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Demuir's Visions album gets its first series of remixes here as standout cut 'Home Sweet Home (The Journey)' gets reworked by Baltimore's finest dance music ambassador and bona fide legend DJ Spen.

First up he brings some shuffling and deep soul to the groove with an irresistible skip to the drums and a lush vocal. The dub pairs things back a little further with more splash in the percussion and last of all comes the Hump mix. This one has noodling keys working their way up through the mix to bring real enlightenment.

Forging acclaim for their fiercely unrelenting sound production, New Frames are no stranger to shattering the parameters and caveats within electronic music with their masterfully curated approach to chaos. The collaborative project of Berlin-based David Frisch and Mathis Mootz (aka The Panacea) sees the duo engineer their hybridised palette of maximalist yet modular techno music in both their DJ and live sets. Pulling influence directly from dance floors both contemporary and from raving's genesis, New Frames' all encompassing signature of ferociously layered sonic weaponry promises to leave no stragglers in their wake. Presenting their debut double long player 'Scherben' - the body of work demonstrates the pair's eclectic merging of cataclysmic pure and raw techno, ominous vocals and distorted sound design across the eight track LP. Nimble mixing interbreeds New Frames' quintessential cacophony of instrumentation, laminated with bombastic drum-beats and carnal vigour. Additionally with appearances from Eva Vuillemin, fellow BITE Records protagonist Omon Breaker as well as label co-founder Phase Fatale, the album comes as a natural progression following two previous EP releases on BITE as well as featuring on the labels fifth anniversary compilation record 'Shedding Skin' .

Bringing together Johannesburg’s two saxophone titans for a supergroup recording project was a
visionary move by Jo’Burg Records in 1976. Following the success of Makhalemele’s debut The
Peacemaker and Mankunku’s long-awaited sophomore release Alex Express, which both appeared in
1975, the bar had been set very high. Enamoured by their jazz contemporaries, the session was
concocted by members of an exciting new South African rock group called Rabbit, who formed a
backing group consisting of guitarist Trevor Rabin, bassist Ronnie Robot and drummer Neil Cloud
alongside jazz pianist Tete Mbambisa. Recorded at the state-of-the-art Satbel Music Recording
Studios, the inspired performances of this diverse cast of young South African artists at the height of
their powers was captured with exquisite fidelity. Packaged as The Bull and the Lion, the album title
references Mankunku’s signature composition “Yakhal’ Inkomo” (which means “the bellow of the
bull”) and Makhalemele’s stage name “Ratau” (meaning "lion"). The pairing of Mankunku and
Makhalemele stands with Moeketsi/Matshikisa and Pillay/Coetzee as one of the epic collaborations of
South African jazz in the 1970s.

Since forming Youth Fountain in 2017, the Vancouver BC-based Tyler Zanon has been a prolific writer, ascending on the shoulders of a cutting, introspective sound Kerrang hailed as “so raw and young that one can't help but wonder if Youth Fountain were peers of Taking Back Sunday and Saves The Day back in the early 2000s.” As he revisited lyric notebooks and hard drives from Youth Fountain early days and previous bands, Zanon amassed a collection of demos he brought to producer Anton DeLost (State Champs, Mayday Parade). Together, the pair worked to transform them into TOGETHER IN LONESOME standouts – like the skate-punk pit-starting “Clarity,” angular “A Few Notes For Orpheus” and skyscraping “Twin Flame” – while crafting songs like “Identical Days” and first single “Fallen Short,” the anthemic encapsulation of Youth Fountain’s unbridled, nostalgic blend of emo, pop-punk, and alternative rock, from the ground up.

The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick's `Song to Song', the pair were immediately taken by the city's bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside. Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city's esteemed Keeled Scales label in 2018. The band coined the term `regret pop' to describe the music they made on the `Years' LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out of reach.Sun June returns with Somewhere, a brand new album, out February 2021. It's a record that feels distinctly more present than its predecessor. In the time since, Colwell and Salisbury have become a couple, and it's had a profound effect on their work; if Years was about how loss evolves, Somewhere is about how love evolves. "We explore a lot of the same themes across it," Colwell says, "but I think there's a lot more love here."Somewhere showcases a gentle but eminently pronounced maturation of Sun June's sound, a second record full of quiet revelation, eleven songs that bristle with love and longing. It finds a band at the height of their collective potency, a marked stride forward from the band that created that debut record, but also one that once again is able to transport the listener into a fascinating new landscape, one that lies somewhere between the town and the city, between the head and the heart; neither here nor there, but certainly somewhere.

Women In Revolt! is an exhibition of work by over 100 women artists working in the UK during the 1970s and 80s. It explores how women used radical ideas and rebellious methods to change the face of British culture. With music, painting, sculpture, photography, film, and performance, they forged a path for women’s liberation in the UK. To underline this trailblazing exhibition, a compilation has been dutifully curated to further reveal the music, sound art, and prominent musicians creating during this artistic and societal paradigm shift. The music that defines and defied this era, not only soundtracked but spurred on increasingly impassioned creative output and representation for women. Bands included on the compilation like X-Ray Spex and The Slits remain front of mind for band’s espousing this robust stance both sonically and politically, with equally impactful artists included like Ludus, whose lead singer Linder Sterling also impacted the genre.

Pieces well and truly picked up by a who's who of collectors and selectors, the TD team follow Bobby Snacks' super smash with some seriously synthy slices from good buddies Miserymix.

A collaboration born behind the Piccadilly Records' counter, Miserymix is the dark disco alias of Goth Spice (Kohl AF, dressed in black and armed with nonpliments) and Mushy P (a toothy and goofy Talking Drummer). Based a mere 192 away from Senor Snacks in the thriving metropolis of Levenshulme, this pair of disco delinquents share a penchant for pingers, Prosecco and the lesser known corners of Europe's 80's club sound.

After a mysterious appearance on one of Duca Bianco's brilliant V/As, Miserymix drop their debut EP on Drum Chums, aiming directly for the dance floor.

The Italo-noir of 'Sexy Cowboys' gets the set off to a sleazy start, its seductive synths and strangled guitars riding throbbing bass and leather-clad percussion right into the darkroom, where the yelping vocal echoes over the creak of a swing. Miserymix push the tempo for the pacey disco pump of 'Proverbial S.O.B.', a peak-time stomper dubbed senseless for the perfect tops-off groove. Subtle kalimba, cut up vocals and orchestral hits find every sweet spot atop the one note bassline, while those airy piano chords steer us straight into the sublime.

Kicking off the flip is the uber-anthemic, endorphin-laced and mid-paced dancefloor destroyer 'E Motion'. Our disco duo spend plenty of time on the foreplay, teasing every ounce of ecstasy out of the nuanced perx, rolling bassline and sparkling synths before unleashing some flawless Francophone vocals on the way to a colossal chorus. Smouldering like a Propaganda club mix, this Europop obscurity has been upgraded into an accidental pill tune of perma-gurn proportions - this one is a road-tested dance floor sure shot.

Indulging the afterglow, Miserymix sign off with the superb synth pop of 'Name Game'. Stomping drum machines play host to an insistent bassline and some slinky keys, while the cucumber cool Euro vocal serves cabaret camp and maximum vamp.

Remember folks, the TD crew (drum)rolls deep...

100% Drum Fun Guaranteed!

Multi-instrumentalist Oscar Browne's roots lie in the foundational intricacy of golden-age songwriting A founding member of the London based folk- collective Broadside Hacks (amongst other banded- ventures), Oscar Browne's debut solo endeavour 'Never Quite Right' was released in 2022 to critical acclaim; an established inauguration which saw him eventually signing to So Young Records in the spring of 2023. Following a six-month spree in which Browne found himself tirelessly writing in order to process the changes taking place around him, the five songs which would eventually go on to form his debut EP 'If Only', are a deep- dive into the heart and soul of an artist who masterfully captures all the joys and heartaches of life in your early-twenties. Recorded over one week at Bristol's The Playpen, home to producer Ali Chant (Aldous Harding, Katy J Pearson), 'If Only' was all-in-all, a long time coming. Selfaccustomed to doubling things up and hiding imperfections, it was through the art of collaboration, and Ali's teachings in the power of emotional transparency that the pairing of Browne and Chant really shined. "Ali was a massive part in keeping the recordings minimal" notes Browne "he kept the rawness". Oscar Browne's creative- capability is a limitless array of captivating delights. These aren't simply re-interpretations of eras gone by. Browne channels as much Ben Howard or Kurt Vile as he does Nick Drake and John Martyn. Rather, it's through his ear for musical- lucidity, highlighted throughout the course of these selected songs, that enables Browne to transport his love of traditional folk and folklore, into a uniquely contemporary realm. His fearlessness in baring- all to those who'll listen creates an artistic magnitude will only keep growing with fine prowess, as Browne continues to cut his teeth as a beguiling 'one to watch'

Sometimes, space is the perfect catalyst for intense creativity. Following the release of their fourth LP, 2019's Your Church On My Bonfire, PAWS - the Scottish DIY indie rock songwriting partnership of Phillip Jon Taylor and Joshua Swinney, toured briefly, and as the world began to shut down, they slipped out of sight. Phillip retreated north to the Highlands where he focused on his painting, solo work and the rewarding demands of fatherhood. Josh headed south to London, pursuing his other passion as a chef at the highly acclaimed Plimsoll. It would have been easy for both to settle into their new lives, but PAWS never died…and neither did the tie connecting the two friends. Having missed playing together for too long, a plan was set and in October 2022 Josh travelled to Phillip's home studio in his crofters cottage where work began on the band's fifth self-titled LP. Relying on a set of phone demos and chemistry honed after years on the road the songs came together surprisingly fast. Having recorded previously with both Blink 182’s Mark Hoppus and Frightened Rabbit’s Andy Monaghan, the band once again seized control of production duties as they had on their sophomore release Youth Culture Forever. Utilizing all they had learned and adding their own DIY ethos into the mix, the music was done in a week. Josh headed home and Phillip set to work on lyrics. The resulting record finds the band as grounded and assured as they ever have been. Marrying the deafening assault of youthful abandon with the whispered reasoning that comes with getting older; swaying from anger and exasperation to wide eyed optimism. PAWS is a succinct, razor wire encased documentary chronicling the pains of modern living. Delving into the dark underbelly of 90s alternative rock, painting with evocative instrumentals and reveling in celebratory indie punk, the band also embrace sordid pop and ambient electronics. And while it pays homage to where they have come from, it also signals a clean slate for the pair. Two friends united over distance. After some time apart, all they needed was a spark.

YELKA, die sich tatsächlich erst während der Corona-Pandemie als Band gefunden haben, bleiben jedenfalls ihrem "10 Alben in 3 Jahren"-Masterplan wider aller Umstände treu. Klar, das tun Volkswagen und die EZB auch: Wachstum forever!

Aber bei YELKA reden wir erstmal nur von limitierten 300er Vinyl-Auflagen. Und wie schon bei den Vorgängeralben „Nowhere Jive“ & “1976“ wurde wieder im Berliner Popschutz-Album aufgenommen und die Musik von Norman Nietzsche fertig gemischt und gemastert.
Die Cover-Zeichnung von Chriegl Farner ist mit Sicherheit das auffälligste Motiv der bisher erschienenen YELKA-Alben.

Überhaupt hat man das Gefühl, dieses Trio hat sich jetzt richtig eingespielt. „Can I use your name!? Can I use your dream?!“, fragen YELKA im Album-Opener und erinnern mit dem stoischen Beat, der Dub-Remix kompatiblen Bassline und seinen No-Wave-Gitarren
an die Au Pairs oder SLITS. Durch diverse Interlude-Wurmlöcher hindurch landen wir plötzlich in einer postkrautigen Coverversion von "Tausendmal Du" - im Original von Münchener Freiheit! Ein Song, der sich aber erstaunlich gut ins bisherige YELKA-Repertoire einfügt zwischen Chicago-Postrock, Ruhrpott-Kraut und Berliner Elektronik-Schule.

UK dance music antagonist Works Of Intent redefines big room techno on ‘Richer Sound’, an album sampler with four new tracks to accompany the digital release of his album of the same title which features with six

all-new tracks alongside six cuts previously released on Laurent Garnier and Scan X's COD3 QR label.



Works Of Intent is a vital voice in the underground who champions the sounds and stories of South Asian creatives in his role as Project Manager and Visual Designer for DAYTIMERS. He has also written multiple essays on race, class and privilege in the industry while laying down expressive sets across four decks at key clubs like fabric, Panoramabar and Rex. His emotive, storytelling sounds have come on labels like Turbo, Rekids and Monkeytown, and outside that, he's a go-to mix engineer for some of the UK's most exciting prospects.



‘Richer Sound’ features six tracks previously released on the label’s Various Artist EPs and six brand new offerings that avoid tired big room tropes. Gone are the snare rolls, white noise risers and kick drops, instead Work's operates under the mantra of "big tunes for big hearts" where musicality makes the motive. The artist himself has taken care of the artwork, mixing and mastering and says of the album, “It’s melancholia turned up so loud you can’t ignore it. It’s a deafening barrage of emotions designed for super clubs. It’s unsubtle, it’s unabashed, it’s unrelenting, and it wears its heart on its sleeve. It’s unmistakably a work of intent.”



Cars and motorsport have been a recurring theme in previous Works Of Intent releases and appear again here in 'Left Unseen', which has the high octane, death-defying adrenaline of rally driving perfectly transposed into a big room techno experience. ''Old Ways, New Mistakes' bounces boisterously with stadium-sized kick drums and synthetic mourning that will break hearts across arenas. 'Dreamt I Saw You' takes fawning imaginations to lucid heights with a synthand cymbal pairing designed to get you stargazing in the club.



‘Richer Sound’ is just the sort of expertly-crafted, genre-busting work of emotional and physical potency you would expect from such a restless nonconformist as Works Of Intent.

DJ K-1's (Keith Tucker - AUX88) re-release for modern electro heads Direct Beat Classics label.
1) "K-1 Intro" -Fine metallic percussion and Jeep beats define the groove of this EP's introduction from the year of 1996 featuring Anthony 'Blaktony' Horton (vocals) on this legendary Keith Tucker production. K-1's hauntingly dark strings emerge as you are informed by its mission statement. Mental.

2) "K-1 Agenda" (Instrumental) - Purposely added to enhance variety and balance, this instrumental holds its own. Highlighting his production skill, 'DJ K-1' cuts loose in the minimal groove with traditional Detroit escapism that makes the EP the fine concept it is. Made to dream & jam.

3) "K-1 Agenda" (Vocal Mix) -Written and executed by longtime cohort, 'Blaktony' (AUX88, Alien FM) on vocals. The tune transforms into a classic global jam with android-like vocals planted between the hand-crafted Detroit electronic backdrops. A mainstay in electro bass crates since its release, this track is the description of a man on a mission to jam this world and beyond. Rubbery 'K-1' signature bass lines and strings ride the perfect beat.

4) "The Future I Can See" - K-1's laid back robotic lyrics describe a look into the future paired with thunderous beats and electro bounce. Visionary rocking, Tucker provides the weight to the project that would bare his signature flavor. Hot.

5) "The Future I Can See" (Instrumental) - Focused on an atmosphere of eerie and moody Detroit dark electro, the energetic bass line weaves amongst jamming drums. Imaginative and compelling material made for global dance floors. 100% Electro.

6) "Unreleased track" - A short newly added bonus cut from the original sessions, laced with experimentation in the Motor City Electro sound.

A deep & weighty vinyl only 12”, from rising star Eusebeia. Following on from a pair of heavy hitting full length LPs on Western Lore & Samurai Music respectively, Seb returns to the LORE LTD series with a trio of esoteric jungle delights in his own inimitable style.

"One Love is a personal favourite of mine, blissful and thunderous in equal measure, a perfect track for taking peak time floors into deeper territories."
- Dead Man’s Chest

The long awaited official reissue of ‘She Wants’, one of the first UK Street Soul singles originally released in 1985 by The NM Band.

The NM Band was an alias for UK Lovers Rock band Natural Mystic, responsible for a number of hits in the late 70’s and early 80’s most notably ‘Runaway Love’ and ‘Groove Rocking’. They released a string of acclaimed reggae LPs and toured extensively throughout the UK, but by 1985 wanted to try something away from their trademark roots reggae sound. Influenced by the availability of affordable hardware the band set about fusing Reggae and Soul using an Akai Drum machine, Yamaha DX7 and Roland sound module. ‘She Wants’ is one of the forebearers of UK Street Soul, raw machine drums paired with an incredibly soulful vocal from Ashley Sommers. The band created their own imprint ‘Mixdown’ to release the single, but it slipped under the radar, despite strong radio play from Choice FM and the then pirate station Kiss. The 12” is backed with Dub Version ‘She Wants’ (More).

A 140gram pressing in 3mm spine black disco sleeve with metallic sticker designed by Bradley Pinkerton.

Toronto label Selections has become a firm favourite with house heads and now starts a nice sideline with its Special Edition 2023 series. This one welcomes Lea Lisa with her track 'Conversation Between Us' (Heide Club Mix) which is straight up underground house for the heads. Then comes an unreleased Javonntte remix of Evenn's 'One For Love' that pairs things back to raw dub essentials. Dan Only's 'Love Saturates' then gets a fine and formerly unreleased remix by Italy's Black Loops that has pristine drum programming and a fine bassline. Add in Sean Roman's jazzy dancer 'Sir William' and Jamn Ensemble's 'Convection' and you have a timeless house EP.

Mo" Horizons enter their seventh album chapter andremarkably, celebrate 25 years of their exultant andglobally enriched, forward-thinking, electronic sound. Featuring a cast of guest singers, including Ghanaianlegend Gyedu-Blay Ambolley, Mango, is a fiery andsample-heavy blend of future-funk, balearic, highlife,Brazilian drum "n bass and lo-fi hip hop, set to bereleased on their long-standing label Agogo Records.

Spanning over three decades, German DJ andproduction duo Mo" Horizons, led by Ralf Droesemeyer,& Mark Wetzler have been a relentless force on theglobal groove scene. For 25 years, the pair havecontinued to grow their international audiences,testament to remaining on-point, ignoring the fashionand tribalism of scenes like big beat and broken beat,that thrived but then morphed and went off radar.

Sophie Lloyd returns to Luke Solomon’s imprint alongside the effervescent singer songwriter Amy Douglas for a wax release of ‘Sweet Love’, an anthemic disco release bursting with sensuality. The pair are well known to Classic fans; Sophie for her debut release, ‘Calling Out’ with Detroit trio Dames Brown, and her subsequent release ‘Angels By My Side’ which received a soulful remix package from Floorplan.

Additionally, nostalgic house vocals from Brooklyn’s Amy Douglas have appeared on tracks from Luke Solomon’s ‘Love. Hope. Happiness’ to Horse Meat Disco’s ‘Message To The People’, also featuring the Dames. For the Love Hangover mix of ‘Sweet Love’, a slow, intoxicating intro erupts in a burst of energy as Amy’s vocals and Sophie’s production come together for an ambitious, driving composition.

The vinyl also features a remix from the label boss himself; Luke Solomon’s Always Love Revision of this modern disco anthem ups the ante, adding huge swathes of energy to the previously sensual record. Similarly, the Sweet Lovin’ Mix capitalises on the raucous finale from the original Love Hangover Mix.

New label Justracks kicks off with a literally and metaphorically heavyweight new disco 12" on 180g vinyl. As far as we know it's the first release from the mysterious A Thin Man but the beats are fat. 'Doogie Bown' gets you doing just that with a mix of chatty synth funk and hip-swinging disco grooves. 'W(h)ats On' is an old school funk and soul dancefloor heater then class oozes from the breezy and free-flowing grooves of 'Catch The Strings' which pair bustling beats with rich strings. Last of all is the tightly woven disco and persuasive funk of 'Bees'n'Flowers' with cosmic lines and heartfelt female coos. A fine debut.

Belgium based band formed by BEAR & Cobra The Impaler guitarist James Falck, alongside his Set Things Right bandmate Kristof Du Jardin, with Strains drummer Simon Janssen & bassist Lieven Casters.

Integrity is the word of choice when describing this new project. Initially created by the former Set Things Right guitarist alongside fellow STR bandmate and current BEAR & Cobra The Impaler guitarist James Falck, the pair set out to create music close to their hearts, with the intention of spilling them in the process. Something that has proven both cathartic and painful.

Digging up certain memories and emotions that, in some cases, would normally be better off buried, resulted in the pair spending a number of years writing an exuberant amount of music together. Their close and deep friendship, combined with their previous work together in their previous band, provided their work ethic with a strong foundation for the music they had dreamed of making ever since meeting, 10 years ago.

The line-up was subsequently completed by Strains drummer Simon Janssen & bassist Lieven Casters, who bring their own influences and tastes to the table to create something intrinsically unique. This can be seen clearly, not only from a musical perspective, but also visually and aesthetically. Together they form the musical collective now known as MANKIND. An expression of catharsis, a light in the tunnel, a way out of the darkness through confrontation.

In 2019 BC (Before Covid) Discharge frontman Jeff Janiak reached out to longtime friend and musician JP Parsons to assist on a new project. The pair wrote and recorded various ideas before reaching out to Amebix guitarist Stig.C.Miller who joined them in the midst of the global pandemic. The trio utilized this new creative climate of physical restriction and went on to set the foundations for their first album, via file sharing home recordings, which would be arranged and produced by Stig. It was several months later when he would call upon Nausea, Ministry and former Amebix drummer Roy Mayorga to complete the line up. Roy went onto record drums, mix and produce the band's debut album 'LET THEM EAT FAKE'.

In these unprecedented times of global restriction, fear and the everlasting lack of faith in the hierarchy 'False Fed' has cultivated a heavy sound that is drenched in melody, aggression and shrouded in darkness. It is not bound by genre, yet still offers subtle hints to the creators lineage. 

False Fed are:
Jeff (JJ) Janiak - Vocals 
Stig.C.Miller - Guitar 
JP Parsons - Bass Guitar 
Roy Mayorga - Drums