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Get back to the golden age of Roller Disco Funk with a double vinyl including all the hits of the genre ! Featuring : Claudja Barry - Barry White - Inner Life - Patrice Rushen - Carol Willians - Positive Force - Frankie Smith - The Whispers














n C4 Instant Funk - I Got My Mind Made Up (You Can Get It Girl) 7” Version

Mercury Rev"s 1991 debut album Yerself is Steam was a critical success, and quickly followed up by the Car Wash Hair single. The releases persuaded the band to perform their very first live gig - then their third gig was on the main stage at Reading Festival and their fourth was supporting Bob Dylan - an auspicious start to their decades-long career. Despite the plaudits resulting in strong sales and regular tours, it was not until their fourth album, Deserter"s Songs that they gained a mainstream audience. The band is currently touring the world in support of their most recent album, Born Horses.

London based Surusinghe creates percussive, bass-driven dance music, combining South Asian rhythmic ideas with UK-rooted sounds. Her arrival on dh2 is a surefooted four-track EP of tightly-wound club gear that sees her spreading out into exciting new realms. First single received multiple plas across 6 Music, Radio 1, NTS and Rinse FM. Press support from Dazed, Resident Advisor, Mixmag, DJ Mag, Crack and NME. Upcoming festival appearences including Gala, Love Saves The Day, Parklife and Glastonbury.

Mr Bongo proudly presents Ritmo Italiano ‘Unspoken Sounds of Italian Tamburo’ a captivating compilation of percussive-driven, Italian gems curated by Sardinian multi-instrumentalist, percussionist and producer, Gabriele Poso. A journey into the heart of Italian musical history, it celebrates Italy’s rich rhythmic traditions, showcasing a selection of genre-traversing, Italian treasures from the ‘60s to the early ‘90s. Honouring the timeless rhythms of Italian percussion masters, alongside a brand-new exclusive composition by Gabriele, ‘Ritmo Italiano’ shines a light on the universal, primal language of the drum.

A connection sparked from an early age; percussion has always deeply resonated with Gabriele. It led to years of studying percussion traditions across Cuba, Puerto Rico, and Brazil, crafting his own songwriting skills in the process. An acclaimed producer and compiler, his releases on Yoruba Records, BBE and Soundway Records have garnered global support. Yet a growing need to rediscover the essence of his country’s cultural heritage laid the foundations for this new compilation.

In Gabriele’s own words, “Italy has always been a crossroads of civilizations, with influences from the Mediterranean, North Africa, the Middle East, and Europe converging over centuries. Ports like Naples, Genoa, and Venice played a crucial role as gateways for musical exchange, a melting pot of sounds and cultures brought by sailors, merchants and travellers. These influences blended with Italy’s own folk and religious traditions, creating Italy’s unique and emotionally resonant rhythms.”

Across the 12 absorbing tracks, there’s jazz influences, Italian library music aesthetics and experimental beats mixing with Afro-Cuban and Mediterranean rhythms. It’s a broad selection anchored by the drums. The synth-heavy, ‘80s jazz funk flavours of Gegè Munari's ‘Police Man’, sit side-by-side with the samba-infused ‘Napulitano D' 'O Brasil’ by Don Marino Barreto Jr. Tribal, earthly energy radiates from Naco’s ‘Volando Con Milton’, with Tullio De Piscopo serving up cosmic disco brilliance, and blistering jazz funk mastery coming courtesy of Agostino Marangolo. Taking the name of the compilation, a new original track by Gabriele, ‘Ritmo Italiano’, blends traditional rhythms with contemporary energy, Afro-Latin influences with Italian jazz essence. Recorded live in one take, it captures a raw, unfiltered vibe.

“Each track tells a story, connecting the past with the present, and highlighting the deep-rooted traditions that shape Italy’s rhythms. The collection also offers a glimpse into the diversity of Italian music with a variety of styles from the organic, earthy beats to the more experimental and modern takes on traditional rhythms. It’s a reflection of how these rhythms have not only shaped Italian culture but also influenced global music.”

HUGE CONGRATULATIONS TO MOXIE AND THE LOVE INTERNATIONAL X TEST PRESSING TEAM FOR WINNING THE BEST COMPILATION IN THE DJ MAG BEST OF BRITISH AWARDS 2025


“I feel really chuffed as a lot of work went into building this compilation,” beams Moxie, when we congratulate her on the award. “I also worked alongside a great team, including Dave Harvey, Ellie Stokes, Chez de Milo and everyone at Prime Distribution. I’d been manifesting working on a project like this for years, so when it all came together I was so happy with it. But to have recognition from the DJ Mag public vote is the cherry on the cake.”


Few artists have shaped their local scene quite like Alice Moxom under her celebrated Moxie alias. A born-and-bred Londoner, Moxie is a dance music powerhouse whose influence runs deep—from the grassroots to global stages. Her trajectory spans early teenage years digging for garage records, to dubstep sets at legendary club nights, to running her long-standing and beloved NTS Radio residency. For over a decade, she’s been a midweek staple on NTS, championing deep house, Detroit techno, and all things dubby, groovy, and percussive, while regularly platforming artists through guest mixes and interviews with icons like Jeff Mills, Four Tet, and Or:la.

Her latest endeavor, the Love International compilation, brings that wealth of experience to life. 'I’d secretly been manifesting this for a while,' Moxie admits. 'Love International has such a specific energy, and I wanted the compilation to reflect that—dubby, fun, euphoric, deep. It’s all the styles of music I love, pulled together in harmony. Being at Love International always feels like coming home. Whether it’s dancing in Barbarellas or sharing a smile with a stranger on the dancefloor, there’s this sense of unity that’s hard to describe. That’s why I chose ‘U Skladu’ for the sleeve—because that’s what it feels like: in harmony.'

Here we have a new four track EP from ddwy following two acclaimed EPs on Public Possession. ddwy (pronounced d-why) is the Welsh word for “two” — a nod to Naomi and Ronan, the duo behind the project. It’s a four track EP ranging from dancefloor moments such as ‘Beaming Backwards’ and the dubwise ‘Peak Smile’ to the more ethereal ‘Stars Stars’ and the ambient tone of ‘Heuldro’r Haf’. A beautifully rounded EP showing a quiet potential for a broader audience. The echo continues.

With a clutch of EPs under his belt spanning a wealth of pallets, Henzo narrows the focus on his debut studio album “The Poems We Write For Ourselves” - a culmination of persistent iterations over several years, distilling his sonic milieu into something that feels decidedly his own. The album proper is coupled with a debut live performance which reinterprets the tracks and splices them with omitted material from the time of writing - recorded in full in the intimate confines of Manchester’s growingly infamous Stage and Radio basement. Honing his craft in the shadows of Lancashire, Poems is an expansive reflection of the producer’s time spent away committing to the scope of an LP.

A thread of stratified sound design weaves throughout the record, but with a discerning dancefloor proclivity mostly prevalent. Cold opener “Noggin” riffs on noughties Raster-Noton a la Byetone rebuilt with fractal tear out DnB, with closer “Indulgence” following suit on a puckered plod of Dub Techno ambience. More club-focussed moments come in the form of “Rustica Slump” and “Blue Will...”, the former’s sickly sweet vocals resolved by the latter’s stoic UKG/Techno rudeness. “A Bouquet of Clumsy Words” channels mechanical shuffle with a stripped back 2/4 pulse whilst maintaining a firmly FWD>>energy alongside “Plant Your Roots In Me” on a similar vector - swapping out a straight kick pattern for a bludgeoning 808 assault on an early Hessle-indebted tip.

“Take Stock, Touch Grass” harks to golden era ClekClekBoom and Night Slugs with a bare bones kick and vocal motif, updating the formula with a tweaking lead line that places it firmly in the contemporary space. “Swell:Shrink” sings from the same sheet with a shrieking, space age wobble doing the heavy lifting, knocking the pace back to a shoulder-lean swagger on a slow fast conundrum Henzo has shown his flair for on previous releases.

The outliers to Henzo’s more known approach, “Worm Grunting” with Belfast’s Emby, an amalgamation of halfest time DnB and illest mannered Road Rap, plus “The Rest Is The Mess You Leave”, a starkly anti-retro Ghettotek endeavour, give grounds to the LP. Clearly rooted in the comfortable universe of the dancefloor, these tracks expand the producer’s realm into loftier heights as he graduates into long play land.

Reality Shock & Solo Banton are back once again, with a soundsystem anthem entitled Sound Teachings

Produced by Kris Kemist for Reality Shock Records, with support from CultureMix Arts’ Reggae Collective, Sound Teachings is a celebration of global soundsystem culture; a call to honour the past whilst embracing the future.

Solo Banton's lyrical flow is as commanding as ever, his wordplay paying tribute to the soundsystem pioneers who laid the foundation and the sounds of today who continue to fly the flag for the culture. Kris Kemist’s heavyweight production, featuring Wailers drummer Carl Benjamin, gives this record a fresh yet nostalgic sound, complete with obligatory dub mix on the B side.

Imagine having a song go viral for 17 years - without even knowing it. That's exactly what happened to the German 1980s band FEX. And this isn't just any song - it's The Most Mysterious Song on the Internet, a track that puzzled music detectives for decades before finally being identified in November 2024. Now, it has been officially released - twice.

The Story in Brief:
Sometime around 1984, a song was broadcasted on NDR Radio. The name of the song was Subways Of Your Mind - only found out 40 years later in November 2024. Back then, a listener recorded the NDR show on cassette, a common practice at the time. Decades later, the tape resurfaced, but while most songs from the recording were identified, one remained an enigma. On March 18, 2007, the track was uploaded to the internet in an attempt to uncover its origins. Due to its now-iconic opening lyric, it was tentatively titled Like The Wind. Over time, the mystery deepened, and the song was given a nickname: The Most Mysterious Song - or simply TMMS.

Starting in 2019, a dedicated Reddit group, TheMysteriousSong, now boasting over 63,000 members, took up the search. They meticulously documented every lead, hoping to solve the riddle of the song's origins. Then, in 2024, the breakthrough: Reddit user marjin1412 reached out to musician Michael Hädrich after discovering a reference to his band FEX in an old newspaper article. Hädrich, FEX's keyboardist, provided a recording from an old demo cassette which included an alternative version of the song. On November 4, 2024, the mystery was officially solved: FEX was the band, Subways Of Your Mind was the title.

What Happened Next:
Since then, FEX has released two singles - both featuring Subways Of Your Mind - through the Berlin-based independent label The Outer Edge. First, the demo cassette version was pressed onto vinyl, as the original NDR radio recording remained lost (see EDGE-028). The Remastered Demo Mix single instantly topped Bandcamp's global charts, holding the #1 spot for several days. By then, it was clear: this was more than just an internet curiosity. A real fanbase had formed. Enthusiastic comments on the sales page ranged from "best post-punk song to ever exist" to "FEX themselves (are) perhaps the most underrated musicians of all time."

But the story didn't end there. A higher-quality version of the NDR radio recording was rediscovered in late december, remastered, and now sent for a second vinyl pressing: the TMMS Version. This new vinyl 7" is backed with Talking Hands another great and unissued song that was found on the demo cassette.

Fame Comes with a Price
Suddenly, time isn't standing still for FEX. The band had to come to terms with the fact that they had become Lostwave super stars. A FEX fan club quickly formed on Reddit, fan-hosted FEX parties are popping up, and the internet is demanding more - an album, merchandise, live performances. But how does a band prepare for a comeback after a 40-year hiatus?

For now, FEX is carefully considering their next steps. Their demo cassette contains six songs - and a few other recordings have resurfaced which probably could be restored and compiled. But foremost, a brand new re-recording of Subways Of Your Mind is in progress.

One thing is certain: The Most Mysterious Song will continue its unstoppable journey around the world. Don't miss this (second) chance to own a piece of music history!

Killer and classic tune from the Stingray archive! Worked with Dilly on licensing this, and Freddie McGregor 'Hand In De Fire'. Heavyweight Yard Roots style out of the UK. Originally released as 12" in the 90s, this is the same mixes as this now hard to find piece of UK Roots history! Classic Robert Nesta Marley, as sung by the legendary Vivian Jones.

Arkeo is my most eclectic and techno-driven album to date—a fusion of my love for subterranean aesthetics and my deeply-rooted connection to Detroit’s underground music scene.

While always keeping the dance floor in mind, this album also reflects something more personal: my spiritual journey and how it applies to my daily life.

Arkeo represents the awareness that I have weaknesses, but rather than seeing them as limitations, I view them as opportunities for God's power to work through me. It’s a reminder that my dependence on Him allows me to walk more fully into the abundant life I’m meant to live.

Jesus said, “My grace is sufficient for you, for my power is made perfect in weakness.” — 2 Corinthians 12:9

As you listen, my hope is that you don’t just hear the music, but that you feel a connection to something deeper.

DJ support from - Hector Romero, Marco Lys, Mousse T, Sam Divine, Vintage Culture, Ferreck Dawn, Mat.Joe, Claptone, Joseph Capriati, Claude VonStoke, Dennis Cruz, Huxley, Mark Knight, Format:B, Nic Fanciulli.

Riva Starr presents his fifth album 'Keep Me On The Dancefloor' on Snatch! Records.
An opportunity to demonstrate his growth as a producer and as an artist, the album showcases an unexpected Riva Starr sound – one that explores a fresh creative approach, focussing on songwriting, collaboration, and telling stories that are firmly rooted on the dancefloor.

Featuring collaborations with Chromeo, Flight Facilities, Harry Stone and more.
'The album was entirely crafted through writing sessions with talented musicians, writers, and singers. This approach brings something unique, as being in the room with other creatives adds an extra layer of creativity and depth, enhancing the production quality. Most of the tracks came together quickly, thanks to the incredible vibe and chemistry in the studio. Sometimes, the process needed a bit of back and forth and more than one session to perfect.' – Riva Starr

Fusing sounds that represent different eras of Riva’s career, 'Keep Me On The Dancefloor' wistfully and effortlessly glides between disco, funk, soul, filtered house, and even the guitar licks of classic rock; a sum of his career to date, it is a body of work that focusses on amplifying the positive moments, memories, and experiences that can only be found in music. Exploring what it means to connect with someone in the moment; a celebration of losing your inhibitions to the music and finding yourself completely in sync with someone you’ve only just met.

Charged with storytelling and heartfelt lyrics, his most personal work to date is the result of a considered approach to making music, one of collaboration with one foot still on the dancefloor, and the other firmly in the studio guiding an array of talent to build something unique with him. Moving away from the DJ-friendly cuts that have underpinned much of Starr’s career, the fifteen tracks on 'Keep Me On The Dancefloor' are much deeper. With singer Harry Stone providing catchy toplines and infectious vocals across at least half of the album, there is a clear maturity on display at every level.

Additional features come from electro-funk duo Chromeo on the irresistibly groovy 'I Was Lost', and Prince-esque vocals from Nic Hanson on '(I’ll Be Your) Paradise'. 'Know You Love Me' – the laid-back, sun-kissed cut with Flight Facilities – compliments the melancholy vocals of Biishop on “Wildfire” and the disco-infused 'It Feels Much Better' with Harry Stone.

Music is a tonic for the soul, but it feels much better with someone else.

A pioneering force in African music, Jo Tongo has always been on top of the game. Since the late 60s he has been recording music under his early Jojo L'Explosif moniker. His debut album "Jo Tongo" was released 1976 on Fiesta/Decca and features classic tracks like Jangolo and Piani. Now, after decades of underground influence and global recognition, his second album Sa Discossa (1980) is re-released for the first time. Being an electrifying fusion of African rhythms, disco, makossa, reggae and funk it is reflecting his lifelong journey of musical exploration and cultural storytelling and claims its place as an essential recording in the Afro-disco movement.
Jo Tongo's music is inseparable from his life's story-a journey that spans continents, struggles, and victories. From his early years as a leading African musician before the global rise of Afrobeat, to his deep roots in classical training, and his time performing in France and Germany, his sound is shaped by a rich blend of influences. Having played in bands across Europe, from American military bases in Germany to the jazz and soul circuits of Paris, he absorbed the pulse of multiple musical worlds, creating a sound uniquely his own.
"My music is my life. I never saw it as a way to become a star-I am a simple man," Tongo explains. "I came into music to say something, to tell about life, to share my experiences with the world." His perspective on fame and artistry is deeply rooted in his Cameroonian background. "I wasn't interested in business. I wanted to build something with music, to create a sound that was mine."
But Jo Tongo's music has always carried a deeper message. His work reflects his strong political stance against colonialism, social injustice, and oppression. "I cannot stay silent while my people suffer," he says. "Music is a way to resist, to stand strong, and to remind people of their dignity and their power." Throughout his career, Tongo has used his platform to advocate for African identity and independence. His songs, layered with messages of social consciousness, have continued to resonate with younger generations who recognize the relevance of his words even today.
Sa Discossa is more than just a disco record. It embodies Jo Tongo's philosophy of resistance, identity, and celebration. The title itself is a blend of "disco" and "makossa," reflecting the seamless fusion of African groove and the dancefloor energy that defined the era. Tracks like Bunya, sung in his native language, carry messages of love, gratitude, and resilience-sentiments that remain as relevant today as they were nearly 50 years ago. As Tongo describes it, "Every day, give thanks and praise to your Lord. Every day, show me your love. Every day, let me show you my tender love."
Tongo's musical journey also took him through the world of reggae, inspired by his exposure to American and Caribbean artists. "At first, I didn't like reggae-it was too slow for me," he admits. "But then I heard Bob Marley, and I realized the power in its simplicity. The rhythm, the
message-it was all connected to something bigger." He later found himself embracing reggae as an essential part of his musical DNA. "I realized that my music and reggae shared the same roots. We are all connected, all telling the same story in different ways."
Having spent much of his career performing across Europe, Jo Tongo reflects on his connection with international audiences. "I've played everywhere-from Africa to Germany, from Paris to other cities in France and what I've learned is that music speaks a universal language. You don't need to know the words to feel the message."
Despite taking a step back from the stage in recent years, he remains open to new possibilities. "Music is like a fire-it never truly dies. I have a lot to say, and music is the best way to say it."
For Jo Tongo, music is more than entertainment-it's a language of truth, a testament to history, and a bridge between cultures. The rhythm of Sa Discossa lives on, stronger than ever. With Sa Discossa returning under the African Edge series on The Outer Edge label, Jo Tongo's legacy continues to resonate, proving that real music never fades.

JR Disc has already become a firm part of the Detroit new school with his two previous outings on this label. Once again here he shows off his raw but emotionally poignant style and knack for a catchy groove. 'Bust' has rusty hi-hat sounds and deep, cavernous bass with rough edge drums a la Omar S. 'Wonder Traxx 1' then picks up the pace with heavy but inviting kicks that are again all frayed and dusty while some jazzy melodies bring a cheeky and playful twist. Pure Motor City gold if you ask us.

Originally released in 2012, the debut release from Fatdog quickly became a cult classic amongst fans of low-slung deep house. Outside of the studio his Werk parties were hosting the likes Marcellus Pittman, Theo Parrish, Move D, MCDE, Levon Vincent, Moodymann & Patrice Scott in the North East of England. This EP was a testament to the wild basement energy that culminated from those nights, marrying UK and Detroit influences with consummate ease.‘Remember Me’ sets the tone with Chris Raine’s soulful croon laid over warm organ chords and a restrained electro synth hook, creating a swinging, late-night vibe. ‘U&Me’ drifts into dubbed-out, codeine-laced slo-house territory, deep and narcotic.On the B-side, ‘Cookie’ channels Theo Parrish with its syrupy, hypnotic strut, while ‘Contact’ closes out with an electroid edge—perfect for the 3AM dancefloor stalkers.Some 13 years later, WOLF have reached back into the archives and with permission from the man himself, have reissued this timeless EP for a new generation of record buyers.

The limited edition EP features remixes of tracks taken from Ben Frost's latest album A U R O R A, by British producer Evian Christ (following his critically acclaimed Waterfall EP and work with Kanye West); Downward label boss and techno producer Regis (previous remix credits inc. VCMG, Terence Fixmer), Good by Air affiliated experimental artist Dutch E Germ (previous remix credits inc. Fatima Al Qadiri and Mas Ysa); Australian duo HTRK and raster-noton recording artist Kangding Ray

Houseworx presents the 1st Solo EP by bavarian artist Theodor Wolff aka HMSA.
He already contributed a track to the last "Lost Housetracks VOL. 8" vinyl release, and did 2 digital only release on our imprint. With his first own ep he presents a deep house journey which is rounded up with remixes by label regulars SAKRO and Franco Strato.

Motor City great Omar S is not just a don when it comes to programming drums and laying down his irresistible synth lines and heart aching melodies. He can also play a wide array of instruments, and in fact does just that here as he plays all instruments played you can hear across all three cuts of this new one on his FXHE label. Things kick off with the wonderful 'Featuring Omar S (instrumental)' and then 'Sayoungaty Nig' is a hazy, lo-fi ambient sound with occasional synth smears and a barely-there rhythm implied by the odd kick drum sound. 'Featuring Omar S' is a signature deep house joint with bristling metal hi-hats, rickety drums and edgy drones that keep you on edge as more soulful chords rise up through the mix.

BerettaMusic has long been a cornerstone of Detroit’s underground dance scene, launching the careers of renowned artists like Seth Troxler, Ryan Crosson, Luke Hess, and many more. With its latest release, the label continues to cement its legacy—this time with a standout record from label boss Ryan Sadorus.

Sadorus has been on a production streak, making waves not only in Detroit but across the globe. His recent work includes the deep and driving “Down Below” on Norm Talley’s esteemed Upstairs Asylum label. Now, he teams up with the incredibly talented vocalist Simon Black to deliver a fresh slice of Detroit house music.

Their track “Hot in the D” captures the raw, moody, and hypnotic essence of the city’s signature house sound. While Detroit is often synonymous with techno, its deep and soulful house scene has also made an undeniable global impact. The track has already been turning heads at underground parties in Detroit, with dancers and DJs alike asking, “What is this?!” and “When can I get it?!”

On remix duties, Delano Smith—a true pioneer of the Detroit sound and someone that needs no introduction—delivers his signature deep, rolling, and hypnotic style to “Hot in the D”, making this release a must-have for house music lovers globally. Stay tuned—this one is destined to move dance floors everywhere… Already getting heavy rotation from Jimpster, Gilles Peterson and DJ Harvey to name a few.

Back at it — Soul N Palms droppin' fresh soulful re-edits for the real ones who know the vibe. Built for late-night sessions, block party vibes, and crate-diggin’ heads alike.

Melbourne's Sgt Slick returns with another killer 4 tracks EP.

The Sarge knows what works on the dancefloor and these edits showcase that to a T. Featuring some of the biggest names around mixed for the floor, as always Buy or Cry.

7 track LP made with a eurorack modular system, This work is characterized by intricate compositions that transport listeners to otherworldly realms. Halfgeleider’s First LP combines modular synthesis with a touch of nostalgia, creating a captivating sonic experience.

LP - First Pressing in White Color Vinyl - Limited to 150

Includes: Gatefold. stickers + poster (60cm x 60cm) + download code

5 Years, All Ears, All Heart. Fifteen years ago there wasn't a grand plan, no vision board or 10-year strategy. It wasn't about fame and acclaim, it has always been about feelings and encounters. Meeting people who made music, loved music, were music. Fast forward a bit and the family just kept expanding. It wasn't just producers and DJs anymore, designers, writers, random hype people, "vinyl faced" ones... Everyone brought something different to the table and somehow, through our filter, it took us here. House, Jazz, Techno, Experimental, it didn't matter. The only rule was that the music had to feel alive, with a Jazzy twist, where "Jazzy" means a propensity to improvisation, not just music. This is not a story about numbers or streams. It's about people and places. Every track has a face behind it: the producer who turned a three-note loop into gold, the designer who nailed an album cover in one chaotic night, the heads who spun the story for the release and the friends who supported and listened. That is the soul of Apparel Music and that's why the cover for this "B-Day15" isn't gleaming or shiny, it's real. It's a celebration of encounters. The messy, magical moments when people connect and make something bigger than themselves. It's a big THANK YOU to all the characters who hopped on this ride. This record, dropping in both vinyl and digital formats and featuring artists from all over the world, is the symbol of the Apparel Music essence. From the USA with Osunlade to Australia with Erin Buku & Inkswel; from Denmark with Ghosten (featuring Francesca Touré and IZZY NU) to Italy with 2KS and Kisk; Argentina and Brazil with Eduardo and HNQO (with Collateral Lab), Spain with Tuccillo, Germany and The Netherlands with Marcel Vogel & LYMA. It's about exploring genres, diving into far-off worlds, being curious about other places, other people and figuring out how to make them all feel comfy under the same roof, chilling in the same room. A room we've been furnishing for a while with our little treasures, some fancy furniture, some not-so-fancy, but always with passion. There's more music to make, more stories to discover, more people to meet. Apparel Music is not just a label anymore, it's a big, instinctive, unplanned love letter to everyone who's been and who'll be a part of it. 15 Years, All Ears, All Heart.

Eko, or Eko Roosevelt, is a Cameroonian composer, pianist & vocalist. He was born in Kribi in 1946, the son of a local Tribal Chief. Eko developed his love for music at church, later pursuing his growing passionwith music studies abroad, first in Dakar and then in Paris. After concluding his studies in France he went on to a recording career and between 1975 - 1982 released a number of full-length LPs, 7" singles and albums on cassette, before returning to Kribi to take over the role of Tribal Chief from his father, a role he holds to this day.

While the name "Eko" may not be immediately familiar to all, his music will be well known to many, from the DJs to the dancers, the heads to the home listeners. Evergreen classics like “Kilimandjaro My Home”, have remained a mainstay in the record bags & USB crates of disco jocks since its release in the late 70s, while numerous of his other crossover Afro-disco gems have been bootlegged, edited and remixed by a seemingly endless number of both greater & lesser-known producers who have all paid tribute to his work. Eko Roosevelt’s position in the ranks of Cameroon’s great musicians cannot be overstated. As a composer, songwriter, pianist and singer he has influenced generations of musicians both in Cameroon and France and further abroad, while he has written & arranged for many of the Cameroonian musical community.

Here Canopy, with the benediction of Eko himself, officially reissues two of his works that have not been rereleased since their first outings. Stylistically the two songs straddle the line between Afro-disco, funk and pop, with a slightly Balearic, almost AOR sensibility.

“Phone Me Tonight” is taken from a 7” record that has barely resurfaced since it was self-released in 1981 on the “Eko Music’ imprint. The song is an uplifting opus that demonstrates Eko’s deftness for creating catchy songs that succeed in their songwriting prowess and melody crafting, both on and off the dance floor. It is a stripped back composition that employs the key elements to great effect. The groovy bass line is underpinned by a tight Afro-disco beat as Eko’s unmistakeable voice draws us in and with a masterful use of repetition and hooks, creates a song that feels familiar from the outset, while being brand new to almost all listeners. As the song develops, the synth lines lift the song higher and higher, culminating in a euphoric transcendence perfect for elevating the mood of any dancefloor.

“Take Me As I am Now”, is sourced from Eko’s first album, “Nalandi” which originally came out in 1975 on Dragon Phenix. Here we have another fine example of Eko’s ability to hone compositions that blend thelines between pop song writing and more loopy dance floor orientated structures. The vocal hook repeats throughout the song, with only minor variations, making the song feel comfortingly familiar from its early bars. An instantly appealing bass line sets the stage for the sleek guitars and taut horn arrangements. The end result is a feel-good balance of melody and groove that makes for a timeless feel with a positive message!"

Mama is here. This producer hailing from Italy has been making waves in the underground music community landing a strong string of releases on the prolific labels for you to check out. Now it is time for him to present to the world of “Sottopasso”, the 4 track EP with quite wide range of sound yet all absolutely in line with vision of the label and with utmost touch of freshness starting from A1 and finishing to B2. All the tracks names are with Italian flavor and is very close to the artist’s heart and resonate with the memories and experiences that personally shaped the man we are witnessing today. The artwork as always executed by the legend of the graffiti art Gkoner, which is showing a spooky entrance that one is about to enter if one dares too. This work has found its home on the label with a sense of proudness of Mama and excitement for it to find homes to its rightful owners brings a lot of positive feelings.

On June 27, 2025, a long-dormant signal reactivates from Hamburg’s hidden places: Helena Hauff and F#X return as Black Sites with R4 on Tresor Records—their first full-length album and the first release under the moniker since 2014. Like a hieroglyphic recently discovered and translated, R4 feels more like a long-awaited resumption than a comeback.
Recorded to tape with minimal editing or post-production the record is a classic example of the symbiotic relationship that can come from the interaction of human and machine. This punk ethos isn’t invoked through distortion alone, but through method; in the album’s breaking from the received wisdom of hardness tethered to speed as most of the tougher pieces are lower BPM and vice versa (with one notable exception in the mind-melting stomp of BLOKK).
Across ten tracks, Black Sites traverse a landscape where genre dissolves into intention. It migrates through electro’s danceability, acid house’s corrosion, and into the liminal realm of machine funk—a genre coined by Andrew Weatherall, which sounds like the results of technology dreaming of soul where the emphasis is on live execution, on immediacy over perfection—a sound forged in the act of creating, not polishing.
In a 2013 interview, around the time of the first Black Sites EP, Hauff was quoted as saying that she wants “things to fit together properly, but on another level, I really want them to make sense together.” That principle animates R4: The album’s form reveals itself in time, with each movement echoing and amplifying the others to create a synergistic whole.
From the opening crawl of C4 (a name that like the music foreshadows the explosions to come) to the end-of-the-night bliss of MOTHERJAM via the intense peaks of BLOKK, 707, and classic acid track 3D it’s clear that R4 is a work made with serious intent; a refutation of a world where streaming has made the two-minute single the dominant musical form again. R4 demands immersion, not just attention. It is not a collection of tracks, but a singular, recursive experience: a mirror in which sound and listener repeatedly rediscover one another.

LPV makes a striking debut on Monnom Black with an expansive double EP, delivering eight meticulously crafted tracks that fuse dub, bleep, and bass into peak-time weapons. His release showcases a dynamic range, from intense, Basic Channel-inspired dub techno workouts to deeper, bleep-laced techno grooves that weave hypnotic precision with relentless drive. Each track is a versatile cut, crafted for special moments, blending atmospheric depth with pure momentum, cementing LPV's arrival as a formidable force.

Minos Announces the Return of Old-School Jungle with "Watch the Ride EP"

Producer Minos is bringing fresh energy to classic jungle with his new release, "Watch the Ride EP," on Jungle Slapperz. Aimed at longtime fans and newcomers alike, this EP captures the raw, rolling spirit of the 90s.

With tracks inspired by the golden era, Minos revives the complex, punchy breaks and signature sounds-like clapping snares-that define old-school jungle. His latest work signals a strong message: in 2025, the true jungle feeling is making a comeback.

Get ready-this ride is about to begin!

La BOA presents their fourth album titled “La Bestia”, conceived during the pandemic era. The title references the freight train that travels from Central America to the United States, carrying thousands of migrants in search of the American dream.
This album features six tracks dedicated to exploring and drawing influence from the music of the greater Caribbean region, with the aim of recapturing a sound from before the digital age. Its lyrics address current themes and issues in Latin America, intentionally excluding the digital world and virtual presence.

A highly respected figure for dancers and artists alike, Markus Suckut offers his signature built-to-last sound to Fuse with 'Moments'. In this style, confidence is key and Suckut provides soul to club music in a way few have been able to. Simple yet ever so refined, the German artist furthers his sound with the Belgian label with rolling tracks that reach beyond the dancefloor yet again. 'Moments' is just that, a collection of instances spent inside the mind or outwards into the world in order to move and connect.


The A1 remains usually the first impression of every record, so it makes sense that 'Patience' would mark the beginning of this eight release for the Brussels' club. A bubbly yet impactful track, 'Patience' rolls through six minutes in no time with eccentric percussion and a viscous low-end. Unafraid to break the codes in order to push his sound forward while respecting the essence of what makes the genre great, Suckut puts years of mastery at work in order to find balance and air between his elements. This impressive low-end rhythm is continued into 'Resurrection' - which is more of an exploration of dissonance and texture than its predecessor. With hi-hats whipping around the stereo field through metallic bends and a harmonic kick/bass, the record knows for what context 'Resurrection' is reserved for. 'Myth' then comes along to lighten the load with a positive groove and an extraverted arrangement, maintaining balance to the overall EP. Complete with a subtly modulating live-played percussion that echoes the character of a vocal and layered over an almost vintage drum sequence, the persistence of 'Myth' finds a sweet spot between techno and house, making it a versatile tool in almost any record bag. The soul of the EP, however, belongs to its title track 'Moments'. Appropriately named, this fourth piece concludes Markus Suckut's latest statement for the dancefloor. A suspension of time in structure as much as in melody, the producer takes the time to unveil each element of the record while maintaining a burning intriguing throughout. A truly timeless piece reserved for only the most special moments and most deserving crowds, Suckut proves once again that his understanding of emotion through his medium will echo his music across the world for years to come.

Peach Discs’ first EP of 2025 comes from DJ, producer, curator and all-round doer of great things James Priestley aka Secretsundaze.

The Mordisco EP accumulates inspiration from James' past and present, whether it be echoes of his time as a drum & bass DJ in the late 90s on "Closer," the UK Bass-referencing percussive drive of "Treat That Doll" or the title track's vocal contributions from partner Paula Juana, the result is a personal and true record that always retains the laser-focused dancefloor energy that James is so good at dishing up.

Lead single "Mordisco" serves to highlight both the UK x Colombia connection found in James' relationship to Paula, as well as his love for Latin American music in general. Paula's sultry vocals wrap themselves around tumbling drum fills, arcing synths and an insistent rhodes riff, creating something unclassifiably groovy, riding the line between house and techno while never settling into either. Sansibar takes the baton and runs further into propulsive, progged-out, dubbed-out territory on his remix – the first officially released remix on Peach Discs.

James founded Secretsundaze as a party series in 2002, and since then it's established itself as one of the most reliable names in electronic music, encompassing a record label, festival (Multi Multi), live band (Spirit of Sundaze Ensemble) and production outfit. The four tracks that make up this EP fit neatly into the lineage that James has cultivated over the past 23 years – paying tribute to history while not being beholden to it. Mordisco continues the deep, rhythmically ambiguous approach to house music that Secretsundaze championed since the first EP for Phonica Records in 2018, and continued with stand-out releases for Mule Muziq, Live At Robert Johnson and more recently Warning.

As long-time fans and affiliates of Secretsundaze (Shanti released her Alma EP on the label back in 2015), we're thrilled to be working together again and releasing this record into the world.

generic sleeve 2025 repress

Oxygeno returns to his label Lost Verses with Pure Devotion, an EP that fuses hypnotic, raw, and relentless techno with a satirical and defiant critique of the Churchs values.

Side A opens with Soul Absorption, a track with a heavy low end, absorbing synths, and an atmosphere that plunges you into a deep abyss. Next comes Haunted, which takes the darkness further with a haunting, psychotic synth sequence and a heart-rending bassline that keeps you on your toes.

On the B-side, Infectious delves into shadowy territory with a modulated synth line that simulates something infectious and consuming. Finally, The Weight Of Guilt closes the EP with the heaviest and most aggressive track. Thunderous percussion and a crushing bassline capture the intensity and gravity reflected in its title.

Pure Devotion is a sonic journey designed for the dancefloor, where the body moves to the beat while the mind ponders and grapples with the ideas woven into each track.

From a 4x5m room stacked with vinyl, ashtrays, magazine drafts, and semifunctional synths, Stompin n Risin rises again—reincarnated but not revised.
Originally a spontaneous ritual from the days of blunted dreaming and one-eyeopen ambition, this track first snuck into the world under a different name (Jacobite Fool, courtesy of those tasteful Belgians at International Feel) and went on to become a cult curio. Now, it’s back—rebuilt with the very same machines that once hummed beside the mattress, but still left to run wild like they used to.
The rest of the EP stays close to that spirit: music as lived experience, jammed with friends, lovers, and ex-boyfriends (literally). Lucy’s Electricity is a shimmering daydream, born from a jam with Daniele Labbate, recharged by a whirlwind wedding, and soundtracked by a bittersweet guitar line courtesy of the groom’s bride’s ex. A track for walking into churches—or out of time entirely. A personal favorite of the artist, and maybe the only funeral anthem with this much static joy.
One takes things inward—made with the Moog One for open-air yoga sessions during the era of no-dancing-but-still-dreaming. It’s a sun-dappled, slow-motion dancefloor where breath and bass align. Love 2 Love closes the circle: an unearthed jam with long-time collaborator and platonic supermodel Hanne Uekermann, revived from hard drive purgatory and infused with new life. A love song to the music, the moments, and the friendship behind it.
This record isn’t just a collection of tracks. It’s a lived-in photo album, a soft pulse through oceanic memory, a reminder that all sound comes from life, and maybe all life comes from sound.

J.E. Movement's groundbreaking ‘Ma Dea Luv’,

Toward the end of the 1980s South Africa's recording industry was booming. Searching for a sound that could cross over to all in the country's segregated society while also eyeing international success, a new duo emerged that quickly rendered its 'bubblegum' predecessors obsolete. Drawing on international trends and crafting lyrics for local ears, J.E. MOVEMENT — a duo made up of James Nyingwa and Elliot Faku — exploded onto the local scene with their debut album, 'Ma Dea Luv'. The future had arrived.

A talented bassist and composer, Nyingwa was at the time employed as an in-house producer at TRS Studios in Plein Street in downtown Johannesburg, run by two Greek immigrants, George Vardas and Chris Ghelakis. Together they formed a close bond as friends and musical partners at what would become CSR Records, recording original hits with acts like the NEW AGE KIDS and SIDNEY, while also cashing in on cover versions as BLACK BOX.

The six tracks on J.E. Movement’s 1988 debut give firm nods to UK Street Soul, New Jack Swing and Stock Aitken Waterman's 'Hit Factory' sound and infuse them with an African rhythmic flair and homegrown lyrical sentiment. Though not expressly political, the title track was received by many as a play on words referencing then-jailed and banned Nelson Mandela (coming after the similarly styled 'I'm Winning My Dear Love' by Yvonne Chaka Chaka in 1986 and 'We Miss You Manelow' by Chicco in 1987), giving it an added potency for those in the know. 'Jack I'm Sorry' was an underground hit in the townships, while 'Marco', 'Friends', 'Funkytown' and the eponymous closer are similarly bass and drum-driven, with hiphop-styled vocals.

No Drama, the label helmed by Roy Rosenfeld, reflects his musical vision and personal philosophy, showcasing artists whom Roy respects not only as innovators of new sonic landscapes but also as individuals of character. The imprint proudly introduces its third release: a two-track offering by Khen.
Known for his groovy and melodic house sound, Khen has earned international recognition for his unique style.
The opening track, Back in the Days, introduces modulated deep vocals that stamp the composition with a signature sound. Intelligent, percussive, and hypnotically repetitive, the piece maintains a poised charm, deliberately breaking rhythmic expectations through carefully crafted and precisely timed shifts.
The second track, Usual Madness, stretches the emotional range, layering buoyant basslines with arpeggiated melodies and textured and evocative background elements that enrich the arrangement with thoughtful sonic choices. As the piece unfolds, sound effects and an evolving sense of joy coalesce into a meditative structure that seamlessly weaves musical elements with emotional nuance. After a brief moment of calm, the track builds into a commanding crescendo, delivering a final, cathartic release.
Together, these two works represent an essential addition to any discerning playlist.

Nowhere People is a brand-new project that brings together musicians from Tbilisi and Amsterdam in a unique musical meeting point. The group came to life thanks to Mishulino, a producer born in Tbilisi and now based in Amsterdam, who's connecting these two vibrant scenes. Involved we have the incredible Beka Gochiashvili aka Bjazz11 on keys--an artist who's already turned heads on the world stage, getting recognition/playing with legends like Chick Corea, Stanley Clarke and Herbie Hancock. He shares the spotlight with fellow Tbilisi talent Luka Tuporia, a gifted young player with deep roots in jazz, funk, and fusion. Together, their playing is full of raw feeling and instinctive flow. The lineup is rounded out by Anna Zavorina, who brings beautiful string textures, and Finn Peters, adding his own distinct flavor. Save Some is the result of a lot of love and effort--a record that moves effortlessly from fusion to hyperjazz to broken and beyond. It's a true collaboration that celebrates creativity across borders. Nowhere People is just getting started, and this release is a taste of what's to come.

Franky Wah makes Crosstown Rebels debut with ‘Disconnect’ EP, featuring Kuuda. Out on 20th June 2025, the four-tracker sees the acclaimed UK producer make his first appearance on the revered imprint.

A producer known for balancing dancefloor energy with introspective songwriting, Franky Wah’s rise has been fuelled by a string of chart-topping singles, non-stop global club and festival appearances, and the launch of his own imprint and event brand, SHÈN. With musical influences stretching from trance and breakbeat to afro-house and techno, he now brings that rich sound palette to the Crosstown fold for the first time with a release that’s equal parts euphoric and deep as it is driving. Delivering a powerful and emotionally charged four-track release, 'Disconnect' showcases the Yorkshire-born artist’s blend of underground grit and melodic sophistication, featuring two standout collaborations with rising vocal trio Kuuda.

Opening the EP, the title track pairs swirling textures, brooding basslines and crisp percussion with commanding vocals, setting the tone for the journey ahead. The synergy continues on ‘Off The Wall’, a hazy, late-night jam elevated by Kuuda’s signature warped vox interjections. On the flip, ‘Desert Dance’ continues further into hypnotic territory with wicked bass licks and layered synth work, before closing track ‘Freak In The Sheets’ delivers another impactful, heads-down groove laced with attitude. Featured on two of the EP’s four cuts, Brighton-based trio Kuuda continue to emerge as a rapidly ascending vocal project within electronic music. Known for their genre-fluid songwriting and dynamic live presence, their collaborations with Hot Since 82, Yousef and Artche have earned them widespread support from the likes of Pete Tong, Danny Howard and RÜFÜS DU SOL. Blending emotional depth with club-ready impact, ‘Disconnect’ marks an inspired meeting point between Franky Wah’s expansive production style and the Crosstown Rebels spirit—one that looks set to soundtrack dancefloors throughout the summer and beyond.

Saphileaum (the pseudonym of Georgian multi-media artist Andro Gogibedashvili) is inspired by Georgian myths and legends, esotericism, earth, unity, truth and the secrets of the universe.

Over the past few years, Saphileaum has released a diverse array of albums and EPs on labels such as Good Morning Tapes, Oslated, Silent Season, Mule Musiq and Slow Life, each one reflecting his unique blend of cosmic expansiveness, tribalism and meditative storytelling.

On his first collaboration with P&F Recordings, he draws inspiration from mysticism, self study, ancient civilizations and their various cultures and mysteries.

These musings unite to create an immersive sonic experience that traverses cosmic and tribal landscapes, bringing us 'TAMALUNGMA'.

Here, the listener enters a mystical realm-space, where nature's precious spirits guide you through a journey of transition. As you walk this path, their wisdom and presence illuminate the way, helping you move closer to your true purpose.

Sweden’s Tiger Stripes returns to Rekids with the ‘Dance For Peace’ EP, following on from February’s ‘All Night Long’ and 2024’s ‘I Heard It Through The Bassline’ EPs. Across four warm and funk-fuelled cuts, he delivers another essential selection of House grooves primed for peak-time moments and deep, late-night sessions alike, already supported by Oliver Dollar, Riva Starr, Anja Schneider, and more.

The opening track, ‘Time For Peace,’ is a brilliantly loopy roller, featuring bouncy drums, muted synth motifs, and a vocal swirl of soulful cries that ramp up the energy. It’s a stylish tension-builder, paving the way for ‘Rockin’, a chunky jam with funky melodic riffs buried in the beat and wordless ad libs teasing out the soul. ‘The Street’ keeps the vibe flowing with swinging drums, knotted guitar licks, and subtly filtered vocals worked into a steamy, party-starting groove. Closing things out is ‘A Dance’, a deeper cut drenched in lush chords and hazy vocals—perfect for blissed-out dancefloor moments.

Founder of the Strange Idols label, Tiger Stripes has spent over two decades forging his own path with standout releases on Hot Creations, Get Physical, Kwench Records, and Rekids. After stepping back to focus on his indie-rock project Little Lies, he made a full return in 2024 and quickly recaptured the form that’s made him an international favourite.