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12"
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RB 141EP
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$17.50
PREORDER
RELEASE DATE: 7/11/2025
Krystal Klear returns to Running Back with another batch of purpose-built dance floor tracks. The name? Personal. It means something, but that bit stays off the press sheet. Written during a particularly charged stretch of inspiration, these tracks aim to soundtrack every hour of the night: from the hopeful haze of doors open to the bitter-sweet buzz of lights on. Crafted as quiet tributes to nights out and DJ booths in Germany, Scotland, and London, places where sweat meets sub, and the USB never quite ejects. The formula? Unchanged and undefeated: heavy drums, melodic inflections, more ARPs than strictly necessary, and something emo stirred in for good measure. Dance music for dancers. Or at least for the idea of them.
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3LP
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RBDETTLP 001LP
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$45.50
PREORDER
RELEASE DATE: 7/11/2025
Triple LP version. A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back's ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann's curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. The trip begins with a simple pitch-shift skywards, transforming Identified Patient's creeping "The Female Medical College of Pennsylvania" into a peak-time freakout, before an alternate take on Toctronic's "Bis uns das Licht vertreibt" emerges from the vaults for the first time. Dating from 1995, and one of Dettmann's all-time favorites, Cristian Vogel's "Untitled" clambers back into the box with respectable cuts, while John Bender's "Victims of A Victimless Crime" kicks off the flip sporting a new arrangement. A few subtle edits to Clark's perilously funky "Dirty Pixie" leads to Dettmann's remix of Junior Boys. Next comes Experimental Products' explosive proto-electro anthem "Who Is Kip Jones?", empowered from pricey Discogs purgatory with just the slightest of tweaks. It's deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance's raw "The Human Factor" and a shimmering new version of previous solo production "Water," featuring close friend and Ostgut Ton ally, Ryan Elliot. Severed Heads' iconic "We Have Come To Bless This House" emerges with mere nips and tucks, while Nitzer Ebb's "Shame" is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of "Limbo" from Swiss synth heroes, Yello. Core musical memories are shaken and stirred with a context-shifting take on Frank Duval's emotional classic "Ogon," while Ian North's "Sex Lust You" and Ford Proco's notable Coil collaboration "Expansion Naranja" effectively throb with only minor adjustments, respectfully imagined as "shadow versions". Meanwhile, a simple breakbeat lifts Albert Kuningas's "Astraalprojektio" in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby's "Season of The Real" inexplicably emerges somehow even funkier than before. The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann.
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Cassette
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RBDETTCS 001CS
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$20.50
PREORDER
RELEASE DATE: 7/11/2025
A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back's ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann's curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. The trip begins with a simple pitch-shift skywards, transforming Identified Patient's creeping "The Female Medical College of Pennsylvania" into a peak-time freakout, before an alternate take on Toctronic's "Bis uns das Licht vertreibt" emerges from the vaults for the first time. Dating from 1995, and one of Dettmann's all-time favorites, Cristian Vogel's "Untitled" clambers back into the box with respectable cuts, while John Bender's "Victims of A Victimless Crime" kicks off the flip sporting a new arrangement. A few subtle edits to Clark's perilously funky "Dirty Pixie" leads to Dettmann's remix of Junior Boys. Next comes Experimental Products' explosive proto-electro anthem "Who Is Kip Jones?", empowered from pricey Discogs purgatory with just the slightest of tweaks. It's deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance's raw "The Human Factor" and a shimmering new version of previous solo production "Water," featuring close friend and Ostgut Ton ally, Ryan Elliot. Severed Heads' iconic "We Have Come To Bless This House" emerges with mere nips and tucks, while Nitzer Ebb's "Shame" is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of "Limbo" from Swiss synth heroes, Yello. Core musical memories are shaken and stirred with a context-shifting take on Frank Duval's emotional classic "Ogon," while Ian North's "Sex Lust You" and Ford Proco's notable Coil collaboration "Expansion Naranja" effectively throb with only minor adjustments, respectfully imagined as "shadow versions". Meanwhile, a simple breakbeat lifts Albert Kuningas's "Astraalprojektio" in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby's "Season of The Real" inexplicably emerges somehow even funkier than before. The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann.
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12"
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RB 140EP
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Once upon a car park. In the mid-'90s, DJ Steve and Luca Lozano bonded over Mobb Deep, Droors, and the finer points of frontside flips. Soundtracked by skate videos and boombox freestyles, those formative years were more about asphalt than machines. Time moved on. Steve found his way to stages from Sheffield to Sonar as half of an electro duo; Luca chased underground frequencies from London to Berlin. Life zigzagged. Contact faded. Fast forward a couple of decades and a random reconnection just before lockdown sparked version 2.0 of their friendship -- and a new chapter of collaboration. What started as nostalgia turned into studio marathons and shared sonic visions. The result: Closed Circuit. This is the sound of two old friends channeling 20-year loops -- where electro meets B-boy attitude, house nods to early Warp, and vocoders clash with vintage drum machines. Think sun-bleached jeans, fuzzedout tape hiss, and that pre-internet rush of discovery. To top it off, Running Back's own Roman Flügel contributes a sharp remix flip, and the sleeve features archival photos taken by Lozano during his early London days (2002-2005) -- moments frozen in grain and sweat from some of the city's first DIY parties. Friendship. Frequencies. Full circle. Closed Circuit.
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12"
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RB 085-8EP
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Hits! Hits! Hits! Number 8 in the value-for-money series on Running Back is here, serving up a dessert spoon for almost every taste. Skatman discovers his inner crooner and shares his feelings with the world -- electronic disco poetry of the highest order. Australia's high-velocity aristocrat, Baron von Trax, delivers a mirror ball tearjerker of the finest kind: If I Only Knew strikes the golden balance between tried-and tested Italo tropes, classic disco elements, and their razor-sharp transformation into a zenith of happiness. "In Your Eyes" by Janis Zielinski & Sowhy3 continues the journey of heartfelt things to-think-about with a pop dance hit from a parallel universe. To round it all off, recurring Running Back artist Morphena delivers a new wavey masterpiece, while Zoé Zoé offers an ode to tangerine-like Berlin School music -- complete with a dance beat underneath. Fancy!
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12"
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RBB 006EP
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All aboard! Ketiov's Rhythm Trainx Vol. 4 pulls into the station, delivering another batch of rhythmic delights to keep DJs and dancers on track. This isn't just a drum tool EP; it's a rhythmic Swiss Army knife designed to break the monotony, shake the staleness disease, and maybe even help you discover that long-lost dance move from 2003. True to form, Ketiov goes above and beyond the call of percussion. These tracks aren't your average drum loops -- they're living, breathing organisms. With real drum sounds recorded live and sprinkled with a touch of his own playing, the result is an earthy, organic feel that'll make any drum machine feel like it has some catching up to do. Spanning tempos and moods, Rhythm Trainx Vol. 4 offers something for every moment, from warm-up whispers to mid-set movers and late-night wigglers. It's the ultimate utility belt for DJs who like to mix it up and keep their crowd guessing. Bonus points: these tracks have been rail-tested harder than a new set of railway-wheels, ensuring maximum reliability when it counts. Whether you're layering textures or cruising through extended sets, Ketiov's latest will keep any train rolling. Dance floors beware -- this one's got serious rhythm!
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RB 138EP
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The second outing of Johannes Volk for Running Back picks up, where Extra Dimensions left listeners: traditional techno components, an inclination for melodies, '80s electro(nic) pop and aesthesia for ecstasy. Something for everyone's taste and nothing tacky. Lightweave is like the conversation that Giorgio Moroder and Wolfgang Voigt never had. With a power plant of a bass line that's pretty much all you need. The direct connection to the EPs artwork is "Cubistic Pathway." Painted with acryl on canvas as a birthday present, it's like the title tracks little and playful brother and a homage to 16bit platform games like Turrican or Contra. "Fragments of Moments" is the sort of piano-not-piano-house stomper that classic techno DJs love, while "Sense of Wonder" is one of those songs without vocals that appeals to '80s-kids and their offspring. Last but not least, "Emotional Message" and its hypodermic breakbeat dates back to 2011, wears the heart on the sleeve, and screams tearjerker, bear hug or elevation. If you can't get enough of that, there are three digital bonus tracks, that mix, re-mix and fixate the topics you just read about. Volk's populi!
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12"
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RBACID 001-5EP
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The follow-up to the first Acid Sampler is now in the hands of a single artist. Space Dimension Controller does Running Back the honor to leave his fingerprints on the (usually) silver box -- and it's a match made in heaven. The Irish man's music is mostly a nod to the subtle and more delicate ramifications of electronic music. His Acid Sampler is no exception. Most of the EP presents itself as an ode to the brain dance vibe of acid house rooted music. While leaving out the harder and faster styles of the genre, SDC manages to pour his heart and soul as a producer into these four charming tracks. "Kosmische Conga" works as the leader of the pack and pirouettes with memorable hooks, synthesizer swells and descant acid lines. "Echopet" introverts the whole concept, while "Minehead" peaks with it. Named after the seaside town that harbored the Bloc Weekend festival, it's a warp-free romantic reflex of the brain dance vibe -- or a heartfelt love song for circuits. "Carinacid" completes the quartet with a chugging and hugging mid-tempo beat that could have gone on forever. Acid test passed! Artwork by Gasius.
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12"
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RB 137EP
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Some records come from the head, others from the heart. Weltraum EP by Cara Carpaccio is a bit of both -- an interstellar blend of cosmic vibes, disco roots, and a touch of robot melancholy. Born out of a time when the world felt both distant and strange, the EP channels those moments of isolation, longing, and unexpected creativity into something playful and deeply human. What started as an open-ended studio session turned into a journey guided by synthesizers listeners could only dream of owning, Marvin the robot's dry wit from The Restaurant at the End of the Universe, and Cara's love for cosmic sounds and disco grooves. The tracks came together in single evenings, capturing emotions as they unfolded. Cara brought her energy, composing, performing, and singing her way into the stars, with Luis (aka Planet Zwo) riffing on guitar to ground it all. Marabou (Fabian) tied it together, wiring up gear, recording, and even finding a remix idea in the middle of mixing. The result? A collection of tracks that balances nostalgia and futurism, melancholy and euphoria. Adding even more fuel to the ship are remixes from the likes of Intergalactic FM's I-F + Gerd Janson, and Dan Tyler of the Idjut Boy.
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RB 085-7EP
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The seventh part of Running Back's revered various artist series is here. This time consisting of five tracks across the spectrum of cunning and contemplative dance music. Taking over the A-side duties, Ricardo Baez and Josh Micky demonstrate the uncanny alliance of pianos and Italo bass lines for heavy modern disco hitters: high times, fun stuff. BSS' "Jannis" puts that concept on its head with a different kind of piano track. Hypnotic deep house minus all its cliché-ridden traps. Bryolfur and Running Back mainstay Storken opt for trippy and tricky disco with "Twist," while Jonus Eric ticks all the IDM and brain dance boxes with "Ribbon." Easy to swallow and value for money.
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12"
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RB 135EP
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If Katsuhiro Otomo's Akira were a utopia instead of its opposite, this EP could be a possible sound track. Using the ingredients of classic house as a platform (pianos anyone?), Nick Nikolov's imagination as a producer for his new new NKLV project is far too vivid to stay on the beaten track. The sound design and nerdy attention of IDM and ambient connects with the brazen boogie approach of the French touch, micro-sampling manifestos have to stand up to the weirder moments of signature sounds like Basement Jaxx or KiNK's musical side. Not too far off from his peer's early approach, the Bulgarian's take is emotionally charged, play -- and powerful. For instance, "Speak to Me" and "No More" hit their respective topical nails on the head and the EPs title track "Inbetween" is sultry serotonin soul. If you are looking for plain and pure euphoria in between all the hardships, happiness is just around the bend.
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12"
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RBSHAN 006EP
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The second part in Shan's warehouse series delivers more of the same -- but that's definitely a great thing, if the dish has a great taste. Like it's successful predecessor, the tracks don't re-invent the wheel, but cater to all the nameless spaces and places that made raving in defiant and derelict places fun. There is house that sounds like techno ("Elevate") and vice versa. Seasoned with break beats (89 Swing or the Future Sound of London-esque "Euphony") or breaks for love and even dub sirens, it is almost impossible not to find something to suit the customer's environment. The main focus of attention might be the jack of all trades called "Phantazia." Wouldn't have sounded out of place at the entertainment series of the same name, it melts proto hardcore harmonics with Soul II Soul type of strings and immediate call for "the action."
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12"
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RB 134EP
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If you prefer things sweet and concise, here is all you need to know about Morphena and Narciss and their Lingua Erotica release on Running Back: a project of passion made while living across the globe thousands of miles apart from each other while falling in love, sensuality, tenderness, longing, authenticity. Making waves on the festival and club circuit and meticulous productions like Forbidden Fruit or the Immer Remix for Running Back, Narciss found the perfect partnership with Morphena and their multitalented artistry between DJing, music making and vocal work. Informed and inspired by a mutual enthusiasm for Italo blueprints, new romantic mannerisms, synth pop poetry and an uncanny knack for subtle and yearning dance floor euphoria, it works like a mix tape or love letter to the listener or any of their adored ones. While the obvious club cuts "Mi Amor" and "Fleeing Into You" are sandwiched between the ambience of "Per Aspera Ad Astra" and "Cocoon Cracking," one cannot help to be mesmerized by the coherence and monolithic magnetism of Lingua Erotica. Captivating, catchy and confident. Here's to many more.
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RB 133EP
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The return of the mack. Chris Barratt aka Eagles & Butterflies possess the rare ability in his music to unite a larger-than-life peak time producer personality with the understated production method of underground records, techno pop and a modern Italo twist. Perfectly suited for Running Back, Heartbreaks & XTC is luckily exactly that. The mirror image of Eagles & Butterflies and how to find common ground between polar flairs. Chord happiness, Italo bass lines, arp art, filter magic and side chain stunts. Indispensable to life or any dance floor near you.
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12"
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RB 004-1EP
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The onus of proof regarding deepness is a rather peculiar one. Even if one presses all the right buttons, quotes the correct sources and applies the textbook techniques, often something seems to be amiss. The elusive producer Mute never had that problem. Blessed with a sound of his own, that seems to stem from within and can be called deep house without the genre's strait-laced demeanor, his aesthetic includes a distinct feel for boogie and disco tropes. Case in point: "Lost." Placed as a B2, it is the secret start of Direct Cuts II and more prominent on this new edition of a classic Running Back record. Molded into an extended disco version by Gerd Janson with unused parts of the original recording session, it something like a curveball deep house disco song, according to the motto: "you and me, we can be like a whole universe!" Hard to resist and even harder not to like if you have the slightest interest in prelude records, Diana Ross songs, or Tee Scott mix techniques. "Basics," "Vibes," and "Driver's License" push further into the world and musical mindset of Mute. Originally released in 2006 as the fourth outing of the label and the second (and his last one to date) of the elusive artist, it is still as remarkable as on its first release. Carefully rescued from the original DAT tapes, all re-edited by Gerd Janson and remastered by Lopazz, it's available again in a clear and present portraiture of its original intent. Early adopters like Danny Krivit and the Idjut Boys can't be wrong.
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RB 129EP
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Can't Stop. There seems no better way to describe the work, party and music ethic of Solomun. Carrying the mirror ball on his shoulders like Atlas, it is impossible to imagine the modern disco world without his dynamics. While his countless DJ sets give fresh impetus to the many shades of house, techno and their siblings, conversely they are a driving force behind his studio and remix excursions. Can't Stop provides an impressive insight into his musical universe. Resulting from a rather casual after-dinner-listening-session during a car ride on Ibiza with a zesty Gerd Janson, who coaxed the title track out of Solomun making use of their friendship to full capacity, it is a triptych of direct, functional and free-spirited dance floor approach. After some back and forth in the search of the missing pieces to make it so, Solomun managed to deliver the perfect Running Back peak time record. While Can't Stop channels UK dance music highs through German engineering values, which makes it perfect for dance hall and car rides (yes, indeed!) alike, its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. "Follow The Disco Ball" leads listeners back to the aforementioned Greek titan and can be read as a love letter to the genre that can be found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility.
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RB 131EP
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Based in the Netherlands and strongly associated with the Clone complex, Gerd has been releasing countless tracks and records since the dawn of the nineties. A true child of the "techno" Zeitgeist back then, he is keeper of a dozen monikers, project names and joint ventures that tend to connect the dots between house and techno, functionality and avantgarde electronics. Gerd's frame of mind is second to none, when it comes to sound research, inspiration and imagination. For Running Back he decided to put his own spin on some of the label's signature dishes. The opener "Dance of Enjoyment" is exactly that. Based on a cleared sample from Shakira by Quinton Madlala and imported by early South African kwaito and house, it is exactly that. Life-affirming dance-floor fun or pogo time for piano people. "Let the Music Take Control" dials the peak time slightly back to being a party starter with its retro-futuristic speak and spell command and some evergreen breakbeats. An additional DJ tool allows to spread the gospel elsewhere, too. Speaking of which, the flipside deals with that in the realm of an Italian influenced theme park. Sitting neatly between the disco and the house appendix of "Italo," "Change Of Heart" and "Digital Illusion" are sugar frosted and masterful produced versions of a style that might never go out of fashion. Earnest characters might be happy with the included bonus beats on their own. All's well that ends well: Gerd and Running Back are here to save a party near you!
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RB 132LP
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Since his first appearance on Running Back in 2009, Robert Dietz did a marvelous job staying on his toes as a producer and DJ. Rejuve-Nation showcases his talent in various alleys of electronic (dance) music with "Crane Song" being the prime cut here. You will get exposed to proggy house with an intelligent brush in two slightly different mixes. Imagine if Euro dance went to get a college degree or a bumper car floor and you are almost there: an almost irresistible sing a long without lyrics. If you need help afterwards, "Deranged Self Therapy" is exactly what you need. IDM meets new wave drums, poignant synths mix with an upbeat hook to create a ballet piece for lovesick robots. "Centro Di Gravita" reconnects those qualities with the aforementioned "Crane Song" ones, while giving it an acid spin, before the ambient salts of "Any Plan(t)s This Weekend" closes the album off like a confident sketch for the end of a beautiful summer. A bouquet of bangers for different needs.
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RB 128EP
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New Krystal Klear on Running Back. No re-inventing of the wheel here. Sometimes it is what it is. But let's hear it from the artist himself: "No notes or real inspiration behind this EP. RB128 consists of four tracks that I made to keep gigs coming and the calendar full. In a time where artists are being forced to DJ like maniacs to keep the electricity running to make more quickfire records (except for Gerd who loves it). These pure dance tracks try to mix the cocktail between the trendy trance that people like now and the good house records they liked yesterday. Standard procedure: Melancholic chords over processed drums and breakdowns that make waiting for a train to pull in more bearable." But yes, it is still and will always be pretty damn good dance music.
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RB 130EP
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Raphael Schön might still be best known for his Fiesta 2000 hit, but that ought to be changed with Heart Times. Hailing from Augsburg in Germany, RS represents a young generation of producers that draw their own deductions from golden days (insert your favorite era here) of dance music. Respectful and without handling it with kid gloves, he manages to inject fun, freshness and a fertile imagination into these sometimes-dusty topics. Conceived during a very emotional turbulent time for Schön, it is a showcase of his whole spectrum as a producer. Imagine a singer-songwriter coming back from his first rave. So, on this six-track EP for Running Back, his sound ranges from classic house ("Baerhit") to crooner prog ("Sometimes I Miss You"), with mellow trance ("Distant City Tranceport") and jiggy hits ("Do You Like That") in-between. A dance hall unifying and colorful bouquet of flowers that does not shy away from vocals, emotional undertones and most of all bass and hook lines to die for.
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RB 002-1EP
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Re-issue of a Running Back classic. Originally released in 2003 as the second outing of the label, it is still a remarkable release in the catalogue. Now, carefully rescued from the original DAT tapes, re-edited by Gerd Janson and remastered by Lopazz, it's available again in a clear and present portraiture of its original intent. Conceived by the rather elusive Mute, the Direct Cuts are a master class in heartfelt and understated timeless deep house. Influenced in equal parts by the still towering Prescription Underground and the New York singularity that was a young Bobby Konders, Mute managed to create a sound of his own. Marked by live arrangements, bedroom studio aesthetics, a love for dub music and a tempo that was more boogie than techno, it has not lost an inch of its charm. A proposition that probably led Leon Vynehall to pick the hypnotic "Never" for his Fabric mix. Along with "Ocha," "Direct Cut," and "Bensono," Mute proves that iteration does not necessarily mates with deadly dullness.
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RB 123-12
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Remix package deluxe! Ede & Deckert (featuring Sargland)'s catchy new wave post punk hit Immer gets the special treatment. Their tale of lover's grief or delight is being put through the mangle by a varied bunch of remixers. Known to be without fear of emotional peaks and blessed with the usual sense of delight, they manage to hit the nail on its head. The Venice remix is a master class in vintage sounds coming through new speakers: primed for the prime time, while the Salford version does exactly what the name implies: for lads and lovers. Followed up by the simplicity of grass roots house music. Cinthie channels her inner DJ Duke and choreographs the indie dance steps back to basics. The Curses vocal keeps the instrumental, stays in the original vibe, but switches the vocals -- and the language. Finally, Kid Simius takes listeners on a bumper car ride somewhere between Miami Sound Machine and Yazoo. Immer works its magic in every way for everyone and now on almost any dance floor.
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RB 126EP
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Partiboi69 strikes poses, chords, and hot irons. Australia's spiciest export since INXS's front man is a sensation on many (meta-)levels. Musically, aesthetically and hedonistically exhilarating, the man's man shows his sensitive side on Running Back. Four tracks answer the Call of the Void with a showcase of sounds and moods that are as much informed by the rules of old school dance music ("Bodies") as they draw inspiration from classic rave closing tracks ("Playin'"), plangent pop ("Feel This") and a former new romantics band that just discovered house music pre-internet ("Call of the Void"): surprisingly serious and simultaneously not-so-serious. Composed and executed with serious songwriting skills and an uncanny feel for the aural world of Running Back Records. A mutual pleasure, indeed.
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RB 122EP
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Fango's debut EP for Running Back draws a map of the Italian's wonderful world of sounds. To help music journalists in their ongoing search for new genres, it's a planet that consist of techno punk, EBM house and outsider disco. ed by the unbroken fascination with all things dinosaurs (no pun intended) that Fango shared with his son, reading books, watching documentaries and visiting museums, he found a new place and created a sound for it. If you have ever looked for a danceable soundtrack that resembles strange dinosaurs, dark clouds, active volcanoes and powerful winds, you have finally found it. Aptly named after four different dinosaurs, this EP consists of the irresistible uplifting vibe that is "Sarcosuco" and its sweet and melancholic counterpart "Diplodoco," while the slow-motion rave "Dimetrodonte" and "Gastonia" mirror Fango's darker and tool-like character. All in all, it's like watching a dinosaur mosh pit from space. Special artwork by Luca Zamoc.
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RB 085-6EP
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Numbers hold the key to unlock the universe. So, a six-pack can either consist of six bottles of beer, very well-developed stomach muscles or in our case: a string of smash hits. To take it even further, it's exactly six tracks for the sixth part of the VA-series that is One Swallow Doesn't Make A Summer. Hit men include friends new and old: Llewellyn, Stereocalypse, Zillas On Acid, Storken & Hammer, Ede, Señor Chugger and Count Van Delicious. The pace is cool and hot at the same time. Rave signals by Ede foil the nouveau disco by Stereocalypse or Storken & Hammer, Llewellyn does a classic house piano hop, Zilles On Acid deliver, well. mid-tempo acid, and last, but not least, Señor Chugger & Count Van Delicious strike a delicious pose. One for almost everyone! And if not, let your body go with the flow!
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