For a number of years now, A Guy Called Gerald has largely made music only for
himself. But this special EP is borne from Gerald’s unique and long-lasting
friendship with Analog Room founders Mehdi Ansari, Siamak Amidi and Salar
Ansari. They first met in 2013 when Siamak booked Gerald to play his Analog
Room party in Dubai – a leading underground light in the UAE’s then emergent
scene. Away from the glossy VIP hotels and expensive bottle service parties
typically associated with Dubai, Analog Room only deals with quality bookings of
the caliber of Move D, Roman Flügel, Moritz Von Oswald and the likes. Gerald
immediately fell in love with the party. Its strict music-first, no-nonsense policy
appealed to him and he’s returned many times over the years.

By then, of course, A Guy Called Gerald’s musical legacy was already assured. The
Manchester icon is best known for his 1988 hit single Voodoo Ray – the
touchstone of his hometown’s dawning acid house scene. As well as being an
early member of 808 State, Gerald embraced breakbeat and jungle, ran his own
Juice Box Records label and worked with the likes of Columbia, Perlon, K7! and
many other vital labels. His skills on everything from synths to keys, samplers to
drum machines stood him apart then – and still do today.

“This release is based on a real friendship,” Gerald explains. “I feel part of the
Analog Room family. Back in the early days, that’s how it was. These days, it’s like,
‘Oh, you’re famous, let’s do something.’ I’m not interested in that. I’m not
interested in being a celebrity or living that life. I’m the same as I was 30 years
ago, all I care about is the music. With Mehdi, we have spent hours jamming in
private in Dubai, we have partied together. We’ve vibed together for so long and
he’s shown me new parts of the world I should be making and playing music in,
away from the trendy scenes in other places. So this is an exclusive just for him.
I’m not looking at doing anything else with anyone, and the music is just about
celebrating individuality rather than trying to fit in anywhere.”

When Iranian-born Mehdi decided to start Moozikeh Analog Room – which
translates from Farsi as “the music of the Analog Room” – Gerald was one of the
first artists he asked to release on the label. It might have taken some time for
Britain’s Dirty Little Secret to materialize, but boy it’s been worth the wait.

Says Mehdi, “The magic comes through proper relationships and friendships.
That’s why Analog Room worked. It was a great room, an amazing sound system,
with amazing artists doing their thing. Bookings were so on-point because we had
agents around the world, on the dancefloors, spying up artists who were killing it,
and Gerald was one of them. He was a perfect fit from the first gig and our
friendship grew from there. He’s always been very kind to me. We have this
common language of music without any bullshit, and that is where this EP comes
from.”

The EP is a mixture of different things. Some of it is unreleased material from the
vaults revisited, some of it is brand new. It opens up with the devastating Old
Skool – a writhing, physical track with naughty bass. The drums hark back to
Gerald’s early days of making jungle but reimagined through a modern
perspective. As the synths spray about the mix and the percussion bounces atop
the jostling drums, muttered vocals draw you in deeper. Sugoi is an experimental
track that fuses ambient synth design with the spacious and eerie atmospheres of
jungle. Nimble drums get you on your toes as the spangled synths twist and turn
in all directions. It is a thrillingly original, impossible to define track.

Flash Fight is built on a captivating rhythm that sits in the area where house,
techno and jungle intersect. It is warm and cavernous, physical yet elegant as it
bounces on rubbery kicks and lithe synths roam in and out of earshot. Perfect for
those sweaty, cozy back rooms, it’s another masterclass from Gerald. Closing out
the EP is False Religion, a deep-rooted house track with elastic drums and
haunting, wispy pads. As a subtle acid bassline rises and falls way down below,
Gerald’s own mystic whispers leave listeners hypnotized.

Following on from Analog Room co-founder Salar Ansari’s debut release on the
label, this EP is a statement of intent. More releases will follow from some of
Analog Room’s most frequent international guests, but only when the time is
right. Moozikeh Analog Room is a label of love, one that is focused on putting out
the best possible music at all times rather than chasing hype.

A timely reminder of why A Guy Called Gerald is one of the world’s most enduring
electronic artists.

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Bosconi is proud to announce the arrival into the family of one of the greatest legend of house music, the oldskool hero A Guy Called Gerald. The release randomly arrives in coincidence with the definitive closing of another legend, the place in berlin that has been a symbol for years of the cultural renaissance of the german capital after the wall, the Tacheles. When Gerald just moved to berlin, he got his house and his studio inside that very inspiring and artistic place, and as a tribute and homage to his legendary figure, some mysterious writer draw G's face on the right side of that building with the shamanic enigma above that giant mural "How Long Is Now", an existential sigh or question that perfectly sums up the uncertain past, present and future of one of Berlin's most important initiatives, as the Tacheles was, and as the things of our life that we love, as the music, can be, uncertain…But for sure this 3 tracker vinyl is real and it will last for long in our bags, these are 3 deadly club weapons by The Master between bass music, micro funk and soul excursions: A1 gives the title to the EP and it's subliminal dark and psychedelic after-hours dope session, while on B1 there's the shady and sexy atmosphere of "Groove of the Ghetto", a driving and funky house tune sustained by an ultra fat synth bass and enriched by soulful vocals and deep pads, while on B2 the EP ends wih the brutal Uk bass bonus beats monster entitled "202". Serious Stuff. In memory of Tacheles and the good old days.

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ISBN: 978-1-80578-002-1
Format: A4 Sized Hardback Book

phatmedia presents UK Rave Flyers 1988 – 1989 includes over 800 flyers from iconic events like Shoom, Hedonism, Future, Spectrum, Land Of Oz, Apocalypse Now, Hypnosis, Sunrise, RIP, Coozz, Trip, Sin, Genesis, Rage, Wetworld, Rave At The Cave, Boilerhouse, Trip City, the Hacienda and many more one-off and smaller promotions.

It also includes commentary from Dave Little, Andy Boilerhouse, Pez, Steve Reid (Shoom), Ellis Dee, Chalk E White, Nicky Holloway, Mr C, Ratpack & many more. Plus, photos from clubs of the era taken by Dave Swindells, Kevin Cummins, Peter J Walsh and Gavin Watson.

Quotes

“We would be lost without Dave’s incredible documentation of flyer history. If we didn’t have his absolute precision in sharing dates within the timeline. So much of the exact history would be lost. phatmedia is an asset to the entire rave scene and history.” Billy Daniel Bunter

“Rave flyers capture an essential piece of cultural history. More than just advertisements, they reflect the creative energy of the early rave scene and serve as a window into the underground music culture of the time. Each flyer tells a story about the events, people, and communities that helped shape the movement.” Eddie Richards

“This book is more than just a collection of flyers; it’s a time machine. It’s a tribute to the birth of a culture that shook the world. We built something from nothing. Every flyer, every illegal rave, every risk we took, it created a movement that would become a multi-million pound industry.” DJ Phantasy

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ISBN: 978-1-913231-85-9
Format: Book

The story of hardcore begins in an industrial estate in outer Frankfurt in 1989 with a twenty-year-old hip hop head dreaming of being a rockstar, who becomes a doomsday techno prophet instead. From grisly episodic nightmares about the phuture of the planet, Dance or Die plots a dark positive route through the reinforced steel and concrete clubbing institutions of newly reunified Germany to the pre-criminalised outlaw rave movement of the early ’90s, where nosebleed sound systems reclaimed the streets, abandoned buildings and unmanned fields of Britain to party as a mode of resistance and symbol of ultimate freedom, before spiraling in exile through the warehouses and squats of Paris and Amsterdam, and the f*cking hostile wastelands of New York’s outer boroughs.

Examining the intercity axes that developed between crucible spaces and relentlessly touring DJs who sacrificed sleep and sanity for the mission; the youth subcultures that evolved in diehard tangent to the massive gabber movement in the Netherlands, and Number One’s Hardcore Warriors in North Italy; and the autonomous record distribution networks that evolved from stalls set up on the edge of London dancefloors, and from piling into vans to drive across state lines and country borders to sell enough vinyl to fill up the petrol tank, Dance or Die reveals the marrow-deep devotion that defines the global hardcore community to this day.

Riding in convoy behind the artists, promoters and fans who united across gaping sonic and social chasms in their pledge to live for the music or die, this countercultural history of hardcore navigates through the media stigmas, drug overdoses and football violence of the ’90s to the archivists and new generation who resuscitated the culture through the 2010s, whilst addressing the ideological conflict between success and selling out, and the wounding moral panics that have left permanent scars.

Hardcore isn’t for everybody, but everybody is welcome in this enduring phuture rave movement. And once you’re in, you’re in all the way, diehard and dancing to the death. Dance or Die!

“From Rotterdam gabber to Scottish ‘tartan techno’, from the industrial strength beats of Brooklyn to the hedonistic mayhem of UK hardcore, ‘Dance or Die’ explores some of the lesser-documented areas of rave culture with enthusiasm and journalistic vigour, affording them the historical significance they deserve.” Matthew Collin (author of Dream Machines, Rave On and Altered State)

“Holly Dicker‘s definitive chronicle charts the amazing, ridiculous rise of the most outrageous club music in history with a journalist’s eye and a raver’s mania.” Michaelangelo Matos (author of The Underground is Massive)

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ISBN: 978-1-913231-87-3
Format: Paperback Book

For a glorious ten-year period from 1995 to 2005, hip-hop music received a much-needed shot in the arm from a generation of determined and wildly creative rappers and producers. They rallied against the increasingly formulaic and shallow world of mainstream rap, as well as a music industry unwilling to listen.

By releasing music on their own terms as independent artists—many adopting the mantra of being “independent as fuck” as a mission statement—these hungry creatives reclaimed their artistic freedom and wore it as a badge of honour. Most importantly, they also made a lot of excellent hip-hop. What emerged was a vibrant underground music scene that stretched from New York to Los Angeles, with influence reaching across the world.

Independent As F**: Underground Hip-hop from 1995-2005 explores how a generation of rap artists rebelled against the major record labels and made music on their own terms, celebrating individuality and creative freedom. It also traces the history of some of hip-hop’s most respected artists, including MF DOOM, El-P, Mos Def, Kool Keith, and Madlib.

“Ben is an archivist of the highest regard. His Grown Up Rap pushes the myth and mythology aside for real powerful hip hop facts.” Chuck D

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ISBN: 978-1-913231-82-8
Format: Paperback Book

They say nothing good happens after midnight, but in the case of creativity, that’s just not so. The night fosters a different kind of creativity: something urgent, spontaneous, carved out of necessity. Tracking the past, present and future of this complex dynamic, Selling The Night explores what happens when after-dark creativity influences wider culture and converges with everything from media, advertising, design and to gaming, fashion, hospitality, alcohol, beauty, tourism and far beyond. Also, as importantly, the implications of brands taking space within dance music as sponsors and supporters.

Author Andy Crysell speaks to DJs, promoters, marketers, academics, activists, archivists, policymakers, photographers, writers and designers. He samples KFC through to Fiorucci, Absolut and Red Bull, and moves from New York disco to the modern global underground.

Selling The Night witnesses how ideas migrate from subculture to influence the creative industries. It searches for lessons in improving the value exchange between dance music and brands, seeking something more symbiotic and less parasitic. All the while, it celebrates what makes after-dark ideas so special – the unique and democratising role they play.

“So much has changed in dance music over the decades. Selling The Night offers a very timely look at the role that brands and culture marketing have played in the past and will play in the future.” Kazim Rashid (Resident Advisor)

“The friction created when youth subcultures meet corporate cultures is long overdue a deconstruction, Selling The Night is necessary reading on how and why there is a transfer of time and money between consumer brands and cultural ecosystems; and what both sectors have to gain and lose through these relationships.” Finlay Johnson (Association For Electronic Music)

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ISBN: 978-1-913231-72-9

Synthesizer Evolution: From Analogue to Digital (and Back) author Oli Freke returns with a new volume in his Synthesizer Evolution A6 zine series. The first two volumes (Vintage Synths and Drum Machines & Samplers) focused on vintage electronic instruments from the 1970s and 1980s. Volume three moves into the 21st century, showcasing a selection of the most interesting, impactful, and—arguably—best synthesizers of the past two decades.

The synths in this book celebrate the vast range of sonic possibilities now available to musicians and producers. From analogue wonders to extraordinary digital creations, from tightly designed monosynths to open-ended polyphonic beasts, each one is more marvellous than the last!

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ISBN: 978-1-913231-73-6

Synthesizer Evolution: From Analogue to Digital (and Back) author Oli Freke returns with a new volume in his Synthesizer Evolution A6 zine series. The modular resurgence of the past 25 years has been a wonder to behold. Where musicians were once chained to their DAWs, we are now liberated once again to wire, patch, and modulate in the real world, choosing from a mind-boggling array of options.
Modular Greats celebrates the fusion of art, logic, science, and serendipity in modular synthesis, highlighting some of the best-selling, most creative, and most impactful modules of the 21st century. Featured manufacturers include Make Noise, Mutable Instruments, TipTop Audio, Intellijel, Rossum Electro-Music, Doepfer—and many more!

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ISBN: 978-1-913231-79-8
Format: Hardback Book

Close The App, Make The Ting is a collection of ideas shared by Elijah that began in July 2021, as the Covid 19 lockdowns were ending in the UK. They started as simple notes questioning what the music and creative scenes would look like after being shut down for 18 months shared regularly on Instagram, then developed into a multimedia project that spanned visual installations, an album with grime MC Jammz, a club night and a lecture series that toured the world.

Close The App, Make The Ting: Transformative Prompts for the Modern Artist brings together the best of the ideas and the projects they inspired. This book is for anyone producing or thinking of producing creative work, that needs something outside of ‘advice’, these are evergreen artistic prompts that will inspire new ways of approaching being an artist in the 2020s.

The book is 25cm x 25 cm, and the 144 pages are printed on premium heavyweight paper.

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ISBN: 978-1-913231-61-3
David Kane explores the evolution of UK Rap.
Cover art by Trevor Jackson whose own history in UK Rap is something worth exploring.

In July 2019, eleven years after Jay-Z became the first hip-hop artist to headline Glastonbury, Stormzy became the first English rapper to follow suit. Wearing a customised stab-proof vest designed by Banksy, the South London rapper delivered an explosive performance and finished by thanking the “legends for paving the way,” name-checking Wiley, Dizzee Rascal, and Giggs. Despite how unlikely it seemed for decades, UK rap was now firmly a part of pop music and the greater hip-hop canon.

Rich, nuanced, and often misunderstood, the history of UK rap is a story of music that refused to stand still. Factoring in socioeconomics, gender, identity, music industry disruption, and innovation, What Do You Call It? charts the artform’s first four decades, beginning when rap landed on our island in the early 1980s. Shaped by sound system culture, inspired by punk, and accelerated by rave, it has evolved from Britcore, UK hip-hop, and trip-hop of the late twentieth century to garage, grime, and drill.

Through cultural theory, historical research, and original interviews with key figures and collaborators in the UK rap scene, from pioneers like Malcolm McLaren, Soul II Soul, Tricky, Roots Manuva, and Roll Deep to modern artists like Dave, CASISDEAD, Little Simz, Loyle Carner, and Skengdo x AM, adds a rich human dimension to the UK rap story — one that helped change British music and culture forever.


“A long overdue exploration of rap music in the UK and its longstanding – albeit overlooked – legacy and influence. In an era when UK rappers dominate the charts, star in major movies and TV shows and front huge advertising campaigns for multi-national corporations, Kane traces back the arduous journey from maligned sub-culture to celebrated mascot of neoliberal capitalism.” Jehst

“David Kane writes with a deft touch and possesses a disarming and deeply insightful interview style. Sparking life, humour, and sorrow across every page of more than three decades of UK rap history.” Charlie Dark MBE

“Kane builds bridges in a rich musical universe full of heroes and villains—and plot twists. With an inimitable style, he merges culture high and low to bring new meaning to the music. What Do You Call It? is a landmark tome for UK rap music.” Brian DiGenti, Wax Poetics

“A mind rich in ideas” Stanley Ledbetter, The New Yorker

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ISBN: 978-1-913231-67-5

How You Make Me Feel: The Life & Legacy of Marcus Intalex is a tribute to the late, great producer/DJ and a genre-transcending story of passion, creativity and timeless underground music. It has unprecedented insider access to his life and legacy with interviews with Goldie, Calibre, DJ Flight, Doc Scott, Mark XTC and many more. It’s also visually captivating, packed with over 100 rare photos, artwork, and memorabilia.

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ISBN: 978-1-913231-66-8
Drumz Of The South: The Dubstep Years (2004-2007) is the first photography book to present the early days of dubstep in detail. It features over 200 photographs by Georgina Cook from events and radio stations such as FWD>> at Plastic People, DMZ and Rinse FM, plus pioneering producers, DJs and MCs like Burial, Skream and Benga, Mala & Coki, Loefah and Sgt Pokes, Plastician, Kode9, Hatcha & Crazy D, Skepta and Wiley.

Originally published in 2021 as a Kickstarter campaign, this second edition features a complete redesign, hardback cover and essays from Blackdown, Charlie Dark MBE, Emma Warren and others. The book is 24cm x 17cm, and the 224 pages are printed on heavyweight paper with a hardback cover.

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ISBN:9781913231699

The Icon Catalogue is a series of small A6 zines profiling 40 record labels in various dance music genres such as Techno, Drum & Bass, Jungle, UK Garage and Dubstep. From the most important labels responsible for the scene’s foundations to rare, hard-to-find imprints now defunct, plus a few heavy-hitting newcomers.

House Volume 1 features the likes of Trax, Music For Freaks, Sound Pak, Vulture Music and many more.

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ISBN: 978-1-913231-74-3

1994 was a year of fervent resistance against the encroaching Criminal Justice Act in the UK. Amidst the clamour of dissent, three historic demonstrations echoed through the streets of London, challenging the very fabric of authority and transforming the nature of peaceful protest, forever.

Through the lens of Matt Smith (Exist To Resist), witness the raw energy and unity of the protests that shook the capital. Each image in this zine is a testament to the power of the people, capturing not just moments frozen in time, but the spirit of a generation refusing to accept oppressive legislation.

Pages: 68
Size: A5 (21cm x 14.8cm)
Binding: Staple bound
Print: Black & white
Front cover design: Tom Booth Woodger
Interior design: Jez Tucker

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ISBN: 978-1-913231-55-2

The Radio Phonics Laboratory by Justin Patrick Moore is the story of how electronic music came to be, told through the lens of the telecommunications scientists and composers who helped give birth to the bleeps and blips that have captured the imagination of musicians and dedicated listeners around the world.

Featuring the likes of Leon Theremin, Hedy Lamarr, Max Matthews, Hal 9000, Robert Moog, Wendy Carlos, Claude Shannon, Halim El-Dabh, Pierre Schaeffer, Pierre Henry, Francois Bayle, Karlheinz Stockhausen, Vladimir Ussachevsky, Milton Babbitt, Daphne Oram, Delia Derbyshire, Edgar Varese & Laurie Spiegel.

Quotes
“From telegraphy to the airwaves, by way of Hedy Lamarr and Doctor Who, listening to Hal 9000 sing to us whilst a Clockwork Orange unravels the past and present, Moore spirits us on an expansive trip across the twentieth century of sonic discovery. The joys of electrical discovery are unravelled page by page.”
Robin Rimbaud aka Scanner

“Embark on an odyssey through the harmonious realms of Justin Patrick Moore’s Radio Phonics Laboratory echoing the resonances of innovation and discovery. Witness the mesmerising fusion of telecommunications and musical evolution as it weaves a sonic tapestry, a testament to the boundless creativity within the electronic realm. A compelling pilgrimage for those attuned to the avant-garde rhythms of technological alchemy.”
Nigel Ayers (Nocturnal Emissions)

“In this captivating exploration of electronic music, Justin Patrick Moore unveils its evolution as guided by telecommunication technology, spotlighting the enigmatic laboratories of early experimenters who shaped the sound of 20th century music. A must-read for electronic musicians & sound artists alike—this book will undoubtedly find a prominent place on their bookshelves.”
Kim Cascone

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ISBN: 978-1-913231-52-1
Format: Paperback Book


From the cacophonous surrounds of London to the sea stacks of Orkney, via the abandoned military facilities of the Suffolk coast and the watery expanses of the Blackwater Estuary in Essex, from the quarries and neolithic sites of Snowdonia and the wide open skies of Norfolk to the hubbub of Nairobi and Berlin, the streets of Kyiv and the windblown wilds of Antarctica – music is everywhere. You just need to know or learn how to listen.

Ears To The Ground: Adventures in Field Recording and Electronic Music explores how electronic music producers and sound artists use field recordings and samples to document their environments. Author Ben Murphy takes you on a journey to discover how field recordings can create context, emotion, atmosphere, humour and meaning – and examine the most pressing topics of our times.

Composed of extensive interviews with music producers, the book will show how field recordings have become a vital way of understanding, celebrating and interrogating the landscape and the places we live. The book features interviews with Leafcutter John, KMRU, Ultramarine, Kate Carr, Erland Cooper, Proc Fiskal, Flora Yin-Wong, Langham Research Centre, Claire Guerin, Toshiya Tsunoda, Lawrence English, Heinali, Oliver Ho, Matthew Herbert, Matmos, Scanner, Felicia Atkinson and many more.

On its journey, the book takes in abandoned military test sites, remote bird colonies, estuaries, cities, coastlines, old quarries, neolithic burial grounds, scientific research centres and docklands, and ventures between Orkney, Edinburgh and Cork to Norfolk, Kent and Snowdonia, before heading to Kenya, Ukraine, Japan and Antarctica

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ISBN: 978-1-913231-68-2

UK Hardcore Volume 1 features the likes of Basement Records, Dark Horse, Liquid Wax, Satin Storm, Symphony Sounds, Tone Def and many more.

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ISBN: 978-1-913231-50-7
Format: Paperback Book

Having failed at rapping, what’s next for an endlessly passionate rap nerd? In this sequel to the acclaimed memoir Wiggaz With Attitude, it turns out what’s next is a sometimes controversial career in rap journalism.

Write Lines: Adventures in Rap Journalism tells the tale of hip-hop writing from the inside. From death threats to interviewing Lauryn Hill while she’s in the shower. From calling Jay-Z a c*** to his face, to letting a notorious rapper sleep in his bath, it’s a hilarious, anecdote-studded tale that takes in hip-hop's first-ever magazine and lifts the lid on rivalries, squabbles and how music journalism really works.

Brutally honest, and endlessly opinionated, this story is also a love letter to hip-hop as it changed seismically through the decades. Write Lines charts those changes from the front line through encounters with many of the greats of rap: Chuck D, Missy Elliott, RZA, Eminem, Jazzy Jeff and Gang Starr among them. This is an unfiltered tale of hip-hop that is both heartfelt and scabrously funny.

“With its relatable take on growing up in the 80s, Andrew Emery’s Wiggaz With Attitude marked his card as a vivid memoirist. He might have failed as a wannabe rapper, but the music he loved gained multitudes from his work for Hip-Hop Connection. A pivotal force in the magazine’s 90s/00s heyday, never short of a telling opinion or four, Andrew set a high bar for its other writers to reach. Write Lines is a transportive account of his many travails in that murky world. Packed with eye-watering encounters and witty asides, his compulsive, self-deprecating and brutally honest reflections will resonate widely and change perspectives on rap journalism forever.” - Andy Cowan, HHC Editor & Publisher, author of B-Side: A Flipsided History of Pop.

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Format: Paperback Book
ISBN: 978-1-913231-48-4

Let the Music Play: How R&B Fell in Love with 80s Synths is the overlooked story of how R&B, disco and funk were transformed by the explosion of music tech in the era of ghetto blasters and Ronald Reagan. It traces how pioneers like Stevie Wonder and Herbie Hancock inspired a new generation of black musicians and producers to reinvent music with a whole new set of rules.

From superstars like Prince and Sade to production geniuses like Kashif and Jam & Lewis, it tells the fascinating stories of the artists involved and how they made some of the best-loved records of the era – creating a blueprint for music today.

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In 2011 Kevin Saunderson, Ann Saunderson and Paris Grey, collectively known as the legendary band Inner City, released ‘Future’, their first entirely new material since taking a break in 1996, written and produced in collaboration with another Detroit legend, namely Kenny Larkin, and the very talented producer / remixer Orlando Voorn. The track marked a welcome return for a group that combined the tough, futuristic grooves of the Detroit scene with the vocal energy of R&B and gospel and helped to define the period in which house and techno moved from underground phenomena to top 10 material, paving the way for hundreds of dance hits to come. The Kenny Larkin remix devastated dancefloors at the time and continues to do so over 10 years since its release. Now fully reissued backed with the Carl Craig edit from the original pressing and the MK AW Deep Dub which had previously only seen a one-sided hand stamped white label vinyl outing.

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classic, ruff & jackin Glenn Underground take on a sleazy disco classic.

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To mark three decades of Classic, this special edition double vinyl comes housed in a raw reverse board sleeve, calling back to the very first 'Season's' release on the label. The inner sleeves feature stunning orange and pink GMUND card stock, complete with embossed detailing-a tactile nod to Classic's design-led legacy and attention to craft. Volume 1 of the 3-part compilation series dives into Classic's most cherished moments-spanning both foundational tracks from the label's early years and key highlights from its post-2011 rebirth. Record One celebrates some of the first outings of Classic's original era.? It opens with Matthew Herbert's sought-after 1996 cut 'Got To Be Movin'-a raw, Chicago-inspired groover that captures the sound of Classic's roots. Also featured is the monumental 'Somewhere Between Distance and the Impossible' by Chris Nazuka (of Rednail Kidz with Derrick Carter), a 1997 masterpiece steeped in atmosphere and widely regarded as one of the label's most transcendental releases. Flip to Side B for Blaze's legendary 'Lovelee Dae', remixed into a club ready, ethereal dreamscape by Jon Marsh of The Beloved. To finish we have Gemini's hypnotic 'In My Head', transformed by prolific remixers on Classic - Freaks (Luke Solomon & Justin Harris) into a dubbed-out vocal trip that oozes character. Record Two picks up the story with Classic's reawakening in 2011. ?Seven Davis Jr's 'The One' (Live Edit) was the track that caught Luke Solomon's ear, paving the way for his Friends EP and long-standing connection with the label. Red Rack'em's infectious and eccentric 'Wonky Bassline Disco Banger' found its perfect home on Classic in 2016, quickly becoming one of the most talked-about records of the year. Then there's Eli Escobar's 'Happiness Pt. 2'-a rich, emotive standout from his Classic album work, showcasing his skill at blending deep grooves with raw soul. Rounding out the release is the iconic 'Play the Game' by Kenny Hawkes & Louise Carver. A pillar of UK house history, this essential track was reissued in 2019 with a powerful remix from his best buddy's The Space Children (Luke Solomon, Jonny Rock & Leon Oakey), honouring Kenny's lasting influence.




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The third and final volume of Classic's 30th Anniversary vinyl series brings the party full circle - blending deep catalogue cuts, future-forward house, and tracks from the label's tight-knit family of collaborators. Like the volumes before it, this 2x12" release arrives in a raw reverse board outer sleeve, a nod to the aesthetic of Classic's earliest releases. Inside, bold yellow and red GMUND card stock inner sleeves with embossed detailing reflect the label's long-standing commitment to design, artistry, and collectability. Record One kicks off with a certified Classic family affair. Home & Garden's 'Sexuality...He's 2 Young' features the unmistakable voice of DJ Colette, a staple of Classic's early era. Included here is JT Donaldson's Porno Beat Down Remix-a stripped, low-slung rework with an irresistibly funky bass line and pure dance floor chemistry. Brett Johnson's 'Jiffy Pop', from his legendary Bounce! EP, follows up with a jittery, swaggering groove that epitomises Brett's playful, funk-laced production style. Infectious, weird, and entirely unforgettable. On the flip, Tiefschwarz's 'Acid Soul' delivers a moody, muscular roller. Originally released during their prolific run on Classic in the early 2000s, it fuses baritone sax stabs, a Berlin-borne bass line, and a sultry vocal into a deeply spiritual house cut. Roy Davis Jr. closes Side B with the propulsive 'About Love' (Solid Groove Remix)-a tough and driving interpretation by Dave Taylor that's long been a DJ favourite in the Classic vaults. Record Two showcases Classic's more recent sonic evolutions. JT Donaldson's return to the label in 2019 came with 'Stay Inside', a rich and breezy groove featuring the soulful voice of Liv.e. It's an elegant and understated slice of modern house with timeless appeal. Then comes Dam Swindle's funk-charged 'Hey Mister'. A punchy, bass-driven jam built around a 70s reggae-disco vocal sample. Raw and infectious, it's been lighting up dance floors worldwide since its release. Luke Solomon's catalogue on Classic is vast, but 'Come on Over', his collaboration with Amp Fiddler, earns its place here. Seeing vinyl release for the first time, this cut overflows with musicality. Amp's passionate vocal, free-time breakdowns, and deep funk grooves deliver pure emotional punch. And to close, a modern masterpiece: Honey Dijon's 'Work' (Extended Mix), taken from her 'Black Girl Magic' LP. Featuring Dave Giles II, Cor.Ece, and Mike Dunn, this powerhouse track brings together fierce vocal performances, live instrumentation, and top-tier production. It embodies everything Classic stands for: collaboration and innovation on the dance floor.




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Asa Moto hail from Ghent, Belgium — a city where concrete collides with cathedrals. Their music obeys the same law: rhythm wired into noise, melody bent out of shape. No genres. No safe zones. They’ve taken this across Europe and beyond: festivals like Dour, Best Kept Secret, and Boiler Room Bangkok; clubs that shape the underground including Panorama Bar, Opium, Lux, XOYO. Sacred halls turned into dancefloors, basements stretched to capacity. Wherever they land, Asa Moto rewire the room. Resident Advisor and the BBC were listening from the start. Altin Gün brought Asa Moto in to produce the critically acclaimed Yol (2021) — the band’s first collaboration with outsiders. Remixes for Polo & Pan, Chloé Thévenin and others spread the same edge further out — each a glimpse of their method, a vision in motion. All signals run through Studio Martino in Ghent — their own control room for recordings, remixes, transmissions. The records surface on DEEWEE, the label founded by Stephen and David Dewaele of Soulwax/2manydjs — the only one reckless enough to carry them. The next, DEEWEE082 — Music For Disk Jockeys Pt. 1, continues the line — four tracks as proof that Asa Moto refuse limits, because the world refused them first.

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Repress!

Miss Kittin & The Hacker are the Electro duo of Caroline Hervé and Michel Amato from Grenoble, France. The pair met during the early 90s at a rave and soon after bought turntables and began DJing. In 1996, they started writing music heavily influenced by 1980s synthpop and post-punk bands like Fad Gadget, DAF, Liaisons Dangeuresues, and Yazoo, as well as Italo Disco. Bored by the techno scene at the time, they set out out to lighten the serious tone and bring a campy sexiness to the dour musical landscape. Upon hearing their demos DJ Hell signed them to his Munich-based International DJ Gigolo label and released their first 2 EPs in 1998 and 1999. Their debut album ”First Album" was released in 2001 followed by . in ?.

“Lost Tracks Vol. 2” contains 4 previously unreleased demos recorded between 1997 and 1999. The duo fused 80’s European New Wave/Italo Disco with 90’s Detroit Electro acts like Le Car and Dopplereffekt. By utilizing verse-chorus structures, they playfully shook up the loop based hard techno and electro that was popular at the time. Their studio set up at the time was a Korg MS-20, Roland SH-101, TR-606, TR-808, Siel DK80, and Boss DR-660 drum machine. The songs are direct, spontaneous, seemingly improvised in places. Miss Kittin sings about falling in love in the new millennium, snuff movies and controlling the unknown trip to death, all in her cheekily derisive French accent. All songs have been transferred from the original DAT tapes by the band and remastered for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a glossy jacket featuring a black and white photo of the duo taken in 1996. Each LP includes a postcard with liner notes from Miss Kittin and The Hacker designed by Eloise Leigh. As Miss Kittin says of these demos, “We were naive, innocent, adventurous and we didn’t expect anything in return”

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Truly seminal MAW release from 1993. All 4 mixes re mastered from the DAT's and repressed for 2014. Last repressed 14 years ago this is the perfect time to pick up this mint copy for your collection.

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