Tracklisting
A1 Unknown Artists - That Once
A2 Unknown Artists - Teardrop
B1 Unknown Artists - Honey
B2 Unknown Artists - Who Got Me More

Tracklisting
A1 Unknown Artist - Paid In Full
A2 Unknown Artist - Raw
B1 Unknown Artist - So Whatca Sayin'
B2 Unknown Artist - Cold Gettin' Dumb

Sales Note
Classy & well executed Techno twists on these legendary Hip Hop tracks. In high demand on Bandcamp & now on limited edition vinyl More

Jazzy, Soul, Funk, trippy mental 7 inch, from Loftsoul head. A must-have. More

Hostom strikes again for it’s 8th installment. More

Francesco Farfa's first contribution to the early 90's italian electronic music scene, ranging from proto house sample based sounds to early progressive and techno nuances this EP is not easy to label in terms of genre, characteristic of most of the material on the legendary Interactive Test label. Undoubtedly a pioneering sound for its time, void of any major label artistic limitations, purely focused on underground dancefloor stimulation. Essential piece in any electronic music record collection. More

Juan Ramos is back on BLESSYOU for another round of club specialised tracks. Starting off at a solid 126BPM on the A side, "D2" comes in with a threatening drive bound to cause ruckus on the floor, tripped out vocals used in percussive manner, gung ho drum samples intertwined with a very motivated bass line. "D3" takes a less synthetic turn with the presence of strings and congas juxtaposed with euphoric female vocals. "Collide" slows down and dives into more industrial sounds but could also very well be the background soundtrack to a leather daddy belly dancing instructional video. Overall a pieced up melange of precisely placed elements, reflections of his deepened experiences on Berlin club floors over the last decade, an effortless display of his studio prowess is well at work. No regrets. Mixed by his "Green Vision" project partner in crime, Trent.
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Repress!

The Dancefloor Records reissues on Emotional Rescue comes in the form a true House classic. Produced and released by the Chicago legend Andrew Komis, It’s You is an original Deep House bomb and an education to those increasingly misusing the term today.

Essentially a cover / updated version of the all-time early House classic in ESP’s Its You, this 1989 update shows how much the scene was progressing in just 3 years with a tougher, heavier and deeper 12” that was all about rocking club sound systems.

Coming out on Komis’ own (Dancefloor subsidiary) Big Shot Records, this might not of been as big as Dionne’s Come Get My Lovin’, but has long been an ‘in the bag’ record for the likes of Derrick Carter and Solar. Just one listen spread across the time-defining “Mixes” and it’s clear why.

The stepping bass of the New York – London Mix was so indicative of the time. As the latter’s ascent as a clubbing capital took hold, ears were pinned to what was emanating from across the seas, especially the clubs of NYC and ‘Windy City’. Trademark Komis bass and hats ride are all here to allow the breathy vocals space to do their magic.

However it is the Free House Mix that really shows where things were at. Skipping hats, electro-meets-Belgian bass and a dark synth line pull the track down before acid touches take the song to a much deeper place and has long been the favourite version for the discerning DJ.

Ending with what was indicative of the time, the title says it all with the NU Style Mix. A drum heavy work out, taking in elements of successful records of the time, we get Break 4 Love percussion arranged around a NYC influenced Konder’s style quick cut-up editing for a more 'freestyle' mix to round out what is simply, an underground bomb and therefore, worthy of what this label has always been about, bringing great records to new ears. More

The mid-2000s underground stir surrounding Studio, the project of Swedish musicians Dan Lissvik and Rasmus Hägg, feels nearly lost to time. West Coast, their seminal 2006 debut, captured a faraway romanticism of Balearic brushed up against Krautrock, disco, dub, and afro-beat, with pop lyricism lifted from new wave, all made modern by two art school grads in Gothenburg. First pressed in a small vinyl-only run via their own Information label, the album has been notably absent from most streaming services, and the internet’s record of its initial impact is all but fossilized from a bygone blog era, while its sound is simply untraceable to any one moment in music.

Presented with a minimalist black circle LP design, the set possessed an uncanny escapist sensibility, underscored by track titles like “Life’s A Beach!” but otherwise entirely on the suggestion of that sound, imagined, displaced, and subconsciously amalgamated. Some called it “the missing link between The Cure and Lindstrøm,” Pitchfork heard Durutti Column and Can, as the duo’s story became swept up in a loosely developing scene — adjacent first to the label Service (Jens Lekman, The Whitest Boy Alive) and later Sincerely Yours (The Tough Alliance, jj) — and a precursor to the 2010s boom at the axis of electronic and psychedelic music guided by indie greats like Caribou, Four Tet, and Darkside. Featuring six free-flowed tracks that glide between hypnotic instrumental terrain and anthemic pop architecture, West Coast succeeded in its premise, a trance-inducing, deja vu-like destination instantly identifiable and endlessly replayable. By late 2007, following its expanded CD repackaging as Yearbook 1, the songs were staples of year-end lists, including best album write-ups by Pitchfork, FACT Magazine, and Rough Trade. While Lissvik and Hägg kept busy, Studio’s proper follow-up never came, thus adding to West Coast’s strange allure and legacy. In 2025, the record sees renewed appreciation, remastered and reissued by Ghostly International.

West Coast took shape throughout much of Studio's existence. The earliest recordings trace back to sessions held at Lissvik’s art school and Hägg’s rehearsal space between 2001 and 2004. During this period, Lissvik co-founded the Service label, creating a platform to release music, produce T-shirts, and host events. Service organized large parties, and the art school served as both a club venue and office, in a style reminiscent of Factory Records and Haçienda. Aside from their three initial 7-inch releases on Service, they kept most of their music to themselves for several years. Hägg remembers, "All these recordings were just piled up and we dusted them off and started to deconstruct and assemble them in a more drawn-out fashion." In 2005, they left Service, flirted with breaking up, and then revisited material and wrote two new songs at Hägg's Ferry Terminal Studio and Lissvik's N.47 studio, which he jokingly dubbed the "Beach Ball of Death sessions" due to the slow processing strain put on his Power Mac G4. Hägg continues, "I had started a disco club night with a friend and we went deep down the rabbit holes of Balearics, space rock, and strange leftfield dancefloor stuff. This probably seeped into Studio's output. Around the same time, with Dan slowing drums down to half tempo, finishing ‘No Comply’ and creating ‘Radio Edit’, the B-side of Studio's first 12", a West Coast blueprint was born.”

Soon songs were finalized and sequenced from countless sketches and layers, and the titles clicked into place after being kicked around for a while. The title for the pulsing, guitar-driven “Self Service” was inspired by Lissvik’s visit to the office of the Paris fashion magazine and chosen to mark their newfound independence. Thematically, a larger vision emerged. “Somehow, I knew I wanted to make a conceptual record that, although only imaginary at that point, could represent or define how our city sounded,” says Lissvik. “I was totally immersed in a word bubble and was really struggling with lyrics for one of our potential instrumentals. While walking back to the studio one day after a lunch break, ‘West Coast’ appeared in my mind. I ran back to the studio, wrote down the lyrics for ‘West Side,’ and suddenly ‘Life’s A Beach!,’ ‘Indo’ and the rest of the potential instrumentals all made sense.”

Sonically, the set represented years of developing taste as well. In the same breadth, they cite DJ Screw, J Dilla, and Joy Division, along with early ‘80s European live DJ sets from the likes of Beppe Loda, DJ Mozart, and Baldelli as reference points. “The anything-goes mentality was very encouraging and was a big cornerstone to the Studio sound,” says Hägg. “But there’s so much more to the picture, we were not that young then and had lots of musical baggage in our suitcases, the new thing was that we finally let it all come through, not bound by any borders that was often the case with music identity in Sweden during the ‘90s.”

West Coast is defined by its swing, an ability to lock into loops and beat-grids while still prioritizing looseness and genuine surprises across long passages with layers constantly appearing and fading from the mix. Songs can momentarily fall out of step or change course, like 10 minutes into the hazy opener “Out There” when the bass line suddenly dips back beat for 4 bars and then returns on the beat, giving way for a dubbed-out breakdown and ascendent finish. Or take the 13-minute “Life’s A Beach!” which eases into a soft, tide-changing crescendo just before the 9-minute mark, returning anew on an optimistic bass line as the guitar gets moody above the shimmering wash. Hägg says, “It always transcended very well live, like an implosion. It’s a very tricky song to play, due to strange rounds so it’s such a relief when one gets there, probably what you hear is a big sigh.”

In the afterglow of the record’s 2007 reception, as their oft-mentioned un-Google-able name and Myspace page made rounds and West Coast was cemented as “one of the finest pieces of electronic music you ´ll hear this year,” per The Guardian, Studio receded from view, clouded behind a mountain of remix requests (including belter for Kylie Minogue and Stockholm’s Shout Out Louds) and label bureaucracy. But both artists, now well into respective careers beyond Studio, have come to peace with West Coast as their most enduring effort together. Lissvik adds, “It serves as a good reminder for me to keep to that decision and promise and to continue exploring and growing.” More

2024 OFFICIAL 7" VINYL REISSUE

INCLUDING "BEWARE OF THE BOYZ" feat. JAY-Z
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Forest Jams continues the journey into the great beyond with Mori Ra’s Mantra–an EP composed of four edits created for any inquisitive earthling and forest wanderer. Mori Ra is a DJ based in Osaka, Japan his sets are a witches brew composed of balearic, cosmic, and electronic disco ingredients. He has released on other labels such as Rotating Souls, Macadam Mambo, Berceuse Heroique, MM Discos and more. In Mantra, Mori Ra acts as a mysterious wanderer who has stumbled upon the doors of our minds in the middle of the night. When we answer the door he is bearing gifts of creative glory and all we need to do is provide shelter in return. We invite him in so that he can rest, recharge, and continue his journey. During his visit in our minds Mori Ra shares “Mantra” the secrets of the universe disguised as parables packaged neatly into four tracks. Catharsis begins the journey and immediately throws us into a sound that feels like we are driving a spaceship in Gran Turismo 37, the spaceship simulator. Now that we have successfully crossed the plane and have entered the digital unknown, Seinn O! becomes the story of communication. Seinn O! gave the smoke leaving my mouth color and the shamanistic chants placed me in an atmospheric state with the ability to cross over and communicate in the digital space. Then comes ??? the Grandson Traveler, which embodies the story of the simulation. Imagine the sound of a bustling dystopian city in the matrix–neon signs, dancing billboards, talking vending machines, radioactive wildlife, and overgrown foliage leaking in from the jungle the city is carved into. Mori Ra seems to have melded all of those sounds together to create the soundtrack of the big city where everyone is lost. Finally, before leaving our minds Mori Ra offers the final parable, ??? That Star. Which becomes the story of realization, the journey back home from the exploration of the mind. That Star brought me into a cave and I could see the opening at the end of it, all I had to do was walk towards it. However, I couldn’t walk. I could only galumph forward, while bouncing up and down to the beat. My arms slivered and guided my body forward as the vocals came in. As I moved forward the opening, the clearing, the destination remained the same distance away. The endless tunnel of the mind gave me a feeling of comfort because I did not want this journey to end. The EP ends and we will never know who visited our minds that night, but we know we loved the journey. Mori Ra is the steward of our journey through consciousness, and the vessel is “Mantra”. More

Over 25 years ago DJ Maaco and P Dog aka Detroit In Effect released the mean green "Only Time Can Stop A Dream" EP on their M.A.P. label. Tracks like "313 Frequency" and "Sike Yo Mind", just to name a couple, banged dance floors from Detroit to Europe! Now with new generations of music lovers almost three decades later catching on to sounds some would now consider vintage, we feel it's only right to pull out some throwbacks and make them available again! So here's to old and new, the reissue of Detroit In Effect - Only Time Can Stop A Dream. More

Francesco Farfa's timeless club EP "Learn To Fly" freshly remixed 3 decades after its original release in 1991 by 4 of Berlin's finest DJs and producers. A generous arsenal to choose from in terms of dance floor tools, from DJs, for DJs, equipping the record bag with something for a wide range of occasions, can't go wrong. A-side descends into big room darkness with Trent's re-interpretation, effectively complimented with Juan Ramos' bulging trancey approach playfully collaging elements from multiple tracks in the original EP. B-side goes in more ravey/progressive directions with an elevating elucidation by E-talking while Hamsa produces a more stripped down enhancement to the original theme. More