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When you hear what Bryan Hervieu, the mastermind behind Vibes And Pepper Records, has assembled on the Jazz Avengers EP, you’ll surely be impressed. Igaxx and DJ Dreamboy start with sophisticated and elegant house tracks. Jarren continues with ethereal synth lines and analog drum sounds that evoke a late-night atmosphere. Hanna delivers one of his best tracks to date, “Prayin’”, which is both breezy and driving, with a touch of unique melancholy. Finally, Brazilian producer Zopelar concludes the EP with raw drums and deep chords, rounding off an irresistible collection.

To many crowds the world over PBR Streetgang are known and loved for their talents behind the turntables, selecting at most major festivals and clubs of note but to others they are producers and remixers whose eclectic taste and evolving style has seen them enjoy longevity and critical acclaim. This album is a rare selection of originals and remixes that shows the breadth of their work. Featuring early original hits that propelled them into the limelight, like ‘Downstroke’ and ‘J2Thab’, and more recently their stand out disco tinged nugget from their debut album ‘Late Night Party Line’. Previously un-pressed remixes like the cult classic rework of Romathony’s – 'Bring You Up' and the slow chuggy sleaze of Bryan Ferry – One Night Stand and the teary eyed euphoria of their remix Hot Chip’s - 'Melody Of Love'. This compilation represents an honest retrospective of the production and remix talents of PBR - always keeping true to their sound and themselves. Limited Vinyl Press.

France, 1990. Fun Radio, NRJ, Skyrock set a new pace, and their crushing hegemony irrevocably marks the end of the free radio utopia. The giants become vital in the hit industry and carry on fuelling France’s greatest invention: la variété. A quintessentially French version of British dance pop with a very specific tang to it, too coy to emulate trendy clubs’ and rave parties’ music, europop cautiously tests the waters of what will soon turn into a tsunami : house music. Is house the soundtrack of the 90s? In Europe, it gave steam to comeback bands just as much as to the most memorable formations of the decade, while in France it paved the way for the global success of French Touch. “Real” house music emerges in early 80’s Chicago (where the Warehouse club, which allegedly gave its name to the genre, closes down in 1983). England’s acid house and Belgium’s new beat, its European offshoots, fed the cravings of tabloids in 1988 and 1989. The house music we’re interested in though, the type bound to soon overwhelm European charts, is already pretty far away from the afro-american music born in Chicago. So far away it inherited a new name: dance music. Just like it had been the case with disco a few years back, house and techno aren’t exactly in the good books – acid house and new beat even less so. And it’s precisely the genre’s mainstream iteration this compilation focuses on; the house en français, which strives to get on board the running train in 1990. The house which sports the all-over jean look, bandana, cap, chewing gum, peugeot 205 complete with snazzy beats on the radio. The big deal big fuss type, miles away from the original, underground house. It might not have been born in the nineties, but that’s clearly when house music became mainstream. What underpins house music might even be what is to define the decade to come: jingles and pin’s, megaclubs and clips. That and the hits. Very soon house is everywhere: on the air of the big radio stations and on TV, creeping in as far as kids’ programs. The French may not even notice, but they’re all listening to it. Meanwhile, music producers smell the gravy and, willy-nilly with the earnest, enlightened amateurs, propose their very own club versions, cross breeding French variété and house. The result: a chart and club ready ersatz that is to quickly seduce young audiences. Hits, that’s what we want – or tubes for the French, like in House Tube, one of the landmarks of this compilation. The tracklist, like the soundtrack to a club night that never happened, fictitiously reconstructs the fleeting moment when house made its arrival in France, bridging the gap between variété and eurodance. House quiproquo House music barges in like a UFO on European land. With the arrival of this repetitive, yet transgressive music, tabloids freak out, while widespread incomprehension over the genre inspires dubious misconceptions. The media are happy to suckle on the music’s popularity, though well hidden behind the veil of decorum: NRJ airs a remake of a famous new beat track, Rock To The Beat, in which, however, “ecstasy” is swapped for “fantasy”. Dechavanne, thoughtful as usual, calls fans junkies and nazis on his tv show, Ciel Mon Mardi – though the show’s theme song is nothing else than a house track. The footage became a classic, and the comments, sampled by producers, provided the vocals for a flagship new beat track (Dr. Smiley – L’Echo Dechavanne). The Dechavanne episode is representative of the general confusion surrounding this barbarian music; skepticism remained high, even (if not more so?) in the musical world. In fact, it’s the subject of the unequivocal House Tube: “House tube, bouse tube ; on n’aime pas vraiment le house tube House soupe, bouse soupe ; on n’aime pas vraiment le house soupe” That is: “House hits, house shit; we don’t really dig house hits House soup, shit soup; we don’t really dig house soup” The success of house music inspired many exasperated reactions, just like House Tube (the B-side of a deodorant ad’s theme). Laurent Castellvi, surprised that the joke-track he composed at the time still sparked interest, told us: “At the beginning of the nineties, house was all over the radio. It annoyed me a little that most tracks were based on the same two chords. House Tube is a joke, it’s me sitting at the piano playing two chords. And that’s what the lyrics say.” On the other hand and following up with the next track, Fred de Fred was clearly in the know. The Frenchman had moved to the epicentre of the English commotion, Sheffield, a few years prior to the arrival of house. That’s where Warp (Autechre, Aphex Twin) originated – and at the time Warp still went by the name FON, Fred already hung around in their studios. Robert Gordon, Fred’s pal and co-founder of the label, signs the remix of one of his 1989 tracks, Sous Sous. In 1991, he composes a record of songs, and when it comes to pairing a suitable club remix single, Fred knows what’s up. Je T’Aime En Amour, sleek rock, mutates into a syncretism of french chanson and nearly rave breakbeat (here provided in its “2020” version). Fred de Fred is exemplary of the variété-club crossover driving this record; his career started within the collective ZNR, he crossed paths with the likes of Alain Bashung and then the Stone Roses, was close to Warp, and ended up signing a record on Barclay. Studio sharks Electronic musicians are often referred to as “producers”. This emanates from the delimitation of roles in the making of recorded music, traditionally assigned as singer, songwriter and producer. The latter takes care of the recording per se; that is, he manages the project, rents the studio, hires the musicians (known as requins de studio – studio sharks – for accumulating studio sessions) and cashes in at the end. The artist in electronic music is the producer alone, who essentially combines all roles at once: totally autonomous in his home studio, he can do without musicians or singers. The moment we’re interested in is this transitory period in which the two types of producers coexist. On the one hand, the new producers, like Fred Rister with Everybody Dancing, who recorded in a shack on a 4-track recorder, according to the sound engineer. On the other, the revival of old brigade producers, always on the lookout for a hot deal. The producer behind Près De Toi is of the latter type – pursuing a long musical career though quick to forget Claire-An (and so did posterity). New beat’s heritage isn’t negligible : its pioneers fashioned the “new generation” producer formula, a one-man-band in his machine-filled home studio. They’re also the first to churn out major hits, hitting the floor of a few Belgian clubs and eventually making it to the European top 50. What seems like mad creative abundance (hundreds of tracks between 1987 and 1989) is in fact the work of a handful of Belgian producers, barely ten, hidden behind multiple aliases. Among them, Marc Neuttiens, Jack Mauer and Fabian Van Messen, who often work as a trio and produce some of the genre’s most iconic tracks. In the midst of which On Se Calme, produced under the name Bassline Boys, sampling none other than Christophe Dechavanne. It’s no coincidence then that Anne Zamberlan should knock on their door with in mind the idea of an antidrug track. She wants to make noise, they know how to make a hit. And the track has it all: proto-acid gimmicks, big beat, house piano, verses rapped with a hiphouse flow… It might have been great, but even a Virgin Megastore ad she appeared in two years later got her more success. À la folie, je danse This tale is also the one of the pioneers who brought house music to France, first on the radio, well before rave parties or Laurent Garnier’s nights in Paris. As soon as the early eighties, Robert Levy Provençal plays the edits of the young Dimitri from Paris on the airwaves of Radio 7. At the time they’re unusual: like one would use samples in hip hop, Dimitri loops soul, funk and disco tracks, creating extended mixes. He breaks down tracks, reducing them to a gimmick or a bass line, thus creating easy-to-mix tools for DJs and bringing them closer to the sounds of house and techno music. He soon becomes resident DJ on NRJ and hosts the popular show Hot Mix. Like his colleague RLP, Dimitri proposes a trailblazing selection, blending together French news and the odd new sound from the States. At the turn of the nineties, when europop wants in at the club, only these influencers master the dance side of things. There’s RLP, Bibi Fricotin, Dom T… And Dimitri, who becomes the assigned variété remixer, adapting dozens of songs that were never meant to make it into a club. The general tendency however is less to official remixes than to bootlegs: a “pirate”, unauthorised and often private remix – just like Jacques Dutronc’s Opium, stretched out into a nearly 7-minute-long mix. The nineties also set the stage for the first TV stars, the ones who become famous without anyone really knowing why. Take, say, Jordy, four years old. The kid, in his diapers, sings along a New York style, house piano production and somehow makes it to the top 50’s number 1. For years, Jordy plays out the role of the child star and demonstrates that dance music is a perfectly profitable affair: it fuels the radios turned juggernauts, and lands on TV, seeping through music programs… In 1989, Vincent Lagaf (a famous french TV host) dives in with Bo Le Lavabo. The pitch is simple: the TV host adapts a track well known overseas, Lil Louis’ French Kiss (without any direct reference), simply adding lyrics taken from a sketch. He’s rather clear on his intentions (“Well, that’s just how you make it to the top 50”) and has no mercy for a musical genre he clearly understands nothing about (“See? Easy.”). Single night stars The club is a democratic place where anyone can be a star for a night (a nineties remix of Andy Warhol’s famous saying, meaning to imply: never has fame been so near, yet so far). The ghost of stardom haunts all of these forgotten tracks… This is particularly true in the case of Techno 90, Fred Rister’s first band. The DJ hailing from Northern France takes part in the short-lived though seminal Maxximum radio and mixes everywhere on both sides of the Belgian border, quickly becoming a local celebrity. At the turn of the century, he starts collaborating with David Guetta – another DJ, slightly better known than Rister and a rising star of the Parisian club scene. Together they eventually co-sign a few global hits: Love Is Gone, When Love Takes Over, I Gotta Feeling. This tale is the story of French variété’s unforeseen encounter with the avant-garde, of DJs who rose to the status of pop stars and others who descended deep into the rave party scene. It’s all of these oddities our compilation seeks to recount, like a wacky TV show featuring anonymous stars, forgotten ghosts of a decade bygone (Jacques Dutronc, Jean-Francois Maurice) or yet to come (David Guetta), inspired though unlucky blokes plus a girl band. And somewhere in the shambles, the tracklist of our compilation, the B-side of dance music’s official story – what could have been France’s alternative hit machine.

A1 East Vision by Milanese’s finest Uabos uncovers an extraordinary musical experience with a lot of twists and twirls that are skilfully crafted. Constructed of mouth-watering synth textures and dusty melodic samples that hover over the rolling bass engine, Uabos surely delivers a dancefloor killer. Herzel’s Transformation as the A2 track adds deep blue melodic depth on top of icy rhythmic pattern. It tickles the senses as sharp leads and powerful kicking stabs appear above the grinding bass line, providing mesmeric effect. Flute Power’s Discothalia heats up the B side. Lush breaks and ripples meet a cloud-bursting bass line, intertwining with the ethereal vocal traces that unveil throughout the composition and into infinity. Metropolitan Soul Museum in the closing B2 track Former Glory introduces a delicately structured musical narrative that has blocks of steady rhythmic percussion accompanied with unforeseeable melodic samples and tender vocal cut-ups.

Chicago's NOBLE SQUARE RECORDINGS jetsets to Europe for an incredible compilation. On the A Side is ANAXANDER'S boogie-centric "_" & THE SNUFF CREW'S unique breaks vibe "PLEASANT JOURNEY". ISOUL8 (AKA VOLCOV & RICARDO MIRANDA) on the Roland heavy groove steady "P BOOGIE" on the B Side!

The modern classic is back!!! Oslo’s magic music maker Todd Terje has already gained a wunderkind like reputation for his gentle yet potent productions (we won’t mention the “E” word here) on labels like Full Pupp, Permanent Vacation and Running Back on top of being one of the best remixers money can buy (Shit Robot, Bryan Ferry, Dølle Jllle etc etc). What is there left for him to do? Establish a label of his own! “It’s The Arps” is the starting signal for Olsen. And what a splendid one it is. Created from scratch and solely on the mythical synthesizer ARP 2600 (check www.letsnerd.com for help), it features four tracks (reads instant classics) that couldn’t be a better followup to his 2011 super hit EP “Ragysh”. Towering over the assortment is the laser crime scene called “Inspector Norse”. Defying genres and blinkers, this is finest goose bumps dance music that makes you whistle along, laughing and crying all at the same time – but the rest isn’t half bad either. The short, but sweet “Myggsommer” gives away Terje’s secret love for quirky exotika, whereas “Swing Star Pt 1” and its brother have a (balearic) brilliance and witchery to them that is rarely found nowadays. Released on Olsen Records and housed in a beautiful sleeve courtesy of Bendik Kaltenborn (www.benkalt.no). 100% Arp 2600 and 200% Todd Terje.

Tim Bourne gets the sub-label rolling with a hard-hitting four-track release! The Bali-based producer leaps head-first into concocting the sounds he knows and loves best, resulting in an ornate collection that gleams on the dancers as they blossom through the late hours.

Our newest release is the single WHAT YOU GONNA ASK FOR by Theo Parrish, Lori, SilentJay, Simon Marvin, Perrin Moss, Paul Bender.

David Morales’ legendary track ‘Needin U’ is a landmark in house music culture all the way from its release in 1998 and remains a seminal classic in dance music history. In celebration of the tracks 23rd Anniversary, French artist/producer Dimitri From Paris has created yet another thrilling remix of The Face vs. Mark Brown's previous version of ‘Needin U’, released in 2009 via Cr2, via this limited red vinyl pressing and picture sleeve release. With plenty of calibre under his belt, including disco remixes of Chic and Sister Sledge, Dimitri From Paris’ take on this all-time house classic is not only marked by his acclaimed signature sound - live instrumentation, booming four to floor beat, dynamic rhythms and energising bass lines, but the fabric of David Morales’ legendary track is evident throughout. Whether for the casual dance music fan, household DJ or an enthusiast for the all-time classics, this remix is a must listen.

Small sticker price on back cover.

Vinyl with many scuffs and hairlines, close to VG

Suggestive delivers UK House Music..

Producers / DJs from London and Brighton who started out in the Brighton 90s house music scene, with releases on Loaded, Piranha Records and more recently Kma60 Rezpektiva we continue to produce electronic music with love, for the dancefloor.

White label test pressing with info sheet.

Record is close to NM.

New Bon Vivant 6 with full power from Mexico by Sakro, Miguel Puente and Mejìa - don't miss!

red vinyl has a few scuffs. cover is close to NM

Another hot Release on Houseworx. This time Sakro from Mexico delivers 4 oldskool flavoured housetunes.

6 tracks of essential underground deep house created from 2004 - 2010 by Chicago's Ricardo Miranda. This mini LP of lost and unreleased tracks captures the sound of Ricardo'S youth in the deep Chicago underground of the 90s and early 2000s.

Vibrations and frequencies of Chicago, Detroit and West London permeate "IF IT Aint Deep" the new 6 track "mini-LP" from RIC Miranda. Diverse flavors of Detroit Techno, Broken Beat, and Deep House highlight the many genres and musical movements that have influenced RIC's musical career.

Label head honchos Rhode & Brown finally debut on their own imprint, Slam City Jams, after putting out music on fellow labels Toy Tonics and Public Possession. Produced over the past two years, the Wave 100 EP might be the most versatile record by the Munich-based fellas so far. On the title track we have an euphoric hint of 80s synth nostalgia, slapped bass and banging woodsticks (did someone say Safri Duo?!). “Sparkle” on A2 feels like the joy of a fresh breeze on hot summer days whilst living la vida loca in the clouds - b/w phat bass, sweet flutes & strings. On the flip there is “Love Lane”, a classic house track with a funked up bassline, shuffling snares and the most erotic vocal in human history. “Moon Bells” on B2 is the soundtrack to that road trip you did back in 86’ with a Juno 106 arpeggiator bassline, percussive drums and airy synths all around. “Over Europe” on B3 rounds off this special 5-tracker with beautiful ambient spheres straight from outta space.

Shall Not Fade mainstays Rhode & Brown team up with Spanish DJ // Producer Kid Simius for their first collaborative EP.

Eurrostar EP is summer, dreamy, feel good house music at its finest and to top it off the incredible Jex Opolis & Demi Riquisimo joins the party with two killer remixes on the B-side.

Following their 2020 collaboration with SNF family member Tilman, German duo Rhode & Brown return to our Seasons Series to deliver four instant classics. Whilst some tracks borrow from the anthemic atmospheres and melodic hooks intrinsic to acid house and trance ('Feels Like Forever (4 AM Mix)'), and others paying tribute to bubbly old school UKG ('Theme For G') and DJ Zinc-inspired bassline melodies ('Safe Crash'). Elswhere, 'Back 2 U' and 'Coast to Coast' take things back to 4x4 with infectious house grooves and blissed-out pads.

Feels Like Forever EP drops 30th September via Shall Not Fade.

A download code is included. Everything has its right moment in space and time. And Rhode & Brown’s debut album “Everything in Motion” is no exception to this rule. But first things first: Hailing from Munich, Germany, Friedrich Trede and Stephan Braun are the DJ and producer duo Rhode & Brown. Growing up in two neighbouring villages near Munich both of them had been music enthusiasts since their early childhood. Friedrich played drums in punk bands at school and recorded rap songs in his bedroom, while Stephan, as childhood friend of Harold Faltermeyer’s son, had the chance to experiment in the impressive studio of the legendary Donna Summer producer in his early teens. By the late 2000s older friends started supplying them with DJ mixtapes and helped them sneak into clubs they weren’t allowed to visit, yet – cultivating their love for electronic music and club culture. And, of course, the Internet was their go-to source for finding the latest blog house tunes back then, too. It wasn’t until October 2009 that their paths would cross for the very first (but almost last) time when introduced by a mutual friend: Back then Stephan was selling his old CDJ-player and Friedrich, who wanted to hone his DJ skills, ended up buying it: „When I got home and unpacked the player I realized that it was the wrong model. I thought Stephan was trying to rip me off - so I called him in a rage and demanded my money back.“ Friedrich laughs. To cut a long story short, the two met again the same evening, money and CD-players were exchanged, but luckily so was their passion for house and disco music. It was at that very moment that Rhode & Brown was born.

Single sided.

Cover and sleeve are close to NM.

Pascal Viscardi has built an impressive catalog over the last few years. After appearing on the Saft imprint in the summer of 2015, he is now releasing his "Lluvia De Verano" mini-LP as the sophomore release on the labels sub outlet "Born". Lluvia De Verano is an album in its own right that captures Viscardi's broad production expertise and showcases his often ethereal sound palette across six original tracks.

The exceptionally named Panty Soaker Sound System bursts onto the scene here with a powerful debut EP on their own self-titled label. 'Hormones' marks the inaugural outing and is a track that ignites the floor while exploring self-empowerment and inner desires. It has picked up early praise from Honey Dijon and is a full-throttle and steamy, erotic house sound that is sure to become a bit of a winter anthem. The EP includes three acid-infused original mixes, followed by the Prosumer HorMoans Remix which is a dark stomper with prickly 303 lines and a heavy groove. For those craving a harder vibe, the Luxe Dark Room Remix delivers a broken-beat reimagining with high-energy that takes you to new heights.

Still shrink wrapped but opened.

Italian duo Night Passengers aka Nicola Loporchio and Emanuele Del Carmine serve up their first collaborative album this summer. Find A Way comes on Born just a year or so after the project was spontaneously formed during lockdown, and is a seamless nine-track instrumental fusion of soul, jazz, funk, breaks and 80s grooves.

Nicola Loporchio is also known as Nico Lahs and Cosmic Garden and is a producer with more than a decade's experience. In that time he has landed on countless influential labels with a range of EPs and EPs that take in everything from downtempo to deep house, hip hop to funk. During the lockdowns of 2020, he hooked up with fellow Italian musician Emanuele Del Carmine who has served up some fresh disco sounds in the last couple of years. They began jamming together in early 2021 and soon found they shared common ideas when it came to good time grooves. Now, that plays out across a proper full-length that is perfect for close home listening and laid back Sundays, but always with one eye on a cosy and intimate dance floor.

This most cohesive of works opens with the joyous keys of 'Moonlight Sonata' which sets an immediately romantic mood. 'Illusion' is then a golden bit of jazz-funk with warm, glowing chords and dusty broken beats that make you want to shuffle. 'Wandering' is another piece of fine musicianship with perfect interplay between the live drums, jazzy keys and cosmic leads. The title track then slows things down. It's deep, spacious and atmospheric with suggestive bass, pillowy chords and distant melodies twinkling like stars in a night sky.

'Escape On A Sunny Sunday' has a lush retro-future feel, with freeform keys racing about the scales as the cosmic leads and tight drums tie the whole track together. During 'Moments Of Insanity,' the album launches further into the cosmos on waves of radiant melody and splashy cymbals. 'Past Memories' taps into 80s nostalgia with more blurry-edged chords and natty synth sequences riding on louche drums. The heady 'On A Cloud' is a go-slow piece that invites you into a seductive jazz-funk dreamworld and lastly, Brazilian Zopelar remixes 'Illusion' into a tumbling bit of boogie-tinged house funk.

Find A Way is a vibrant work from seasoned musicians whose virtuoso playing brings every track to life in a heartwarming fashion.

Record is close to NM.

Red translucent vinyl.

Price tag.

Record is close to NM.

Experience the magic of 'Fly Away,' a timeless record crafted by the exceptional vocal talent of Kimberly Brown, renowned for her work with Sounds of Blackness, Produced by Michael, this track has garnered widespread anticipation and is finally set for a full release on Sultra Records, following exclusive publishing clearance from none other than the legendary Stevie Wonder himself.

This captivating single is just a taste of what's to come from Michael's highly anticipated album, 'Optimism,' slated for release this summer. With its soul-stirring melodies and uplifting lyrics, the single is backed with 'Never Let You Down' another slice of House perfection feat Anthony Poteat and LaMay on vocal duties.

A solid acid groover with thick vibes" - DJ Heather "A killer Chicago-style acid groover by way of San Diego's Matthew Brian. Absolute peak time gear here and already in heavy rotation. Excellent mastering and loud AF" - Mark E Quark A hard hittin' jackin' house track laced with a velvety 303 bassline that is sure to be a floor filler. Comes in both original and dub mixes. Pressed on stunning translucent emerald green vinyl with a black splatter. Debut vinyl release on Cali's Tabby Traxx (very Chicago sounding though).

Close to VG+.

Limited edition test pressing.
Writing on label.
Record has some hairlines.

Our man Neil aka Lord of the Isles drops another face-melter for his recently birthed label Dfsant. Don't ask us what that means by the way, we have no idea. Here on the second 12". the laird treats to a further three tracks of sublime techno / house hybrids: the opener "Synth Plus" is a kosmiche throbber with a lick of motor city melodrama, whilst "To Here" comes on like a decidedly less shit-scary Black Merlin, and to close things out we have a slo-mo acid disco cut in the form of "Heyta Hota". Real nice stuff folks.

Label cover. Vinyl is close to NM.

Sticker on cover.

Scary looking new 12" on Amsterdam's Dekmantel imprint. 3 deep and insightful new JJ&J tracks with a top notch remix from Ra.H (Morphine). Limited edition of 500 copies!

People Of Earth strides into the New Year with a new project called The Elements Series. Part one welcomes some serious names, not least Detroit's ambient and techno master John Beltran who kicks off with 'Nuyorico' a joyous, chord-laced house groove laden with organic percussion. Javonntte's 'Tropical Feelings' is another of his textbook deep house cuts with whispered vocals bringing a spiritual vibe. Atlanta's main man Kai Alce does his do with the jazzy synth energy of shuffling house cut 'Benefit' (ndatl instrumental mix) then Byron The Aquarius pairs things back to dusty drums and humid chords on 'Sun Gods'. This one is only for the real heads.

John Barera (2mr/allergy Season/dolly/sorry Records) is a DJ, Producer & Label owner based in NYC. His sound is rooted in techno and house’s most classic iterations: sturdy, barreling grooves, shimmering pads, deep liquid dubs and the occasional acid burn. Brian Abelson is the producer of Jennifer VANILLA’s “CASTLE IN THE SKY” album. Here they team up for 6 mesmerizing tracks of funky disco-tech on the latest 12" from the YOU TOO CAN WOO crew. Intricate rhythms, hypnotic synth arpeggios, lush ambience & seriously funky basslines make "the Arc" a fantastic showcase of this duo's talent and versatility. (toucan Sounds)

Price tag.