into the Wamono sound - the cream of the Japanese jazz, funk, soul, rare groove and boogie music developed throughout the years since the sixties in Japan!

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180GWALP05 - Manufactured and distributed by 180g.

Waves of Distortion (The Best of Shoegaze 1990-2022) is a superbly curated trip through the genre from the good folks at Two_piers, who have served up similarly excellent collections focussed on everything from French psychedelic pop to garage psych. This serves as both a fine intro and a great retrospective for existing fans that will take you down a rabbit hole and leave you wanting more. Some of the scene's original pioneers feature and there are many a timeless tune here that help to document the subtle evolution of the genre throughout the decades.

Unequal cycles in search of synchronous experiences: On his new album »Pounding«, Frank Bretschneider tells of distance, convergence and congruence in a continuous, ever-changing flow of events. What is often regarded as an unquestionable dogma in club music (for which Bretschneider has provided significant impetus since the 1990s) – the groove – appears precarious, unstable, and in motion. Pulse and accent are volatile encounters and have to be found again and again for short, delightful moments. Music becomes a constant process of negotiation.

In search of new sound spaces, Bretschneider has recently worked a lot with modular synthesizers, both solo (for example on »abtasten_halten«, 2020) and in collaborations, including the project Beispiel together with Jan Jelinek. »Pounding« was created using similar means – conceived in 2020 for the Pochen Biennale in Chemnitz, subsequently developed further and recorded in March and April 2023 on a sample-based modular system. And in fact, Bretschneider is once again exemplarily scanning his own sound material, such as dub effects that listen to themselves disintegrate; but also the human voice, or more precisely: the stuttering of fragments of speech, far in the distance but omnipresent, like a mysterious narration. Aesthetically, the eleven pieces form part of a series of works with a focus on percussion. Bretschneider has already perfected this approach with albums like »Rhythm« (2007) and has been shifting the perspective ever since, for ever new results.

Shifting is the basic principle of »Pounding«. Bretschneider combines elements that are in different aggregate states, changing their relationship to each other and thus ensuring the complex overall movement. He lets one to two-bar loops run against each other and through small manipulations, develops a network of rhythms that creates a hypnotic state in the counterplay of repetition and mutation, between clearly recognizable meter and disorientation. There are comparable approaches in aleatoric music. Bretschneider combines them with sounds and patterns that are reminiscent of step sequencer logic and at the same time go far beyond it. The result is relational techno. Never obvious, always restless and exciting.

Slush Records are back for their second outing, remastering and rereleasing Sedona’s highly sought-after 1995 track, ‘Pulsation’. A portal to the underground of the ‘90s, Sedona’s original mixes and the remix from Robert Vaughan, fuse progressive house, trance and breakbeat, each oscillating to their own unique frequency. Not stopping there, Slush Records enlist the expertise of Seoul-born, Amsterdam-based Naone for a mesmerising new remix that harnesses all of that early ‘90s energy, with a fresh dynamism.

The story of Sedona begins with Dale Charles and Benny Blanco. As a touring DJ and buyer at Boston Beat Records in the mid ‘90s, Dale Charles was in diggers paradise. Freestyle was big business at the time and as a progressive house and breaks DJ, Dale couldn’t help but notice how good the drum programming was on some of the tracks. He spent endless hours trawling through the shops near 10,000 freestyle records, hoping to find that elusive secret weapon.

One day Dale found the break he was searching for and took it to Benny’s studio. Benny was an aspiring DJ and, more crucially, a producer with a conveniently concreted basement apartment he was slowly filling with synths, samplers and drum machines. Sampling and chopping up this gem of a break, utilising two TB-303’s that Benny recorded live for the acid lines and creating that signature throbbing arp on a Roland JD-800, the basis of ‘Pulsation’ was born.

The duo created a series of different mixes to tweak the feeling of the track. The ‘Ascending Mix’ and ‘Sinister Mix’ bookend this reissue. The former, a club-focussed cut with subtle to squelching 303 lines, rumbling sub bass frequencies and pulsating arps that anchor the track, as the sacred drum break fires your brain into trance-infused euphoria. The latter, an ominous slice of teleportational ambient electronica, sucking you into a wormhole of galactic synthesis and dream-state harps.

The first of the remixes sees Slush draft in the progressive wizardry of Naone to provide a fresh new take on the track. Leaning into the otherworldly ‘90s atmosphere of the original, Naone radiates the pulsating theme through swelling synth stabs and a driving acid bassline. Switching up the feel with an electro-tinged drum beat, she distorts the acid dials till the track explodes into a dystopian realm of twisted techno.

The second is Robert Vaughan’s ‘Test Tube’ mix from the original 12 Inch. A no-nonsense prog headspinner, that garnered plays from the likes of Sasha and Digweed. An acclaimed DJ and producer across the ‘90s, with releases on the likes of Space Records and Metropolis, Vaughan injected the track with added breakbeat energy and swirling, tripped-out breakdowns to masterful effect.

A timeless dancefloor classic, expertly remastered and reissued with a remix that both honours and updates the original.

An Italo Disco rarity from 1984 now available again on a
colored 12“ maxi single:

Ken Laszlo - Hey Hey Guy!

On side A we present the rare original versions. As a highlight
on side B you can look forward to two new and exclusive
remixes by Flemming Dalum. This strictly limited colored
vinyl is a tribute to the golden years of the Italo Disco era and
brings the pulsating rhythm and the unforgettable groove back
to the turntable.

Reissue of this italo disco classic from 1984. Comes with Flemming Dalum remixes.

Hailing from Playa Del Carmen, Mexico our dude Hotmood keeps it funky with his 'Baby Come Down EP'! Hot off his multi pressing sellout release on Blur Records Hotmood gets straight to the funk with the title track 'Baby Come Down'. All heat for your feet for this jam! House music legend DJ Sneak comes correct with his bangin floor stomper B.B.B. (Big Boss Bizness) Remix of 'Baby Come Down'. Peak time biz right here, bang it out! Back to the Hotmood sure fire floor filler 'Disco Lady' with baseline for days, and a catchy spoken word over steamy funk filled disco heat. Natural Rhythm kicks in the cruise control as we hit high velocity with a deep and funky slice & dice of 'Disco Lady'. Heavy drum work and tight percussion is the call with this cleverly woven gem that’ll fill the floor and get em moving! Next up we have the House music icon Nail of Robsoul, Classic and Diy fame with his 'Fleng EP'.

You can never really pin down what the excellent Emotional Repose label does and that is exactly the sinking behind the title of its superb All Trades show on NTS. The sheer eclecticism of that show is now reflected in this new two-part compilation, also called All Trades, which offers up little morsels of what they do, something like a sonic tasting menu at a fancy restaurant. There is chugging electronic dub from Apiento & Tepper, industrial clatter from Black Bones, cosmic ambient breakbeat from Paperclip Minimiser and blissed out dub from Yamila & SoFa Elsewhere amongst many more highlights.

Headquartered in a broader domain of Mixcult Records, Blackinstock Records focuses on the very first release with "Reel Phase EP" BLIS001, representing the most profound property of Mixcult Records' Black Gold Dub Techno. This great collection includes legendary Dub Techno maestro Federsen, plus the innovative minds of Yagya and Ohm.

Submerge in a sea of minimalism and sonic depth, where every single track is a journey in itself. "Reel Phase EP" is such music, emanating from the very heart of Dub Techno. A lot is vested in these expansive and immersive soundscapes, embracing highly detailed constructions. The spaciousness and depth of this release create an unrivalled listening experience, allowing for a deep dive into the pensive and genre-evolutive nature of this sophisticated kind of music.

Federsen, Yagya, and Ohm blend their different skills in masterly fashion, cooking up something timeless and forward-thinking. Each track is a stamp of class and introspection, hallmarks of the Blackinstock Records label, making this EP a must-have for any Dub Techno enthusiast.

Give a different feel to your collection with this genre-defining release. "Reel Phase EP" BLIS001 is not just music; it's an auditory journey to the very heart of Dub Techno. Make no mistake: this is your chance to get a share of musical evolution – get your copy now and dive into the deeper realm that Blackinstock Records holds in store.

ARR049 Brizman - Tomorrow Is A New Day Craving for that perfect serving of benchmark minimal house with a flavor of psy-chill and euromantic? The Kyiv based vinyl label Artreform Records is ready to treat you to a tasty new EP by the long-established chef Roy Brizman. His new release, Tomorrow Is A New Day, looks well-prepped for repeating the success of Midnight Tales, the previous Artreform offering by Brizman from 2021. Brizman is a star of the Israeli electronic scene. Roy is also known as Gel Abril in Tel Aviv and far beyond. He has been in great creative form lately, releasing many new tracks and remixes his latest twist on Depeche Modes Policy of Truth" is just one example. Roy offers three new tracks in one sitting this time-a triad united by an overarching mood and atmosphere. It's the perfect soundtrack for diving deep into your feelings and thoughts right on the dance floor. The producers signature micro-house groove is so clear and transparent that you can hear the distant echoes of past electronic music-from New Age to Balearic. The release concludes with the lead track remixed by the ro-minimal star Floog. This gifted producer is alternatively known as George G-a member of the Premiesku project, which also includes Livio and Roby.

First Cut is proud to release Giles Armstrong's 'The Activity of Sound' EP .

Giles has been a central figure in Dublin's underground electronic music scene for over 20 years. First as a formidable techno DJ, then as one of the promoters of the legendary midweek club Electric City.

The third and most significant chapter is Giles’ emergence as a producer - with his third EP for First Cut bringing this story to life in vivid techno-colour. The sample-heavy 303 rumble of 'Caged' and the driving acid banger that is ‘One Foot In The Rave' are sure to work their magic on the dance floor. The third and final part of this EP will leave you begging for more. With its melodic sweeps and spine-tingling bass, ‘Waldorf Salad’ is a proper end-of-night tune.

This future classic book-ends the latest twist in Giles’ remarkable journey.

Phyr Records, owned by Pyramidal Decode, is a techno Vinyl/Digital label focused on dark, hypnotic and strong Techno.
The label's name "Phyr" originates from the Greek word "pyro", meaning "fire", reflecting the intense and fiery energy that defines the label's sound.

'Compounds' is the debut release from Pyramidal Decode's Phyr Records.
This various artist compilation kicks off with a thought-provoking and intricately textured track, 'Resistenza', courtesy of Pyramidal Decode himself.

The A2 comes from Spanish Pwcca, label owner of Hardtools Rec. and Inducted Waves.
His track, 'Half Human', is a masterclass in building tension, crafting a sense of unease that's sure to leave listeners on edge.

On the B side, Irazu & Unkle Fon, both hailing from Madrid, bring their unique brand of modern techno to the table with a sprawling and atmospheric track that's sure to get lost in its sonic landscape.

Finally, the B2 is a hauntingly beautiful closing, courtesy of German producer Oliver Rosemann.
His emotive and atmospheric soundscapes provide a moody ending to this exceptional release.

It is on dark and sweaty dance floors that we get inspired, connect and leave our differences away to live in the present. With this compilation of music pressed in two parts and written by a set of artists from very diverse horizons, it is Polychrome’s perspective on the rave that we want to share. One where sound and light are the only points of reference, opening the space for liberating experiences.

The dance floor is also a space of self-reflection. The A-side is catered by two artists from one of our favorite collectives, De Lichting. With “A Reflection”, RDS opens up and shares a beautifully crafted house gem, providing for a soft and introspective yet groovy “eyes closed” dance. Nathan Kofi takes on the A2 with his unique deep house sound, layering sweet and cinematic synth sounds over an Afro-induced drum sequencing, creating a warm sonic envelope. On the B-side, James Free mixes acid synthesis, roaring bass line, and breaks to create a progressive and subtly melodic dance floor track, one that leaves you positively triggered. With the final track of the record, Rotterdam’s Mata Disk offers a glowing light over polyrhythms and very electronic noises, offering this body of work a deserved radiating curtain close.

Unrecognisable” is a story about a city where buildings are used as weapons in a war between the government and the people. The initial chapter, “Eiffel Shard”, was published as an online graphic novel with an interactive soundtrack. It depicts a phone call between Paris Hell and Geneva Heat, two members of the resistance group Unrecognisable. During the call, Paris informs Geneva that a deadly building, The Shard, is now under the authorities’ control. What’s worse — the government also got hold of a secret building transformation plan developed by the resistance. Paris tells Geneva that the Unrecognisables decided to abandon the plan due to the number of civilian casualties it would inevitably cause. A series of intricate explosions would force the building’s glass surface to rip through the surrounding areas, destroying everything in its path and leaving only a pointed metal structure standing: an Eiffel Shard.

The second chapter, “Paris’ Dream”, was performed by Lolina as an improvised gig. Samples from the soundtrack to chapter one accompanied a video showing the protagonist sneaking into The Shard at night. The narrative continues with Paris’ anxiety dream of her time working on the Eiffel Shard project alongside another Unrecognisables member who she fears has betrayed them by handing over their dangerous plan to the government.

The third chapter is now being released as an album of new music. In a declining city, Paris and Geneva are tour guides to be followed at your own risk. Lies and petty crimes, mistrust, betrayal and, inevitably, war are the setting in which they seek to devise a plan for resistance. As members of a secret group, they hide their identities and meet after dark. Under dim lights of city streets and closed-down clubs, it’s hard to tell a dodgy detective from an eager philosophy student, friends are enemies in disguise, and it’s advised to park your car sideways for a fast getaway.

On this concept album, Lolina performs the role of both characters, her own voice often made unrecognisable by pitch-shifts and distortion. It was recorded almost exclusively on a Casio SK-200 sampling keyboard boasting 1.62 seconds total sampling time. No beat preset (total of 20) is left untouched, unchopped or unlooped. Not one of the 49 mini keys is idle. Retains samples when turned off.

It is on dark and sweaty dance floors that we get inspired, connect and leave our differences away to live in the present. With this compilation of music pressed in two parts and written by a set of artists from very diverse horizons, it is Polychrome’s perspective on the rave that we want to share. One where sound and light are the only points of reference, opening the space for liberating experiences.

Diffraction EP takes you through the full journey of waveforms traveling through our beloved clubs. Sparking the A-side, Hong Kong’s wonder producer and Mihn Club resident Xiaolin fires up with a progressive and flamboyant house cut, opening an ambitious dance. The tension is taken one notch deeper with Barcelona’s duo Iro Aka signature hypnotic and driving techno sound, dimming the lights for an introspective groove. On the B-side, Lyon’s Desire flirts with an electrifying psy-infused track where pounding beats and floating melodies dance in harmony and psychedelia. It is in a firework that Dublin’s prodigy Dylan Forbes closes out the EP, with an energetic progressive anthem that will light up the space

P.E.A.R.L. is back on his own Falling Ethics Records with four lethal cuts of percussive techno. After a short hiatus for the label, a period that was used for launching the new sub label Moral Standards, it's now the second release this year that marks the comeback of the main imprint and the label owner himself. His 'Hand Over Fist' EP brings four pounding techno jams, powerful and drifting at first with a deeper impact coming from the detailed excellence.

Full of bounce and experimentation in equal measure, ‘Triple Transit,’ Braille’s new album for Hotflush is about leaving his Sepalcure project (with Machinedrum) in the rear mirror, moving back to New York and using its energy to fuel new moves, confronting our hyper layered world and overcoming personal difficulties by being creative.

Focused squarely on utilising modular synthesis in sprawling studio sessions, the album covers a wide stylistic range and draws on the artist’s formidable battery of experience to craft a body of work that packs real emotional punch as well as a dancefloor sensibility.

We had a quick chat with him to wet your appetite…

Praveen Sharma aka Braille:
Moving on from Sepalcure
“That period of time when Sepalcure was at its peak was really inspiring. I’m still really in awe and humbled by the fans. It’s always amazing to hear about how music you’ve made has brightened up other people’s lives in some way, but ‘Triple Transit’ is really about transitioning from that period to something new. I’m intentionally not using many vocal samples on this album. That became quite a crutch for Sepalcure and I wanted to try and find ways to evoke those emotions and connect with the audience in other ways.”

The roots of his Bounce
‘Sour Patch Kiss’ and ‘While We’re Free’ are inspired by classic house and some early Detroit stuff. Songs like ‘Big Fun’ (Inner City), ‘I Wanna Be there’ (Model 500) and slowed down ‘Sex on The Beach’ (DJ Assault) have stuck with me since the beginning. I used to listen to this slowed down and doubled version of ‘Sex on The Beach’ on an early Juan Atkins mix cd on REPEAT when I was in high school.

Getting ambient
Triple Transit slows down and transitions through a bit of sadness and eventually acceptance at the end of the album. A lot of the music I’m making these days is trying to recreate that manic feeling so many of us have in 2024. Between social media, ridiculous hustle culture expectations and depressing global and national political events, it’s hard to not feel overwhelmed. I feel like Triple Transit is kind of a parabolic curve from mania to joy to a sober realization that yeah, actually the world is just fucked but somehow we carry on.

In Mr Bongo’s opinion, 'Imprevisto' is one of the most unmistakable Brazilian jazz records ever made. Dramatic intro and hypnotic piano line, decorated with panned percussion before the hats come in. Then the upright bass. A true classic.

Bossa Três formed in 1961 in Rio. They spent most of their early years touring jazz clubs in the USA, before the original line up and their pianist (and perhaps most well-known band member) Luis Carlos Vinhas, returned to Brazil. This is the final track on their Em Forma! LP from 1965, released on Forma. The original pressing of this Brazil 45 was the first time ‘Imprevisto’ had been released on a 7”.

We know very little about Ana Rosely. She released four 7” 2-track records between 1975 and 1984, the latter featuring the brilliant ‘Skim Dum Dum Dum’. The original version was released by RGE Discos in 1984, which came as a surprise to us given the sound. It is very difficult to find an original copy in good condition and they are, as ever, increasing in price.

Sasha returns with atmospheric gem 'How to Wear Raybans Well' Featuring remxes from heavyweights Roman Flügel and Nathan Fake.

Electronic luminary Sasha has had a busy 2024 that has so far yielded standout collaborations with the likes of Super Flu & Sentre and a solo single 'Florian Drift' that proves he remains at the cutting edge. His Last Night on Earth label continues to serve up a rich mix of melodic house and techno from the most exciting names in the scene and this latest solo single finds the boss head into new realms once more.

The superb 'How to Wear Raybans Well' is awash with fizzing dub chords and electric lines that flash about the mix. The deep rooted drums have a subtle bounce as they serve to sweep the floor off its feet and lock them into a state of melodic techno bliss.

First to remix is Nathan Fake, a UK talent who has always had his own unique sound. It's based on his mastery of synths and melody and has arrived on labels like Ninja Tune and Border Community as well as his own Cambria Instruments. His remix ups the ante and strips things away to bring more defined drums and crisp hits. The synths bring a range of emotions as they unfold with a mind of their own throughout this most captivating track.

Roman Flügel has been an ever present in the electronic world almost since the start. The German's output has covered endless ground from micro house to acid to techno on the most tasteful labels from his own Playhouse to Mule, Dial and Live At Robert Johnson. His remix is timeless surging techno that comes with waves of warming synths and unrelenting drum pressure designed for peak time dance floor wig-outs.

The second instalment from London Odense Ensemble digs deeper into the group's vision of what modern psychedelic jazz should sound like. Cut from the same sessions as Jaiyede Sessions vol. 1, released last summer, vol. 2 presents a more nuanced approach to the material. On this set the ensemble focuses on shorter, layered pieces - travelling from deep spiritual jazz grooves to gorgeous free-flowing minimalism to full-on acid jazz. There's echo-drenched flutes being absorbed into layers of analog synth pads and guitars, bossa beats and double bass sequences merging with electronics. It’s an intoxicating mélange of sounds and styles, spanning wide temporal and geographical distances. London Odense Ensemble came together when two of the finest exponents of London's flourishing jazz scene, flautist and saxofonist Tamar Osborn and keyboard specialist Al MacSween, came over to Denmark to explore new sounds with Causa Sui's Jakob Skøtt and Jonas Munk, as well as local bass player Martin Rude. For two days the group laid down grooves and ideas and experimented in the studio, and later the best segments were edited and mixed by Jonas Munk, who took a somewhat liberal approach to the mixing process, often dyeing the material with external effects and synthesizers. Jaiyede Sessions are the kinds of records that defy genre-terms, yet have its own instantly recognizable fingerprint. It carries a unique shared vision between the players of what modern psychedelic jazz sounds like. bios: Tamar Osborn: Saxophonist, composer and multi-wind instrumentalist is the creative force behind modal jazz ensemble Collocutor (On The Corner Records). She is a member of the Dele Sosimi Afrobeat Orchestra, performs and collaborates regularly with Sarathy Korwar, Jessica Lauren, Emanative, Ill Considered and DJ Khalab. Al MacSween: Keyboard player & founding member of Kefaya. Collaborations include American jazz legend Gary Bartz, Syrian qanun master Maya Youseff, London Community Gospel Choir, Palestinian jazz singer Reem Kelani & kora player Kadialy Kouyate. Martin Rude: Multi-string instrumentalist & lead singer in Sun River & Edena Gardens with members of Papir & Causa Sui. Jakob Skøtt: Drummer in Causa Sui with a slew of side projects on El Paraiso, including Chicago Odense Ensemble, as well as being responsible for the label’s visuals. Jonas Munk: Guitarist in Causa Sui & studio wizard on most releases on El Paraiso. Also works with a wide palette of electronic music.

fabric Originals is proud to announce the release of the highly anticipated collaborative EP by Irish-born DJ, producer, and label owner Mano Le Tough, one of the most celebrated names in underground house and techno, and electronic musician and DJ Perel—who was the first German artist to sign to James Murphy's seminal dance-punk label DFA Records.

This EP marks the second release in the label’s new series, 'Future Memories,' which pairs together a legendary producer with new talent to create groundbreaking music that bridges generations.

The 'Future Memories' series is fabric Originals' latest initiative to celebrate the legacy of electronic music while paving the way for future innovation. By pairing seasoned veterans with promising newcomers, the series aims to create timeless tracks that resonate across generations. Mano Le Tough and Perel comes hot off the heels of our 1st release – by UK Garage royalty MJ Cole and rising UK techno X Dubstep producer and one half of Wisdom Teeth, K-LONE.

Here at Rube Goldberg Series we pride ourselves on having everything you need to complete your ski gear set-up this season. So, whether it's ski bindings, ski goggles, ski poles, helmets, thermals and base layers, or a new 4 track VA record, Trust us. We have it all in our collection.

While you're here, why not check out our stylish new release? Discover tunes from Velvet Velour, Picasso, Bowyer and Kawaii San. Shop our selection online or at your nearest store today and find quality tunes fit for your next adventure to the dancefloor.

As well as increasing cardiovascular fitness and muscle growth, DJing is a thrilling snow sport that allows you to glide across snowy slopes with speed, grace, dexterity. Getting the right records for your build, experience, and terrain type can make all the difference to performance and enjoyment on the dancefloor.

We are ecstatic to announce the fifth release on Cupula Recordings, featuring the powerhouse collaboration of Nuclear Waste and Corp. This release infuse the best elements of New Beat, EBM, and Synth Pop into a cohesive narrative.

“Nuclear Corporation" is an auditory explosion defying genre conventions.

For our 8th EP we bring you fresh works from the Dominican producer Log_In. He’s released on underground staples such Dance Floor Rituals, Art of Dark, and Partout, always delivering his own take on modern italo-disco infused techno music.

Gamine’s own Christian ties the EP together with a slick remix of the B1 track. Slightly more minimalistic than the original, this track is suited for any point of the night.

Soela is the DJ and production alias of Elina Shorokhova, a Russia-born Berlin-based experienced pianist and vocalist who has made a hugely impactful transition into electronic music. Having released material on such labels as Kompakt, Dial, Shall Not Fade, Lost Palms, E-Beamz, Red Ember Records, Sushitech, and others, Soela joins the ranks of Scissor & Thread for this exquisite album - Dark Portrait.
The album opens in a typically understated manner with Unsuitable - a melancholic trip-hop adjacent track that sets the tone for the next 8 pieces. As Soela explains, “I was dealing with some very complex feelings, so I came up with this album, which helped me not to despair, to work on myself, to grow internally, and to start listening to myself. It helped me to keep sane when my country invaded Ukraine with a full scale war. It absolutely broke my heart, and music was one of my main salvations.”
This complex mix of emotions plays out across the album with tracks that utilize her beautiful musicality (Through the Windows feat. Francis Harris and Philipp Priebe, Drowning feat. Module One) and ear for details with skittering beats, ambient soundscapes (Spirits, Lost In The Fog) and lose-yourself dancefloor moments such as the collaboration with Lawrence on February Is Not Going To Be Forever. The title track Dark Portrait combines dubby elements with affecting pads and melodic touches, while the lead single Even If I Ask You Stay delves into multiple feelings around escaping toxic situations, and battling depression. It features a powerful vocal from Soela supported by a deeply affecting arrangement. The closing track The Darkest Hour Before Sunrise brings a sense of hope and light, balancing subdued keys and strings with ethereal tones and atmospheres

2024 Reissue

Strut present the first definitive retrospective of an icon of 1970s and ‘80s soul, jazz and disco, Patrice Rushen, covering her peerless 6-year career with Elektra / Asylum from 1978 to 1984. Joining Elektra after three albums with jazz label Prestige, Patrice had shown prodigious talent at an early age and had first broken through after winning a competition to perform at the Monterrey Jazz Festival of 1972. By the time of the recordings on this collection, she had become a prolific and in-demand session musician and arranger on the West coast, appearing on over 80 recordings for other artists. She joined the Elektra / Asylum roster in 1978 as they launched a pop / jazz division alongside visionaries like Donald Byrd and Grover Washington, Jr. “The idea was to create music that was good for commercial radio / R&B,” Patrice explains. “We were all making sophisticated dance music, essentially.”

Drawing on some of the leading musicians in L.A. like saxophonist Gerald Albright, drummer “Ndugu” Chancler and bassman Freddie Washington and keeping an open minded approach from her training in classical, jazz and soundtrack scores, Patrice’s music was a different, more intricate proposition to many of the soul artists of the time. “L.A. musicians were not so locked into tradition,” she continues. “None of us were accustomed to limitation and the record label left us to take our own direction.”

Early classics like ‘Music Of The Earth’ and ‘Let’s Sing A Song Of Love’ were among Patrice’s first as a lead vocalist before her ‘Pizzazz’ album landed in 1979, featuring the unique disco of ‘Haven’t You Heard’ and one of her greatest ballads, ‘Settle For My Love’. “Although ballads make you feel more vulnerable as an artist because they are often personal, I think listeners relate to that sincerity,” she reflects. By now, Patrice’s records were supremely arranged and produced as her confidence as an all-round writer, producer, arranger and performer grew. Slick dancefloor anthem ‘Never Gonna Give You Up’ and the ‘Posh’ album in 1980 led to her landmark album ‘Straight From The Heart’ two years later. Receiving little support from her label, Patrice and her production team personally funded a promo campaign for the first single from it, ‘Forget Me Nots’. It went on to peak at no. 23 on the Billboard Hot 100 and the album was later Grammy-nominated, while the track became a timeless anthem and popular sample, inspiring Will Smith’s theme for the film ‘Men In Black’ and George Michael’s ‘Fastlove’.

Patrice’s final album for Elektra, ‘Now’ kept the bar high with sparse, synth-led songs including ‘Feel So Real’ and ‘To Each His Own’. It concluded a golden era creatively for Patrice which remains revered by soul and disco aficionados the world over.

‘Remind Me’ features all of Patrice Rushen’s chart singles, 12” versions and popular sample sources on one album for the first time. Formats included a 3LP set and 1CD fully remastered by The Carvery from the original tapes. Both formats include an exclusive new interview with Patrice Rushen and rare photos.

• First definitive Patrice Rushen compilation released on vinyl since the ‘80s
• Includes all of her chart hits, DJ favourites and sample sources
• Official release featuring full interview with Patrice Rushen about her career and music • Features rare photos from her personal collection + some of the photographers she has worked with during her career
• Fully remastered by The Carvery from the original ¼” tapes
• Start of full Patrice Rushen reissue programme from her Elektra era

Calm's superb Before album is the gift that keeps on giving as Hell Yeah serves up a collection of the best remixes from it. Willie Graff, Gallo and Aura Safari all step up on a fresh 12" that lands this summer.

Before arrived on double vinyl in 2022 after a CD-only release in Japan in 2021. Since then it has become a Balearic mainstay and go-to record for lovers of lavish downtempo sounds. Now, remixes of three tracks from it all appear on this one record with Ibirican-American Willie Graff going first. He is a deep house don who has held several key residencies around the world while dropping his sublime sounds on the likes of Leng, Music For Dreams and many more. His remix of 'I Love You' is a gloriously horizontal one with blissful piano keys rippling over the bubbly drums and bass. Yearning reed melodies add an emotional romantic edge to make this a standout in any setting. Then comes Gallo, the Balearic Gabba Sound System member and resident at Berlin Balearic nightspot Buena Onda. His 'Tropical Hinterhof' remix of 'I Love You' is expertly exotic and soothing as mellifluous keys rain down over a groove as smooth as silk. It's a heart-achingly beautiful sound that will make for truly special moments on the dance floor.

Italian collective Aura Safari then offers two different remixes. They are master musicians who have served up a superb double album Islands Dreams here in late 2023 where they showcased their escapist blend of dub, jazz, Afro-cosmic, Balearica and boogie. First up, 'Feel It' (Aura Safari Desert mix) is six minutes of oriental melody over loose drums. There's a playful feel to the dancing piano keys and richness in the percussion that makes this one a sophisticated sound for both early evening warm-ups or moments of late-night reflection. 'Kunpoo' (Aura Safari Daydream mix) has a nineties feel with its gentle breaks, hypnotic string loops, and sustained chords. They break over you in gentle rays of earth and euphoria to ensure utterly blissed-out results.

These four versions all bring sophisticated dance floor energy to the timeless originals.

Following a run of successful digital releases, eloelo records presents its debut vinyl release, a multifaceted 4-track EP, featuring three original tracks by label head ELODIE and a remix from coveted producer Michael James.

The A side is headed by the title track, ‘Bohemian’. Consistently well-received, especially by those lucky enough to have heard it on a heavy-duty sound system, the track creates an immersive, euphoric atmosphere that oozes warmth and vibrant energy. Coupled with one-off hits and delightful ear candy meticulously sprinkled throughout, ‘Bohemian’ offers a feast for the senses making it impossible not to move to. Your ears and your feet won’t be able to get enough. Michael James' remix of ‘Bohemian’ transforms it into a peak-time anthem that ignites the dancefloor. His rendition adds a layer of intensity and excitement, characterised by his trademark percs and a thrilling breakdown that leads to an explosive drop, leaving revelers ecstatic every time it is unleashed. A proper ‘bomb’.

The B side takes a more emotive turn with two more original tracks from ELODIE. ‘Like To Dream’, envelops listeners in a dreamy, sense of deep introspection via complex soundscapes which have been expertly woven to create a mesmerising depth of sound. Its seamless blend of pads and synths create a profound journey, inviting listeners to lose themselves in this moving, mature track inspired by the Rominimal sound.

‘Pineapple Ice’ rounds off the EP with a mood that is both tranquil and experimental. The track’s minimalistic yet intricate composition offers a soothing yet intriguing auditory experience, balancing calmness with a touch of playful unpredictability. A dubby techno number which perfectly balances out the EP. ELODIE has stayed true to the production style that she is carving out for herself with an EP that stands to advance the label’s dedication to delivering unconventional releases that cultivate a distinctive and timeless minimal sound.

Delphic Iris Records is pleased to announce the release of Drox's debut solo 12” EP, "Hexameter." This EP features a high energy remix by 16 Faces, adding a distinct clattering 160 bpm 808 beatdown to the collection.

“Hexameter” brings together a diverse range of sounds,
from machine funk and intricate acid lines to engaging detroit-styled dystopian and alien-like synth scapes. Each track offers a unique auditory experience, inviting listeners to explore new otherworldly sonic territories.

Drox emphasizes rhythmic interplay throughout the EP, with a strong focus on groove. The use of rhythmic hexameters and their accents creates a series of tough, dancefloor-focused electronic groove tools.

Introducing "Faith in Another EP” by Christian Kroupa – a captivating blend of raw, hypnotic, big room ready techno. Presented by Bardo Records, a boutique record label from Ljubljana, this vinyl EP marks their very first physical release, showcasing the talent and ambition of the music producer behind it.

With this release, Christian Kroupa who is known for his innovative and insatiable drive, returns to his roots of techno with a refreshing approach. Embracing a non-mainstream sound, he dives deep into the essence of this genre, redefining its boundaries with each track.

"Faith in Another" takes listeners on an immersive journey, showcasing Kroupa's ability to create intricate layers of pulsating beats and electrifying melodies. Each track is carefully crafted to evoke a medley of emotions, inviting all listeners to explore its uncharted sonic territories.

With a dedication to preserving the richness of techno's inviting sound, Faith in Another promises to captivate a broad audience of music lovers. Loose yourself in the pulsating beats and allow the hypnotic melodies to transcend.

2024 repress.

Boogielicious Synth Pop made in Napoli! "Acqua Di Sale" is the first mini-album of the mysterious Rosa. Recorded at the West Hill Studio, this is the umpteenth creation of the well known Neapolitan production team which inaugurates the "Pegaso Series" on Periodica Records.

'SOL' features 10 solid electro-funk tracks, each with the unmistakable Bas Bron sound. From club-ready four to the floor to dreamy melodies, the whole album is another innovative blend of vocoder-electro and machine funk exploration. Following the success of his previous album "Spontaneous Order", the EP "Built Back Bangers" and more recently the OST for the Dutch documentary 'Onzichtbaar'. Fatima Yamaha is back with a new chapter. 'SOL' showcases Fatima Yamaha's evolution, while staying true to his fundamentals. In conjunction with the album release, Fatima Yamaha will embark on an extensive tour this spring, bringing his live performances to audiences in London, Glasgow, Paris, Amsterdam, and more.

Brixton based polymath Simon Jefferis has been setting mouths ajar with his expertly crafted, atmosphere-heavy beats over the past few years. With his reputation as both a talented instrumentalist, and adaptive producer steadily circulating through the city’s hip-hop undercurrents, 2020 sees Jefferis return to rising label DeepMatter with his debut LP Vibrations.

From the golden era energies of ‘Back 2 Ours’ featuring Austin’s Abhi The Nomad, through to the silky-smooth melodies of ‘White Rabbit’ (featuring the incredible Rosie Lowe on vocals) and shoulder swaying rhythms of ‘Something In The Water’, ‘Vibrations’ is an expertly crafted production masterclass from start to finish. With ease, Jefferis demonstrates the breadth of his musical capabilities, turning his hand to guitar, keys, drums and bass (with a little help from his friends along the way) with incredible results. Head nod inducing beats, jazz infused keys and interweaving make this a standout record amongst the already sonically rich London jazz scene.

The journey continues. Now, the second Want Some Record release will be the first album of The Mighty Cavaliers from Kenya. It's a bit unusual that it is not coming in the original order of release, but that's how I got my hands on both records.
Anyway, this record is another masterpiece of Kenyan funk-influenced music at its best. The songwriting is not from just one musician; every musician contributed songs and music, which makes it very special. You can hear the different musical influences, and every track has its own personality.
'Fisherman' was released twice before, in 1976 and 1978. Now, it's time to spread this wonderful music to the world again in a very limited edition of only 500 pieces, with a brand new cover design.

A veteran producer (Who prefers to separate this incarnation from past works) working within many disciplines in sound, Silent Cubes demonstrates a particular skill in atmospherics and mood in their productions, creating three tracks of original UKG driven sound that speak in a dialect as familiar to the progeny and brethren of Clubroot, Sorrow, and Congi as that of Chez Damier, Mr Fingers, and Ron Trent. An exercise in deepness, Draped in the framework and immediacy of Garage.

Showing how evocatively these elements can be transformed is MOY, himself straddling a line between classic IDM, Old Skool, and Acid, and with releases on Analogical Force, Vinyl Fanatiks (AmenTec), and a slew of others. MOY comes forward with a hybridized remix of “The Stream”, which really is in a class of its own and closes outside B.

“Sound And Motion”. Presented as a 4-track vinyl EP, in a numbered/limited edition, and bundled with access to 2 exclusive Poly Cut/Digital tracks, only ever available via the access provided through ownership of this record.

J’Voudrais Qu’Tu M’Dises marks another official 12″ French re-issue from the Forest Jams label. Like the previous ‘Nathalie Letertre’ record we have a name on the front of the jacket but with little information behind it. What we do know is that Kelly Lane’s vocals sit atop this obscure synth-pop meets house meets slight boogie with a smooth aggression, equally cute as it is equally strong, funky indeed.

For those that just want the music there’s an instrumental version on the B-side. Two extra versions taken from the CD are re-mastered and included on this release with a surprisingly dancey ‘radio’ version and a pumping/housier ‘version dance remix’. Let Kelly Lane’s “J’Voudrais Qu’Tu M’Dises” find its way to your heart.