U-Star Records, the legendary label founded by the Idjut Boys way back in 1993, is making a surprise return to record stores. To mark the occasion, Conrad McDonnell and Dan Tyler have recruited Tuff City Kids - AKA Running Back boss Gerd Janson and regular studio buddy Phillip Lauer - to provide fresh interpretations of a trio of label classics.

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Smalltown Supersound released the Idjut Boys album 'Versions', a collection of avant dub/disco jams, on the 28th of August on CD, LP and digital. This 12" is the second 12" single lifted from the album (the first featured remixes by Bjørn Torske and Prins Thomas). All the tracks on this 12" are different versions of the tracks on the album. This is classic Idjut Boys freeform dub/disco

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IDJUT BOYS started in early 90s, when House Music was heading for the bubbly, wild excitement, and they have always been active in an underground scene which has been drawing the line at the mainstream. Carrying on the tradition of House and Disco, they have ever played an important role in forming the House and Disco culture in UK, producing the intoxicating groove of Funk and Dub, which is the significant factor in House and Disco. They also have been supported and loved in Japan together with DJ HARVEY, even in the days when the scene of Club and Party was being reformed in 2000s, so to speak, Summer of Love "in Japan." Their longawaited 7" single is released from a label ALTZMUSICA, which is presided by ALTZ, who has made sworn friends with them since ALTZ's tracks "Yello" and "Tune In" were remixed by them in 2005. This work is an Edit & Dub work based on guitars and basses performed by ANDY HOPKINS, who is like an associatemember of IDJUT BOYS. It has dance groove which consists in a psychedelic perspective which, as it were, reminds us of the primitive, fluid wriggle before dawn. The groove is also positive energy. A remix by ALTZ, "VERSION ALTZ," on Bside is reconstructed in different dub work from the original, taking over the viewpoint of IDJUT BOYS. It is a version which has gained strength and experimental taste by more progressive editing and effecting.
SORRY, NO SALES TO JAPAN!

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Los Angeles' Droid Behavior celebrates its 15th anniversary with a two-part release from its principal artists. Over the last 15 years, Droid Behavior constructed, developed and institutionalized the West Coast techno scene with their lauded event series Interface. The label Droid Recordings fol- lowed with the launch of its first release “Negative 01”, a compilation of L.A. producers showcasing new perspectives from North American techno. The forthcoming compilation Negative 02 explores the label's vision from the voices that have laid its foundation, from the dark and strange, to the slightly experimental, to streamlined dance floor tools. Part 1 of the compilation delivers 4 tracks from L.A. techno stalwarts, leading with label head Drumcell. With releases on CLR, Dystopian, Detroit Underground and his own experimental label BL__K NOISE, Drumcell’s channels his diverse sound into a pitch-black banger in "Dividing" a thick chugging track with an undercurrent of hypnotic stabs, Pads and vocals.. The second track features one of the techno's most celebrated artists - Truncate. Also known as Audio Injection, David Flores turns in the ultimate DJ tool with “Down," a mastery of sequence subtlety layered on this introspective production. Droid cofounders and VRV label heads Rai´z contribute the most entrancing arrangement for Negative 02 - "Ephemeral Beings” which warns of social decay and encourages positive change via this and dark and beautiful composition. Longtime Droid resident Viktor Carrillo offers his debut release for the label with “Coma Walk” an ingenious application of the goa sound in conjunction with clever FM Synthesis which makes for highly effective mix addition. A second release will follow to celebrate this anniversary, featuring more from the Droid family including Luis Flores, Hyperactive, Subversive and Aaron Litchke.



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On his first release for Droid Recordings, master sound technician Brian Sanhaji drops two hard, gritty tracks. A1, “Macronomena,” is an unmissable, surprising thrill. A filthy, grainy bass synth gets mangled by filters and LFO, pushed out of time, and forced back into a perfect, funky lock with the pummeling beat. Nearly five minutes in, the machine breaks down and falls apart, only to slam back into groove with new, jack-oriented elements. B2, “Synphone,” plays things straighter, manipulating the optimal gears and levers of the techno toolkit for an undeniable dance floor mover.


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Kyle Geiger returns to Droid Recordings for a three-track suite of techno and rhythmic experiments, Jupiter Storm. A1(Jupiter, Hydrogen Edit) builds from a rumbling kick, slowly constructing a space of delayed tones and filtered noisse pressure aimed at the dancefloor. B1(Mars) takes things for a truly unexpected turn, borrowing some of Jupiter’s sonic language and reformulating a triple-metered groove with waves of noise and distortion. The title track, Jupiter Storm(B2) brings the full kick back into the picture riding the Mars rhythms against the standard kick for a track that’s driving and infectious.


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Droid Behavior’s Luis Flores comes through with a 2-track ace for the label’s 20th vinyl release, Static Forces. Negative Pressure (A1) starts off with a brewing undercurrent of bass and hypnotically builds into a dizzied cavern of competing sonic forces and reverberant whispered utterances. Surface Tension (B1) takes an alluring shaken groove and reveals its drive as its elements make their way to the front, slowly pushing the track’s rhythmic intensity. Two tracks for long play and lost minds. Silk screened jackets on black sleeves.



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Droid Recordings presents a new 2-tracker from the talented Argentian producer Flug. “Cognitive Process” burrows through the listener’s subconscious, starting on the A side with “Experience,” a polyrhythmic vortex driven by a buzzing, 2-pitch motif. “Senses” builds hypnotically around a single, repeating tone into a slamming, aggressive power. Both tracks keep things driving and fast-paced toward the 130 BPM range.


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"If there is no struggle, there is no progress" A lesson over four movements.


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Chicago legend Boo Williams returns to the spotlight with a stunning collection of brand-new, unreleased tracks. This record is a true gem, showcasing the timeless artistry and unmistakable groove that have defined his career. Drawing on deep Chicago influences, Boo masterfully blends soulful textures and hypnotic rhythms into an elegant house journey fit for any dancefloor. Sophisticated, inspired, and beautifully produced, this release once again highlights the endless class and musical vision of a true master of the craft.


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I met Aaron Parr back in 1992 aka the golden era of electronic dance music. Everything was kicking off in the L.A Underground and he was working slap dap in the epi-center at Beatnonstop Records on Melrose Avenue in the heart of Los Angeles. At the time I was living in Santa Barbara still doing my college radio show "The Joy of X" and coming down to L.A on the weekends almost every week since 1989. Aaron had been a mainstay down the street at Streetsounds Records where my then Young friend 19 year old Steve Loria worked alongside warehouse dj & underground legend Barry Weaver.

These were heady times. Clubs, after-hours and renegade break in warehouse jams were the order of the day…every day! The shops fueled the dj's with the dope records and the ravers with the party flyers, the Record Stores were the hub of the whole scene and the key was befriending these upwardly mobile soon to be underground superstars if you wanted fat slabs of wax AND to know where the real deal undergrounds were shaking…literally.

In 1992 I got selected for the U.S Olympic Basketball team and headed back to Europe in an effort to make it to Barcelona and get smashed for the GOLD by the dream team in front of the whole World…no thanks! We got knocked out by Petrovic and the Czechs right b4 Barcelona!
Anywho after 3 months I returned to Cali and there had been a shift, Steve Loria moved up the street from Streetsounds & opened Beatnonstop and it was HUGE! It had quickly become the largest independent record store in the U.S. The scene was massive, everything had exploded. I got in where I fit in and started a weekly Techno club "Happy Planet" on Tuesdays and a House club "NYC" with Doc Martin on a Friday. Both were rammed.

Aaron the industrious Brit from Nottingham & his bredren Dave Fong went to work early too, putting out the Rudiments EP on Worldship Records and then following up with Psycho Ray in 1998.. In 1998 II closed my Culture shop "Soma" down in Santa Barbara, packed up my studio & sound system and moved to L.A official. I had gotten the offer to manage Beatnonstop on Melrose after Steve Loria left and jumped at the chance.

I quickly put together the Beatnonstop Record Label, releasing a double pack "Pacific Coast House EP" feat myself and local producers Aztech Sol, CPen and Kenneth Graham/Steve Loria. I then kicked off PCH Records with "Rhodes Through Space" and after a drunken rendezvous at the Hall of Records Studio one night I signed Aaron & Daves Teflon Dons "My Vice" to the labels.

Vice was right down my alley a dark, grimy acid track with menacing Pacino samples.
After a buying trip for Beatnonstop to NYC. Harry the Bastard from Watts took me down to meet fellow Brit Stefan at Dance Tracks in Manhattan where I found the sample "Our Music" on an accapella in the bins. Super inspired after two weeks trolling round every record distributors warehouse (Watts, Nemesis, Syntax, Downtown etc) and hitting every record store in Manhattan (Vinyl Mania, Discorama, Frankie Bones shop, Satellite and on and on) I came home to L.A and me and Nate loaded up the Emu 64 Ultra sampler and penned "Our Music."

The track is obviously very New York inspired and was received well by Big Apple Dj's David Morales, Junior Vasquez, Roger Sanches & Baby Hec Romero. I would definitely say this track was a slow burner elsewhere and took off later getting the nod from DJ Deep in Paris, + Terry Francis, Eddie Richards and Mr. C in the UK.

It got no love in L.A surprisingly but everywhere else across the country with Miguel Migs and DJ Garth in the Bay, King Britt in Philly and DJ Pope in Baltimore. Now it's back on wax after 25 years remastered by the mighty Martin Iveson and I think the World is finally ready!


Track list:
A – Teflon Dons – Vice
B – The Coastal Commission – Our Music

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Originally released on Studio !K7 Records in 1998, Peter Kruder and Richard Dorfmeister's groundbreaking release, 'The K&D Sessions' reset the bar for what could be achieved in a compilation. Across an array of original tracks, dubs and infamous K&D Session remixes, the DJ and producer duo took the listener on a smoke-filled blunted journey that flowed flawlessly. Often compared to DJ Shadow's 'Endtroducing' for it's similarly deft craft of rhythm and quoted by Allmusic as "the most blissfully blunted music the world has ever heard", the album has sold over 1,000,000 copies to date and was included in Spin s Top 20 albums of 1999 .

The album has long since been deleted on Vinyl with original 4LP sets changing hands for 300+ on the collectors market and even a bootleg vinyl copy will set a buyer back over 100. Sixteen years later, this legendary album will be available as a long overdue 5LP reissue remastered by Bernie Grundman Mastering in Hollywood. Finally back in print in 180g vinyl.

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Part two of the Idjut Boys mixes on File Under Disco sees the legendary UK DJ and production duo drop a tab of acid in JKriv & The Disco Machine's orange juice.
With effects units set to stun and a course set for Acid Disco space...the Idjuts work classic acid house elements into these mixes to produce an effect as strong as any dodgy microdot. And with the Disco Machine's authentic disco vocals riding and floating on top of this hybrid blend the result is a truly wanged out and rather devastating piece of dance floor magic. Pure Idjut style! Both cuts can be filed under acid disco and are made for heads.

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Club Splendore was born in 2022 in Modena, Italy, as an itinerant party and club format.

In just a few years, it has established itself as one of the most recognizable disco-oriented projects within the new Italian nightlife scene, exporting its sonic and visual identity to iconic clubs and international settings.

With over 20 dates in a single year, recurring sold-outs and a diverse crowd, Club Splendore has evolved into an experience that goes beyond the dancefloor: an inclusive, label-free space where music, style and attitude coexist under red lights and immersive atmospheres. The format has appeared in some of the most relevant venues across Europe, including Villa Delle Rose (Riccione), Palazzina Grassi (Venice), Matis Club (Bologna), Hierbas Club (Cortina), while also expanding internationally with dates at Do Not Disturb – W Hotel Amsterdam, COYA Mykonos, and House Party London, confirming the project’s ability to connect with an international audience. From the club to the record.

Club Splendore Vol.1 is the project’s first official vinyl release and marks a natural step forward: capturing on physical format the sound that has been defining its dancefloors over the past years. The record explores a contemporary take on Italo Disco, infused with classic disco, funk and modern house elements, delivered with an ironic, sensual and direct approach. A sound that reinterprets the aesthetics of the ’80s without nostalgia, translating them into a current, club-focused language. Behind the production and on the decks: Sparkling Attitude, Nicola Zucchi and Matteo Mussoni, resident DJs of the format and the core musical force behind Club Splendore.

Side A features “Drink Campari”, an italo disco track built around warm, enveloping textures, elastic basslines, bright synths and a late-night groove. A story of summer desire and endless nights, playing with the iconography of Italian Red Passion in a light, effortless way.

Side B hosts “Madame”, a bonus track and electronic ballad with a more intimate, suspended mood. A track designed for the final hours of the night, when the club slows down and the dancefloor gives way to something more personal.

Club Splendore Vol.1 is not a compilation, but a statement of intent. A first chapter that brings the club experience beyond the club itself, staying true to the promise that has defined the project from the very beginning: “We will bring the light into the darkness of the night.

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