Mystic Bill’s deep house favourite ‘U Won’t C Me’ receives a four-track vinyl package on Nu Groove, including the latest remix from German electronic innovator Stefan Braatz. Originally released on the legendary Strictly Rhythm and acquired by Luke Solomon’s Classic Music Company in 2015, this seminal deep house record remains a firm favourite of house heads in the know and is a shining example of the genre. This four-track wax features the original ‘U Won’t C Me’ alongside Jake’s Savage Acid Re-Dub from the mind of NYC’s Jake Reif, as well as the original B-Side ‘Like A Dream In The Night’. Joining these seminal tracks is the new Panic Remix from Stefan Braatz, incorporating his reverence for the deep house genre into a striking club-ready remix that ups the tempo and bewilders with thoughtful synthwork at every turn.

In demand record on Discogs, with an original copy setting you back at least £30+. Reissued and remastered for the first time since 2015 with brand new remixes. Killer package!

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Wax Your Cracks presents its first release featuring the legendary Mystic Bill who transcends genres blending a mix of Italo disco, house, techno and acid into two mind-bending tracks that are as up-lifting as psychedelic. Limited to 400 copies. Vinyl only.

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A key figure in Chicago’s second wave of influential house and techno producers, Mystic Bill returns to Classic Music Company with ‘Body Moves’, a release with serious club credentials and drenched in authentic NYC, New Jersey and Chicago influences. This 12” package is becoming a firm favourite of in-the-know selectors, no doubt thanks to its party-starting qualities that are sure to captivate floors. Featuring four versions of the track, Bill navigates various different analogue moods, kicking off with the vibing house of the original, as euphoric synth arpeggios and a warm, groovy bass blend for dancefloor magic. The Reprise Mix is another juicy club cut, with a full-throttle bassline that rips through the newly looped vocal. On the B-Side the NYC Mix demonstrates Mystic Bill’s trademark deepness, headsy enough for the darkest recesses of the dancefloors but with buckets full of energy for peaktime sets. The NYC Dub closes out, an essential club tool for any discerning selector. A perfect fit for Luke Solomon’s imprint, Mystic Bill’s ‘Body Moves’ is not one to be slept on.

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We're happy to present you Bill's 1996 banger "The Neutral EP" re-mastered and back on black solid vinyl!



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Chicago house legend Mystic Bill joins Crimes Of The Future for a 2 straight up jacking house tracks with bonus instrumental and a mind bending remix by Scott Fraser. Bill Torres needs little introduction to those fans of the original Chicago movement in the late 1980's and 1990's, he produced a string of 12's for the likes of Trax and Relief Records whilst playing and holding down DJ residences in some of the citties best loved venues. After remixing Scott Fraser's No Word Of Truth release last year on his DX Recordings label his first full solo release on Crimes Of The Future has arrived.The A cut Frequency 9 is a rolling jacker with rattling percussion and dark synth stabs to dement the warehouse dancefloor and very much in the line of Bill's trademark style. A2 see's Fraser return the remix favour delivering a massive floor bumping remix adding all new drums, 303 and huge bassline giving a nod to the classic sound of those Sex Trax/ Power Music 12's from the 1990's with his 11 minute mind control remix.... The frequency cannot be controlled! Side B has both the original and a bonus intrumental of The Ship Is Sinking, a dark slice of jacking house complete with real tension and total mastery of the sampler for those able to spot it. Frequency 9 was originally recorded in 1995 (Chicago) The Ship Is Sinking was originally recorded in 1994 (Chicago) "Up to about the late nineties it had become widely popular in Chicago for Dj's to play their own recordings and edits off of tape. Many in the past had used Reel To Reel, but pitch control cassette decks and cassette tapes were a more inexpensive way to go. This gave us a chance to feature songs and edits that we had been made right on the fly, A lot of these songs became popular amongst certain groups but were never pressed to vinyl. Here are two of my own recording that could only be found on cassette, until now" Mystic Bill"


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Classic re-release by Mystic Bill supported with remixes by Ricardo Villalobos and label owner Ilario Liburni. Enjoy!

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Snuff Trax is thrilled to announce that Andrew Soul is back with his big love for house music on this new record. The „Wide Range Of Experiences EP“ features four tracks full of irresistible grooves, driving beats and sweet melodies. You can even catch up with Klaudia bringing fantastic and emotional vocals on the opening track „Strange Feelings“. Enjoy the music!


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Oh how we love the dancefloor and its magic! Every weekend we lose ourselves in endless grooves and jacking beats. We forget about time and space and let the music hypnotize us. We move our bodies. We sweat and feel happy and high. For moments like this Snuff Trax 009-B with tracks by Affie Yusuf, John Red Hawk, Ricardo Miranda and Arttu was made. Dedicated to all you dancers out there.


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Strong limited. Finest back in the day house cutz on snuff crews own imprint snuff trax. Various Artists >The Love< is our contribution to springtime. And as we all know is this season a really wonderful time for deep love and big emotions... The three tracks by Lazercat, Takeshi Kouzuki and Skatebård will take you on a melancholic and melodic journey - Enjoy!



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Three nations, one record. Japan, Italy and Germany come together on the first Snuff Trax in 2012. Our friend Humandrone from Tokyo already gave us a wonderful piece of music for the Snuff Trax For Japan benefit compilation last year. Now we welcome him on Snuff Trax with an own EP. His tracks My Racoon and Paranoia will make your body movin for sure. My Racoon also got a beautiful melodic remix treatment by our Italian brother Nick Anthony Simoncino (known from Mathematics, Skylax, HotMix) as Nick Anthony. And on the flipside The Minister (you know him from Creme Jak ) delivers a super-dark version of Paranoia. Enjoy


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adies and Gentlemen. This is Snuff Trax Number 4. On the latest release of our small imprint we present you two amazing house tracks by Mario Pierro a.k.a. Raiders of the lost ARP. This great producer already released on labels like Nature Records. You may also know him under different other names like Mat101 or Jollymusic. Now we welcome him on board of Snuff Trax.Side A of STX004 starts with the wonderful Stealing My Love. Photonz, our jackmates from Portugal, deliver a floorbanging Remix. On Side B you hear the soulful Hold On. And we are very proud that legendary Chicago House producer Mr K Alexi Shelby found the time to remix this track! STX004 will be limited to 250 vinyls

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Here it is, the third release on the Snuff Crew label Snuff Trax! On Snuff Trax 003 you find Winter In June. You might already know this track from the Snuff Crew livesets. Winter In June is maybe the most melodic Snuff Trax release so far. This floating music is not only for the body - it s also something for the heart. On the B-Side, Dance Disorder, who release on labels like BPitch Control, deliver a fantastic and very epic remix. This mix was also already played by Snuff Crew in their set for Tim Sweeneys Beats In Space show. STX 003 is limited to 250 hand-numbered vinyls.

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After Snuff Trax 001 with tracks byElec Pt.1 and Snuff Crew and a huge DJ-Support worldwide, we proudly present the second release on our label. KiNK and Neville Watson already did a great remix for Snuff Crew´s „Feel Inside“ on Hour House Is Your Rush in 2009. Now our two jackmates gave us the fantastic „City 2 City“ for the A-Side of Snuff Trax 002. Enjoy this massive tune! On B1 you find a new Snuff Crew track called „Wonder Sometimes“. This time we go a bit deeper than you maybe expect... The second track on the B-Side is aNeville Watson remix of our „Are You House?“ cut. The original was released on Snuff Trax 001. Mr Watson now carries the message to extremes and invites you to a very special trip.


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Dance music has always been grounded in a sense of place. Chicago, Detroit, London, Berlin—a zip code can tell you as much about the music as the year it was made.

But beyond the nuts and bolts of the here and now lies a netherzone where some of the best electronic music floats, impossible to pin down. Swayzak’s Snowboarding in Argentina is one such record.

The title hints at its uncanny placelessness. The music has nothing outwardly to do with Argentina, for one thing. The work of UK producers David Nicholas Brown and James S. Taylor, it was recorded in a number of locations—mostly bedrooms—around London. Yet there is little that is quintessentially British about the music. Instead, Brown and Taylor drew much of their inspiration from, on the one hand, the luminous chords and silky heft of Detroit techno, and on the other, the staccato drums and clipped textures that were then beginning to bubble out of Berlin and Cologne.

That brings us to the question of time. For if Snowboarding in Argentina belongs to nowhere, it is equally a product of nowhen.

On a practical level, the music took shape in the mid to late 1990s, although it took nearly 10 years for it to come to fruition. Brown and Taylor began jamming on instruments, then machines, in the late 1980s. Then,
after Brown suffered a serious car accident, the two musicians began working together more seriously. Trial and error yielded a promising single with a downtempo vibe that a hired-gun studio producer promptly ruined; Swayzak retreated to their bedrooms. They learned about Chain Reaction from a radio show, found new ways to burrow into the circuitry of their machines, and by 1996 they had hit upon their sound. brought 10 copies of the first to Berlin’s Hard Wax, sold them directly to the shop for a fistful of Deutschmarks, and turned around and spent the money on records; that’s how DIY electronic music worked in those days.) The album itself appeared in 1998 on London’s Pagan label and quickly built a cult following. It was clear that the music was in conversation with its contemporaries: Heard from the right angle, it was possible to imagine it as a halfway point between the proto progressive house of Underworld and the monochromatic minimalism of Kompakt. But it also didn’t quite sound like anything else around; it was a dispatch from an unknown territory that needed no special understanding to decipher.

A quarter century later, Snowboarding in Argentina sounds simply eternal. Certain hallmarks of ’90s production are available—the music’s almost murky warmth is a reminder of what electronic music sounded like before software swallowed everything into its digital maw—but there’s nothing dated about it. The exploratory nature of these tracks, as the result of experimenting with their machines’ limitations, never eclipses their musical or emotional essence.

Long since been deemed a classic, Snowboarding in Argentina remains an underdog in the annals of electronic music. Its semi-obscurity was surely not helped by the decision to publish nine of its original 12 tracks on the CD, and seven on the vinyl, with only four appearing on both formats. Twenty-five years after
its original release, Lapsus’ Perennial Series edition unites, for the first time, all the album’s tracks as a single triple-vinyl package, rounding out the 12 original songs with previously unreleased material. Working
off the original DAT premasters, Swayzak have created new edits of all the tracks. The result might be considered the definitive edition of the album as it was meant to be, after a 25-year journey. It seems fitting that an album so timeless would continue morphing throughout its lifespan. For fans, it’s the chance to hear a beloved album as never before. And for newcomers, it’s the perfect introduction to a record that, in its own quiet way, reshaped the sound of electronic music, opening up new frontiers unbound by cartography or calendars.

The core of Snowboarding in Argentina appeared on a series of three two-track singles in 1997. (Taylor brought 10 copies of the first to Berlin’s Hard Wax, sold them directly to the shop for a fistful of Deutschmarks, and turned around and spent the money on records; that’s how DIY electronic music worked in those days.) The album itself appeared in 1998 on London’s Pagan label and quickly built a cult following. It was clear that the music was in conversation with its contemporaries: Heard from the right angle, it was possible to imagine it as a halfway point between the proto progressive house of Underworld and the monochromatic minimalism of Kompakt. But it also didn’t quite sound like anything else around; it was a dispatch from an unknown territory that needed no special understanding to decipher.

A quarter century later, Snowboarding in Argentina sounds simply eternal. Certain hallmarks of ’90s production are available—the music’s almost murky warmth is a reminder of what electronic music sounded like before software swallowed everything into its digital maw—but there’s nothing dated about it. The exploratory nature of these tracks, as the result of experimenting with their machines’ limitations, never eclipses their musical or emotional essence.

Long since been deemed a classic, Snowboarding in Argentina remains an underdog in the annals of electronic music. Its semi-obscurity was surely not helped by the decision to publishnine of its original 12 tracks on the CD, and seven on the vinyl, with only four appearing on both formats. Twenty-five years after its original release, Lapsus’ Perennial Series edition unites, for the first time, all the album’s tracks as a single triple-vinyl package, rounding out the 12 original songs with previously unreleased material. Working off the original DAT premasters, Swayzak have created new edits of all the tracks. The result might be considered the definitive edition of the album as it was meant to be, after a 25-year journey. It seems fitting that an album so timeless would continue morphing throughout its lifespan. For fans, it’s the chance to hear a beloved album as never before. And for newcomers, it’s the perfect introduction to a record that, in its own quiet way, reshaped the sound of electronic music, opening up new frontiers unbound by cartography or calendars.

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It is time to succumb to the sounds of the Magic Wand label once more and this eighth sonic spell is another one that will leave you happily helpless. It finds the Coyote lads step away from their fine work on Is It Balearic? to cook up two top edits. First up they offer 'Lonely' - a broody, steamy and shimmering tropical Balearic workout and then comes the organic and lazy drums of 'Western Revolution' with an iconic gravelly vocal from Gil Scott Heron. There are folk-tinged Americana sounds on 'Love Home' and laid-back disco licks on the seductive 'Luca' to make this a summer party essential.

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Disco Bits are back with 2 slices of high class edits/mash ups !!

SIDE X
KLA vs TSI - MAKE ME BELIEVE IN FREE
The Patti Jo classic is reworked for the dance floor. Brand new vocals cut together with a steppin' Nu-disco beat and soulful strings. We believe in free!

SIDE Y
THE CHOPPER - PEOPLE ON HOLD
Lisa, our best friend from the 80's is dressed up in nu disco clothes by The Chopper. An uptempo chugger that will work in nightclubs and weddings alike!

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Semi Skimmed Edits return with another duo of lovingly restored, extended and adored nuggets from the deepest crates

Two blazing jams for playing LOUD.

SUPER limited hand-stamped vinyl...

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The ultimate sun-kissed feel-good anthem, Carly Simon’s ‘Why’ produced by none other than Bernard Edwards and Nile Rodgers sees a much welcomed 12 inch reissue. Originally recorded for the film Soup for One in 1982, though the movie flopped the soundtrack was a success and ‘Why’ became a classic by anyone’s standards - hitting number 10 in the UK charts and staying in them for 18 weeks.

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The mysterious EROS return ! Their initial 3 part series from a few years back became buy-on-sight homages to the raw, decadent & formative birth of club music. And while the first series concentrated on the darker, more electronic & mind-bending side of nightlife, the 'X' series works up an altogether more strobe-lit and full-tilt take on the glorious Disco supernova from whence we all came.

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The mysterious EROS are back with the second in their 'X' series... This buy-on-sight collection of homages to the raw, decadent & formative birth of club music moves towards the final chapter. Darker, more electronic & mind-bending moments, mingling with an altogether more strobe-lit and full-tilt take on the glorious Disco supernova from whence we all came.

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Repress!

Slow and smooth build up with an intense but mellow peak that just goes on and on. It fills you with empathy and intense sensation heightening. SWIM smoked a joint halfway through and melted into the couch. It’s perfect for a rolling party with a group of friends, though SWIM imagines it would be great for a proper party too. Sometimes SWIM felt like dancing, but spent most of the time staring into space. This is really nice, intense, smooth and mellow. Get ahold of these if you get the chance!

Note: Your experience will vary depending on your settings. If you're in a bad place with bad people, you won’t feel a thing.

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Repress!

Maara makes seductively uninhibited, proggy dance music. In fact, she’s quickly becoming one of its foremost exponents. Barely pausing for breath between releases, ‘Spiral 2 the Other Side’ finds the Montreal artist summoning divine feminine frequencies with a hypnotic, ritual-ready 4-tracker.

Some Maara productions are shot through with an almost radiant optimism, but here, darkroom throb prevails. Big on the gated vocals, ‘Spiral 2 the Other Side’ achieves cybernetic sensuality through trippy,

moire´-d electro, while ‘Take the Wheel Miss Sweetie’, with its driving, fathoms-deep approach, provides a direct take on the blueprint.

The Canadian assumes the role of high priestess on the flip. ‘Forget the world’ is a ritual incantation for bridging seen and unseen worlds; prog house magick with shades of ‘90s trance utopia. Rounding things off with a tunnelling electro tripper, ‘Doom Quest’ references the vortex-dwelling atmospherics of early tribal modes to mind-altering effect.

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