Introducing the second Juliet release from La Boix (pronounced sorta like Les Boys), the duo of LA legends Thee Mike B and Salva. Whereas their 2024 debut was an updated gritty take on French House tropes, here, across a 4-track EP, the boys go full Euro-disco mode. Somewhere along its 2000s hipster-ification, Italo became effete. La Boix restore its aggressively sweaty roots.The songs on “Alla Grande” are fun, in your face, irreverent and, dare we say…ignorant? That’s just how we like them. “U Got A Freak” has circular vocals that loop with a ton of reverb, more of a dub than a pop song (again, that’s exactly why we like it.) “Grande Tempo” and “SLB” sound like Gino Soccio if he discovered the OTT plug-in. “Il Ragazza” closes things off with a hint of New Wave chords, once again eschewing songwriting in all the right ways. Who needs drugs when you can listen to this?

Juliet’s marquee artist of 2026 Alex Frankel returns with a new single: “Undone”. After last year’s playful yacht-confessional “Icarus”, Frankel serves up the signature downtown New York City disco he perfected for years as the frontman of the seminal 2010s band Holy Ghost! You get it all: the frenetic percussions, the driving Italo bass, the analog flourishes…only this time, it’s bigger, cleaner, more lush. And Alex’s soaring vocal sits confidently front and center. “Undone” manages to sound new and fresh, while signaling back to the halcyon days of indie-dance.

Allow us to start this new year just like we started last: with a release from Anoraak. This time we close the Golden Hour remixes project with one of the most illustrious names in modern disco: the legendary JKriv. The Razor-N-Tape co-founder — whose accolades are too numerous to list here — speeds up “Shikata”, dials up the strings and the keys, makes the instrumentation dense and punchy, turning an album bop into a bona fide roller-rink thumper. Bounce rock skate roll!

Introducing our first collaboration with Splice, titled A PACK OF FUNK. A funk, disco and house-oriented sample pack for producers interested in all things groovy. An extension of the Juliet Records sound to the beatmaker realm. This includes drum, top, hi hat, melodic and vocal loops, as well as an array of percussive, vocal and melodic one shots. All sounds were meticulously crated by Chromeo and A-Trak using a combination of analog synths and drum machines, live guitars and basses, and VSTs. The collection’s highlight is a series of samples straight out of P-Thugg’s talkbox. After five years of releasing music we love, it’s time to give you the tools to make some.

From one nu-disco legend to another: prolific, Grammy-winning remixer RAC lends his time-tested touch to Alex Frankel’s debut single “Icarus”. Whereas the original swayed between yacht rock and mellow boogie, RAC’s mix goes full Italo — plus the horn arrangements are a chef’s kiss. Music about therapists has never been funkier.

Anoraak keeps the remixes coming in strong. This one is for our personal favorite off the album, “Shikata Ga Naï”(feat. Julia Kwamya). Brazilian producer and multi-instrumentalist Diogo Strausz is enlisted here, offering an angular blend of 80s-infused electro and his signature tropicalia.

Anoraak’s “Everything I Do” (feat. Moona) gets another remix treatment, this time by the legendary (and French, again) Art Of Tones. The latter’s signature disco-infused house touch morphs Anoraak’s song into a bouncy, irresistible slice of sunny pop.

It’s impossible to talk about the 2010s NYC music scene without mentioning the DFA-affiliated, critically-acclaimed duo Holy Ghost! Now, 6 years after their last release, frontman Alex Frankel launches his solo project right here on Juliet Records — and it’s only right, since HG! and Chromeo toured together numerous times.  “Icarus”, the first release, is an upbeat, catchy dancefloor strut entirely written, performed and produced by Frankel himself. Equal parts nu-disco and yacht rock, it pairs the unmistakable Holy Ghost! DNA with the self-aware, introspective musings of a musician who spent too much time Upstate and is now ready to hit the disco. The video, shot on dreamy 16mm film, follows Alex through the solipsistic recording process.

Juliet Records is thrilled to welcome a group we’ve been fans of for years: Adelphi Music Factory. This Sheffield trio made its mark with a relentless and consistent output of disco-house bangers that have garnered support from Disclosure, salute and The Blessed Madonna, all the way to Chloe Caillet, Floorplan and TSHA. But AMF doesn’t only resonate in Ibiza clubs and UK festival stages: the group is also known for its resounding positive message and grassroots activism. For their Juliet debut, they present pair of tunes: “I’m Sorry”, a shimmery feel-good disco jam set to evocative city pop chords, and “You Got To Be Down”, a high energy club roller reminiscent of early Armand Van Helden or Roulé records. All puns intended, the “I’m Sorry” single is unapologetically great.

It’s been almost 3 years since we’ve last heard from Venice Club: the elusive supergroup of Parisian funk all stars centered around veteran drummer Maxime Garoute and prodigious bassist Louis Sommer. They’re ready to resurface with lots of heat in the chamber, the first of which is “Head On”. Slightly more ’87 than ’82, more DX7 than Minimoog, this head bopper is also more of a song than a track, pairing saccharine sweet vocals over Rhythm Nation drums and every funk flourish you can think of. A heater to keep you cozy as the winter approaches.

“Everything I Do” (feat. Moona) was a standout cut on Anoraak’s stellar Golden Hour album released earlier this year. French synth-pop veteran Dombrance jumps on remix duties and transforms it into an epic, pulsating electro workout with a dreamy vocoder lead. This is truly what a French-on-French remix should sound like!

Kiinjo is back with his third release on Juliet Records and this time, the Canadian groove merchant brought Bridee along for the ride. Birdee is no stranger to the Nu Disco universe, with Glitterbox, Big Love and Nervous Records releases already under his belt. But combine these two producers and some real magic happens: “Desire” pure dancefloor bliss, replete with wailing diva vocals, disco strings, incredible bongos and a hook that will stick feverishly in your head until the following Saturday night. If you wake up the next morning with glitter in your pockets, don’t say we didn’t warn ya.

The term “future funk” gets thrown around a lot and quite frankly we’re not sure what it means. However, if you mixed vocals highly indebted to his Purple Highness with banging drums and an infectious bass line, you’d get this: “dirty luv (i like it)”. We’re psyched to present the first Juliet release from Vancouver-born, Mexico City-based Pat Lok, a household name in the electronic music festival circuit whose tunes have garnered support from the likes of Diplo, Bonobo and salute. Here he teams up with Haitian-Mexican vocalist F-MACK for a cheeky, thumping number sure to satisfy your matchmaking needs. On the dance floor, that is. Future or not, this is what funk should sound like now.

We’re pleased to present Anoraak’s first album in over a decade: Golden Hour. Golden indeed, as this body of work shines with a mastery of technique, mood and songwriting. It all starts with some perfectly executed disco numbers “à la française”, where pulsating electronic rhythms mesh with live instrumentation and gliding vocals, such as the focus track: “Shoulda Kinda Guy” featuring Fleur De Mur. These are the signature, seductive dance floor pillars between which Anoraak weaves his magic. On songs like “The World”, the tone gets more introspective. Italo grooves and Chic-inspired riffs collide with darker, New Wave-inspired lyrics and melodies. Who says infectious dance music can’t also make you look inward? Yet Anoraak adds another dimension to this album: lush, dreamy soundscapes that could very well have been soundtracks, in the French tradition of Serge, Jarre and Air of course. A great example is the instrumental title track, or the second single “Tell Me a Thing”, ebbing and flowing through spacey keys, soaring vocals and superb string arrangements. By the time we get to “Wonder”, the album’s closer, it’s evident that Golden Hour’s sun-soaked musical journey is all about wandering…and one can’t help but wonder what’s next!

Anoraak, the Marseille-based French veteran producer, keeps his Juliet singles streak going with yet another installment. After last month’s moody “Tell Me a Thing”, we’re now back on the dance floor. “Drop Me a Line” is a sexy, sleek nighttime romper featuring vocals from from Yan Wagner, a frequent collaborator of Gesaffelstein and Arnaud Rebotini. Mind you, Anoraak’s been putting his personal spin on disco since his work with Pony Pony Run Run, and “Drop Me a Line” also touches on post-punk grooves with expert precision. Play this, “Tell Me a Thing” and “Magnifique” side by side and the makings of a superbly refined body of work start to emerge.

Veteran French producer and multi-instrumentalist Anoraak is back with a second single for us. Whereas “Magnifique” was the quintessential Gallic disco track, “Tell Me a Thing” flips the vibe to a mysterious, moody quiet storm number that ebbs and flows through musical twists and turns. Anoraak’s chops are on full display here, with keys worthy of Supertramp, dubby sound effects and an expertly arranged string section evolving throughout the song. Dim the lights for this one!

We’re proud to welcome the newest member of the Juliet family, someone whose work we’ve been fans of for a long time: Anoraak. Based in Marseille, this French producer and multi-instrumentalist is a veteran of the New Disco scene, and the former drummer of Pony Pony Run Run. The first single from his forthcoming album Golden Hour is the lush and sensual “Magnifique,” with a flirty vocal from rising sensation Julia Jean-Baptiste. What is it about French people and elegantly crafted, perfectly pristine disco? It’s just that je-ne-sais-quoi, n’est-ce pas? Expect a bevy of classy dancefloor numbers from Anoraak in the coming months.

Last month, New York’s club mainstay Toribio released a lovely soulful house track, “Daylight,” featuring vocals by his sister Sharin. The raw humility of that song won the hearts of listeners the world over, with nods from Resident Advisor and Spotify’s most coveted playlists. Coming in on remixer duty, Bristol’s masterful jazz-house expert Crackazat turns up the musicality even further, with cascading pianos and emotional strings.

Finishing up the year strong, Byron the Aquarius, Steven Klavier and Robert PM’s silky smooth “OMG!” gets a club-friendly remix from our very own Kiinjo, who’s also been catching fire with releases on Nervous, Higher Ground and Club Sweat. Resident Advisor described the original version as “irresistibly soulful” — on his remix, Kiinjo maintains the integrity of Steven Klavier’s beautiful vocal while turning up the disco knob to 11.⁣

Malta might not be the first place you think of for DJs, and yet the island’s own Edd spent the last few years catching the ears house music’s elite cognoscenti, from Patrick Topping to Eats Everything and Hot Creations. For this inaugural Juliet EP however, Edd puts lush musicality and live instrumentation to the forefront, with guitars flourishes and sun-soaked keys throughout. Breezy vocals are juxtaposed and driving drums complement the package, in a decidedly modern approach. Are we officially entering a new school Acid Jazz era? “No Coffee Break” strongly suggests so.

Toribio is a warm and gregarious presence in New York City’s rich club scene. Through his residency at The Lot and frequent appearances alongside the likes of Danny Krivit, Francois K, Love Injection, DJ Seinfeld, Eli Escobar & more, he’s built a loyal following that shares his love of soulful, percussive house music. The jazz-trained multi-instrumentalist has a special treat for his inaugural release on Juliet Records: a collaboration with his sister Sharing on vocals. “Daylight” is a warm, uplifting jam whose skippy beats and lush chords will lift you up and fill you with hope. Just what we all need.

Two absolute legends of the LA DJ scene, Thee Mike B and Salva, come together as La Boix (pronounced kind of like… Les Boys?) for some cut-up disco weapons with a whole lotta grit. Forget those slick Youtube production tutorials, kids. These are some chunky sample chops served extra rare, falling somewhere between In Flagranti, Boris Dlugosh and American-French Touch. “Black Razz” is a clavinet stomper, running through some sort of outer-space ringer. “Guava São Paulo” hits you upside the head with some stabs and a benevolent MC instructing you to put your hands together, honey. Yes sir!

Kicking off a series of 2024 club releases, here’s a syrupy, funky number by three of electronic music’s most exciting figures: Byron the Aquarius, Steven Klavier & Robert PM. “OMG!” shows off Alabama-based multi-instrumentalist and producer Byron the Aquarius’ ever expanding range, while NYC club mainstay Steven Klavier provides a signature falsetto. Robert PM, a 15-year veteran in Brooklyn’s dance music scene, adds some magic behind the boards. Between the three of them, Byron, Steven and Robert have released records on the finest of indie labels: Theo Parrish’s Sound Signatures, Jeff Mills’ Axis Records, Shall Not Fade, Anjuandeep, toucan sounds and Fool’s Gold. We at Juliet are proud to be added to the mix.

Kiinjo — the new incarnation of superproducer Grandtheft — blessed us at the end of last year with two soulful house numbers “Right Here” & “Lundi” (JLT-018) and now he gears up for a triumphant return: “Make Me Feel”. A permanent fixture in Chromeo, A-Trak and The Brothers Macklovitch DJ sets (they opened with it in Croatia and Ibiza a few weeks ago), this is one of these no-brainer disco tunes that just works, no matter the context. Big room, small venue, at home, air pods…it’s somehow just clubby enough and musical enough. And it’s a proper song too: continuously evolving and switching up around one infectious earworm. Trust us, “Make Me Feel” will be stuck in your playlists and DJ crates for years to come.

Here it is at last: the DIAL TONE EP, entirely written, produced and performed by our golden child, Stevedreez. Five sublime tunes to ease you out of the summer haze and keep you grooving all through the fall. The first single, “CRYSTAL BALL” had an effortless swagger and the second, “GOOD LOVE”, turned the disco vibes up a notch. The full body of work is now helmed by “LIKE THAT”, a dance floor romper with irresistible falsetto vocals and just the right amount of bounce. The EP is rounded out by “FADE” — a moment of sexy chillwave melancholy — and “4U”, a trippy nu-funk send-off. Per Steve, this is a soundtrack “for wherever your intoxicating late nights take you.” We’re sure you’ll also be bumping this for day on end.

The second release from Stevedreez steps up the groove with string stabs and bass pops over a four-on-the-floor thump. If last month’s CRYSTAL BALL gives way to a disco ball, Steve’s irresistible vocals remain the common thread here. It’s this sultry, laid back delivery — with just the right amount of harmonies and earworm melodies — that drew us to him in the first place, and we’re thrilled to slowly unveil this brand new body of work. More to come!

Introducing the first Juliet release by our latest signee: Stevedreez. With an already impressive catalog under his belt, on “CRYSTAL BALL”, Stevedreez is truly on top of his groove game. The songwriting chops are flawless, the vocals are effortlessly smooth, the production, nonchalantly slick, and the overall vibe is that of a breezy summer chune — equal parts yacht, chillwave and early Purple One. Savor this one and stay tuned for more from this prodigious talent.

Kiinjo is the new chapter in the career of production wiz Grandtheft, who’s been in Chromeo’s extended fam for years. Recently delving back into his house and disco roots, he’s been cooking up the most irresistible soulful bangers, which somehow manage to be both club-ready and suited for home listening. Chromeo heard these two Oliver co-productions and decided to put them out on Juliet right away. Remember the bloghaus song “you take me higher than I’ve ever been babyyyyy?” (If not, skip the next few sentences; if so, keep reading.) Well we’ve been chasing that dragon for over a decade and “Right Here” is the first jam to give us the same feeling. Rich, warm, euphoric, singable and danceable, it’s a DJ record that also feels like a SONG. “Lundi” is a little bit smoother; no less infectious, it’s giving George Benson on a bender in Ibiza.

Last summer, Paris’ elite funk collective Venice Club released “Freedom” ft. Irfane: a modern Gallic disco manifesto which got DJ support from the likes of The Magician and Claptone all the way to Oliver Heldens and Martin Garrix, along with some surprise daytime radio play. Now they return with “I Believe It”, built around a guitar riff and vocal loop that sound straight out of a 70s yacht record. But it’s in the rhythm section that Venice Club really shines: a bouncy drum groove perfectly locks in with two intertwined funk baselines; throw some percussions on top and you’ve got yourself a party. Not many can pull off disco-house played entirely live, but it’s this meticulous balance of retro and new that makes Venice Club’s music simply…timeless.

In case you forgot, Choices is Oliver and Ryland Blackinton, two super-producers working out of Chromeo’s Private Sector Studios in Burbank, CA. When Oliver isn’t making the biggest hits of 2022 for Nicki Minaj, Latto and Megan Thee Stallion (seriously) and Ryland’s not writing Amazon Original movie scores (seriously), the two come together and concoct the finest in new-disco bangers. Enter “Passenger” or rather, hop on a sonic flight…from LA to Paris, that is. You’re sitting next to Lifelike, Alan Braxe is smoking on board, Fred Falke can’t fit his bass in the overhead compartment and who’s this in first class with the curly afro, one of the robots? Well, one thing’s for certain: Choices are your pilots tonight and from the sound of the slick guitars, the slinky bassline and the snappy drums, this is gonna be one hell a ride.

Who the hell is Venice Club?
That’s the question we’ve been asking ourselves ever since we got an email from our good friend Pedro Winter some weeks ago saying “check this, it needs to come out on Juliet Records.” And here’s what we’ve managed to find out: Venice Club is a mysterious all-star cast of Parisian musicians, producers, songwriters and vocalists. Some you already know — of course you hear Irfane’s unmistakable voice on “Freedom”. Others you may recognize if you listen closely. Some of them played on your favorite records, or with your favorite bands. But all of them share one obsession: the groove. And another thing’s for certain: “Freedom” is the sunny summer banger we all need. A perfect balance of classic French Touch and tasteful live instrumentation, equally suited for the dance floor and the FM dial. So join the Club…and welcome to the French Funk Illuminati.

The newest single from Ian Isiah takes a lyric from his breakout track “N.U.T.S”, stretches it out, modulates it and turns it into a transcendent incantation. It’s an invitation as well — to make room in your life for the people that love you — repeated over as Ian’s band adds layers of crescendos, chops and flourishes. But to truly feel the power of “MSR”, you have to watch the video. Conceptualized by Ian and directed by Nick Harwood, it’s shot on a historic plantation in Colonial Williamsburg, VA. Here, Ian makes room to connect with ancestors, to pay tribute to ancestors. A cinematic declaration, fittingly released at the heart of Black History Month.

He’s Paris’ multicolor wunderkind, a beast on the keys, a natural on the mic and a magnetic presence on stage. It’s no wonder the City of Lights is abuzz about Julien Granel, who collaborates with Jean-Charles de Castelbajac one day and tours across Europe the next. But Julien is also a diligent student of the funk by way of the patrimonial French Touch. He claims that at 13 years-old, hearing DJ Mehdi & Chromeo’s “I Am Somebody” on Ed Banger’s Ed Rec Vol 1 was a formative musical moment. So much so that 15 years later he reached out to the Funklordz to send them music. They decided to release “Dress Code” on the spot: a meticulously composed puzzle of grooves that twits and turns, dipping into boogie, electro and even a few choice jazz chops. A vibrant slice of nu-funk that’s equally compelling with Julien’s crooning (in French, of course) as it is as an extended instrumental with additional production by Julien Galner of the cult synth-specialists Château Marmont.

Choices is the supergroup of super-producers Oliver and Ryland Blackinton. Oliver helped shape the sound of contemporary electro-pop music; Ryland helps shape the sound of Oliver’s contemporary music. They work out of Chromeo’s Private Sector Studios in Burbank so it’s only right that we release this double-sided slice of slithering new-disco. “Cybernetic” is sophisticated dance floor frenzy, complete with Oliver’s signature drums and Ryland’s sleek guitar tricks. “Unite” is the moony comedown, the soundtrack to a hazy 6am stroll through a hotel corridor lined with food trays.

The voice. Following his critically lauded AUNTIE gospel-funk opus (and its dancefloor-ready remixes), Ian Isiah returns with his most naked, open and vulnerable work yet. “SEE YOU” sees him flowing over nothing but an acoustic guitar: a minimalistic backdrop that allows his vocals to soar. Last week’s performance of the song on COLORS was nothing short of triumphant. It’s a bit of a stylistic turn for us here at Juliet (and yes the track is still produced by Chromeo), but what else do you expect from Ian? Witness Brooklyn’s pan-gender angel take flight.

This is the first song that Onyx Collective’s bandleader and composer Isaiah Barr brought to Chromeo for production, the first time Chromeo worked on producing another band and the first record that gave Dave and Pee the idea to start this very label. “Tango” is a true slice of jazz-funk, something harkening back to the Brand New Heavies era or New York’s legendary Giant Step parties and yet, because it is written and performed by a crew of vibrant twentysomethings, everything about this record is firmly grounded in downtown NY’s present. Here, the whole ensemble shines: Princess Nokia’s spoken word intro sets the stage for another one of Julian Soto’s superb harmony-laden vocal performances; Isaiah Barr’s horn arrangements and Isaac Sleator’s keys provide the necessary flourishes and all the while, the rhythm section of Austin Williamson and Felix Pastorius effortlessly bops along, like a sunny strut down Canal St.

Our second single from downtown New York’s polymorphous avant-jazz ensemble Onyx Collective is an early Sly/early Funkadelic-inspired psych-soul number called “Hummingbird.” The band had performed it around town for years and brought it to Chromeo for co-production. It took months of studio iterations to properly immortalize it on record. “Hummingbird” is long, dense, deeply melodic and as such, a total oddity in today’s playlist oriented ADD streaming market…which actually means that it’s doing everything right.

At the end of last year, we put out a 3-track synth-jazz odyssey by Montreal’s keyboard virtuoso Anomalie. Featuring Chromeo on vocals and talkbox, this collection of future beats now gets a stellar remix treatment from Stones Throw’s headnod whiz kid Mndsgn, Dutch electro-soul champion Full Crate, and the absolute broken-beat legend Vikter Duplaix. Also included are the winners of Anomalie’s remix contest: newcomers Brain Tan and Quizzo. All three original versions are in this package as well. These head nodders will blow your mind.

Something brand new from Montreal’s keyboard whiz and jazz virtuoso, featuring Chromeo on every track. Anomalie came to our Burbank studio, we let him use all our gear and added vocals and talkbox. He then worked his production and engineering magic and voilà…vintage synths making future beats.

In the first single of our remixes program, Ian Isiah’s funk slapper gets a massive disco-house rework from the legend Roger Sanchez, complete with piano stabs and lush string arrangements. DJ Haram flips the track into Terius Nash-style R&B with Middle Eastern percussions on top. DJ Leonce takes it back to the ballroom with some uptempo bounce.

Here it is in full, our marquee release for 2020. An ode to the auntie’s cultural significance: nurturing figure, moral arbiter, no-nonsense extravagant, a pillar in the Black community. All these personae are incarnated by Ian on this 7 song funk and R&B transmission where drum machines seamlessly mingle with live instrumentation. Meanwhile, his vocals soar: extra sweet, extra hood, just extra. A rhapsodist of the sacred and profane, aiming for pop superstardom. Listed by the New York Times as of of the best albums of 2020.

Ian returns with a dancefloor-ready, feisty funk manifesto, full of sass and pomp. Over a fuzzy bass, synth stabs and Chromeo’s signature talkbox, he eulogizes the bratty attitude of “momma’s baby, daddy’s maybe.” This time, the video finds him in head-to-toe clown attire, roaming around a deserted Coney Island: a Commedia dell’ Arte reimagined, Brooklyn style.

The first Juliet single by New York’s polymorphous avant-jazz ensemble, taken from a forthcoming project co-produced with Chromeo. “Baby” starts off as a sensuous, sinuous love ballad, then transforms into a complex auto-tuned vocal arrangement only to resolve in a three minute free jazz finale. This is downtown kids making music for adults.

Recorded and filmed at the height of the Black Lives Matter protests, this is Ian’s modern day gospel statement. Says Pitchfork: “‘This is my truth,’ he repeats, elevating the lyric to a mantra, his voice taking on a different flavor at every turn: soul, gospel, funk, R&B. The harmonies are impeccable, like a choir beamed directly into your skull.” The video features essential workers, activists, artists and family members from Ian’s community. In a moving finale, they share their truth directly to the camera.

The debut single by Ian Isiah: the church-trained, pan-gender sex idol from Brooklyn. He’s been at the forefront of New York’s fashion scene for years and has lent his vocal talents to Blood Orange, both on tour and on record. “N.U.T.S (N*GG* U THE SH*T)” is a Chromeo-produced soul-funk number about self-acceptance, with an accompanying visual showcasing Ian in all his grandeur, meandering New York City’s empty streets.