quête:4 to the floor

Scandinavian jawbreakers Harmagedon offer up a nightmare future on their debut album Dystopian Dreams, with a refreshingly modern concoction of melodic death metal and crust punk. Three piece riff machine from Stockholm Sweden, Harmagedon is a raw festering carcass of dynamic grind and roll. Featuring members of Martyrdöd and Freedom raising hell once again, Harmagedon’s debut record Dystopian Dreams is a fusion of heaviness that is difficult to pin down but makes all the damn sense in the world! With focus on primal minimalism but maximum animalism, Dystopian Dreams is the ground zero of an explosive power trio summoning raw energy into being. With no frills and no gimmicks, just relentless heaviness, Harmagedon is a matured brew of “crust punk” or “d-beat” (“kängpunk” for the diehards) infused with ravishing death-metal. Dystopian Dreams is made by adepts of distortion and grime to be imbibed by connoisseurs of rage and chord-fury. Recorded live at their own studio, Dystopian Dreams was conjured with the help of Fred Forsberg of Mass Worship at the controls, capturing Harmagedon’s wildfire and blending this dense stew together. With the addition of Magnus Lindberg of Cult of Luna mastering it, Dystopian Dreams has that exceptional flavour of a future classic, where all the cogs and wheels of this merciless weapon fire on all cylinders. Black Sabbath, Entombed, Neurosis & High on Fire spring to mind, as the calibre of Harmadgedon’s riff whirlwind is of the finest quality, the antithesis of royalty but epic and majestic in delivery. Dystopian Dreams’ hulking magnetism leads you expertly to headbang and worship at the altar of timeless metal, without the slightest remnant of doubt. Songs like Reptilian and Controlled Chaos groove and churn, but pack a hell of a concrete punch, with nihilistic, gravelled guitars and spewing vocals of molten brimstone. Guitarist and vocalist Tim Rosenquist says: “Controlled Chaos is about propaganda actions and distractions but Reptilian is about how hard work makes you into this emotionless beast of a being. That song is best served blasting on the factory floor or in the car on your way to the office! Reptilian’s themes are at the core of what Harmagedon is about”. Look to the masters to deliver true heavyweight metal when the current scene lacks enough muscle and teeth. From a band made up of underground titans, Harmagedon is drawn from the well of eternal heaviness, living in death forever, what nightmares are made of. Harmagedon is: Tim Rosenquist - Guitars & Vocals Magnus Berglund - Bass Jens Bäckelin - Drums

Scandinavian jawbreakers Harmagedon offer up a nightmare future on their debut album Dystopian Dreams, with a refreshingly modern concoction of melodic death metal and crust punk. Three piece riff machine from Stockholm Sweden, Harmagedon is a raw festering carcass of dynamic grind and roll. Featuring members of Martyrdöd and Freedom raising hell once again, Harmagedon’s debut record Dystopian Dreams is a fusion of heaviness that is difficult to pin down but makes all the damn sense in the world! With focus on primal minimalism but maximum animalism, Dystopian Dreams is the ground zero of an explosive power trio summoning raw energy into being. With no frills and no gimmicks, just relentless heaviness, Harmagedon is a matured brew of “crust punk” or “d-beat” (“kängpunk” for the diehards) infused with ravishing death-metal. Dystopian Dreams is made by adepts of distortion and grime to be imbibed by connoisseurs of rage and chord-fury. Recorded live at their own studio, Dystopian Dreams was conjured with the help of Fred Forsberg of Mass Worship at the controls, capturing Harmagedon’s wildfire and blending this dense stew together. With the addition of Magnus Lindberg of Cult of Luna mastering it, Dystopian Dreams has that exceptional flavour of a future classic, where all the cogs and wheels of this merciless weapon fire on all cylinders. Black Sabbath, Entombed, Neurosis & High on Fire spring to mind, as the calibre of Harmadgedon’s riff whirlwind is of the finest quality, the antithesis of royalty but epic and majestic in delivery. Dystopian Dreams’ hulking magnetism leads you expertly to headbang and worship at the altar of timeless metal, without the slightest remnant of doubt. Songs like Reptilian and Controlled Chaos groove and churn, but pack a hell of a concrete punch, with nihilistic, gravelled guitars and spewing vocals of molten brimstone. Guitarist and vocalist Tim Rosenquist says: “Controlled Chaos is about propaganda actions and distractions but Reptilian is about how hard work makes you into this emotionless beast of a being. That song is best served blasting on the factory floor or in the car on your way to the office! Reptilian’s themes are at the core of what Harmagedon is about”. Look to the masters to deliver true heavyweight metal when the current scene lacks enough muscle and teeth. From a band made up of underground titans, Harmagedon is drawn from the well of eternal heaviness, living in death forever, what nightmares are made of. Harmagedon is: Tim Rosenquist - Guitars & Vocals Magnus Berglund - Bass Jens Bäckelin - Drums

repress !

26 years on from its first release and after various recent licensing requests - we have a limited reissue of this sought after deep classic.
Remastered for modern floors with the original '97 artwork.

Make Your Own Meaning continues to convey its unique techno message with a new statement of intent from label head Lurka. The artist has been busy of late and continues to be on a roll with another fascinating four tracker that genuinely serves up some original sounds and rhythms. 'Trip' gets things underway with organic percussive patterns stacked up over drilling bass to make for a prickly groove. 'Airlock' is similar but darker and heavier and 'Sick Flips' keeps the nimble feel going with dancing perc, rigid synths and scratchy sound effects all coalescing over broken drum patterns. Last of all is another dense, busy and multi-layered melange of tiny percussive sounds, synths and clipped rhythms that will make any floor move.

Hidden Sequence have appeared on legendary dub techno label Mosaic in fine form of late and now they land on the Lempuyang imprint with four more serene fusions.

Their Theories of Time EP opens up with the swaggering dub rhythms and bottomless depths of 'Distortion', a cut as heady as they come. 'Travelling,' as the title suggests, has a deeper rolling groove and more movement to it as it snakes through underwater dub caverns. Flip it over for more widescreen and serene explorations of the ocean floor with 'Shift' and mysterious leads of 'Delay' which is a fourth and final frictionless dub dream.

Chicago's Magic Touch label gets the Numero treatment. Legendary rare groove selector & DJ Red Greg's edit of Disco Holy-Grail "Why Do I Love You" is now available on 7" for the first time and housed in official Magic Touch Double Disco Smash 7" Company Sleeve. This tune has been making waves in the DJ community for years only after Red Greg introduced his crucial edit eliminating the studio fluff and dialing in the raw disco meat. Certified Floor Filler with a groove guaranteed to answer all questions on love.

Milanese techno shaman MAIKE DEPAS travels from the dark to the dreamy side of the dance floor on his EP "Euphoria" (out 24 November on The Innovation Studio)

"Techno emissary Maike Depas storms back onto the scene with 'State of Techno', a bold fusion of past and present influences set to reshape dance floors in 2023." (Magnetic Mag)

"State of Techno is the Milanese producer's visionary work fusing 80's and 90's sounds through a modern lens creating an exhilarating release weaving through 30 years of underground club music." (The Brvtalist)

On the back of the breaky Grand Prix 2049 anthem "Midnight Ride", Milanese techno shaman MAIKE DEPAS (Michelangelo De Pasquale) travels from the dark ("We Move", "Inner Voices" and "Techno Appeal") to the dreamy side ("Midnight Ride" and "Green Hornet") of the dance floor on his EP "Euphoria", coming out on 24 November via The Innovation Studio. One foot in stoic Schranz techno of Chris Liebling"s CLR, the other one in eschatological goa trance of Dragonfly Records, never going under 134 BPM, Depas strikes the perfect balance between dystopia and utopia. "This is my idea of what the ravers want to listen inside the club's Depas reckons.

"Euphoria has two sonorities: the dark vibe, and the dreamy one. This is my idea of what the ravers want to listen inside the club's Maike Depas

With the complex arrangements of the past Depas-releases left out and the trusted workhorse a custom-made pitch black Roland TR-909 from 1983 responsible for doing the heavy lifting in the drum sections, "Euphoria" is a beat-heavy affair that draws its relentless drive and rhythmic richness from merging polyrhythmic patterns merged with streamlined melodies and nifty vocal samples such as the double entendre "quiero jugar una horas mas" (Engl. "I want to play one hour more") on the no-holds-barred hard trance number "Techno Appeal", and the riveting juxtaposition of mesmerizing female vocals and handclaps of roaring crowds in hypnotic "Inner Voices".

"These demoniac figures resemble human transformation and the idea of achieving euphoria through esotericism's Maike Depas

However, when it comes to Depas, there is always more to his music than merely being dead set on setting the dance floors on fire. The antler-wearing figures and witches" circles depicted in the artwork hint at Depas" invitation for the clubbers to let his music move them far beyond the physical world. "These demoniac figures resemble human transformation and the idea of achieving euphoria through esotericism's

Die-cut sleeve. In the fall of 2013 Bry Webb was putting the finishing touches on his second album Free Will. Released on May 20th 2014, Bry, with his newly assembled band The Providers, spent the following few years traversing North America playing clubs, festivals and storied stages such as Toronto’s Massey Hall. Nothing new for an artist who had spent the aughts in a constant state of motion with Constantines, a band who on average had performed one of every three nights on a stage somewhere in the world. In fact, running in parallel to Bry’s solo touring schedule was a reunion with his former Constantines’ bandmates to once again present their incendiary live show and celebrate the 11th anniversary reissue of the band’s Shine A Light. It is what happened as the decade wound down that seemed out of character for an artist who had spent close to 20 years immersed in the studio and on the stage: the music stopped altogether. Bry explains his feelings at that time, “I lost the musical plot about 5 years ago and stopped playing music entirely, sold instruments and recording equipment, and committed myself to the idea that I was absolutely done”. Webb dedicated himself to his ongoing work in community radio, months turned to years and musical life seemed to be all but gone from view. Now in an unexpected turnaround 10 years on from the recording of his last studio album, there is not only a return to the stage for Bry but also a new record. Primarily composed in a season of upheaval, Run With Me contains some of Bry’s rawest sentiments. Fresh and painfully present there is an immediacy one can hear as emotional walls collapse in real time. Bry explains the context of the album’s creation: “In early 2023 my personal life exploded. In the process of dealing with that, I started writing music again and started recording at home. Advised that I needed to figure out how to ask for, and accept, help from other people, I sent early recordings of songs to friends from twenty-five years of music making - many folks I hadn’t connected with in years - and asked if they’d contribute anything to the songs. People came through in ways that overwhelmed me to the point that I cried when I wrote out the list of players for the liner notes. I felt incredibly cared for. From Andy Magoffin, who recorded the first Constantines album in 1999, to members of the Cons, to my nieces Addy and Ella playing drums, and a doppler recording of my daughter’s heartbeat, the record is a document of my creative life, and the people who made it possible to make music again.” If the cover of Run With Me looks familiar, it is with full intent. The album’s technicolor marbling and die cut text serve to signal the inclusion of the album in a trilogy started with Bry’s first record Provider. Just as that album starts with the track Asa, this new one introduces itself with the instrumental Webb. The trilogy is now completed with his daughter's first, middle and last names represented as the first tracks on each of the three albums. While the LP’s package signals its place in the collection, and tracks such as Older Than The Dirt and What I Do revisit their predecessor’s familiar sonic starkness, Run With Me is the outlier of the trio. A number of new tracks forego the quietude of Provider and Free Will, clearly recalling the rallying rhythms of Constantines’ anthems. Thunder Bay (instrumental backing courtesy of The Harbourcoats circa 2009), with its insistent kick drum and wall of electrics, support one of Webb’s most indelible melodies, and the not so subtly psychedelic Modern Mind reveal an expansion of Webb’s palette. Perhaps the furthest afield is the contextual centerpiece of the album, Goodbye, where we not only hear a joyful voice that lay dormant for years, but hear it reclaim its power. Backed by Constantines’ Will Kidman, Doug MacGregor and Dallas Wehrle, Bry belts out “I’m through with all the rage, now watch the light pour out of me.” As with all of Bry’s work, Run With Me’s lyrics take their time to settle in. Songs of self-examination, reconfigured love ballads, and songs for those who work to help others. Songs of singing abound. It’s there in Older Than The Dirt’s second verse: "Logic to the last intention, logic in the way we kept holding on forever, singing as the floor- was swept”, ten thousand birds sing a warning song in Thunder Bay and again in Goodbye’s telling of a cathartic return to one’s true self with its celebration of those “Who sing - sing all joy - all joy of language, in a single word”. Joining Bry in singing Run With Me’s songs of “death, transition and hope,” are kindred spirits Jennifer Castle, Julie Doiron, Daniel Romano and Steph Yates. All of these singers elevate the album’s healing sentiments and help express the album’s central plea; a prayer of sorts wrapped in the traditional Scottish Gaelic melody of She Is Here’s second verse: “Let the sun rise in the morning and any witness bring. Let all the blooming cosmos teach us to sing”.

New Zealander via Berlin Philippa is a producer and DJ whose passion for house music, tireless commitment to her craft and ear for what makes a dance floor tick is slowly and surely starting to pay off. With her recent release Rainy Nights on Slothboogie and Things I’d Like To Be for Razor n Tape getting a lot of love Philippa continues to deliver the goods and has led to remixes for Fat Freddy’s Drop (The Drop) and Roach Motel (Faith).

Here on the Latent Magic EP we’re treated to three new tracks which highlight Philippa’s deft touch and musical approach to making interesting and left field house music. Opener Hold sets the tone with lush orchestral strings, crunchy drums and a bouncing analogue synth bassline which drives the track along perfectly.

Latent Magic uses a similarly wide-ranging sound palette, mixing up the electronic and organic, but goes heavier on the epic, arpeggiating synths for a spacious and uplifting genre-defying track to lift the spirits.

Closing out we have There It Is which has hints of Mr Scruff with looping horn stabs, live drum groove and rolling electric bassline. All in all another mighty fine Philippa release which reminds us of the early days of Freerange when artists such as Square One, Shur-i-kan and Jimpster were melding live musicians with electronics to make a refreshing, UK-centric take on house music.

Released in 1969, Bull Of The Woods is the 3rd and final studio album from the 13th Floor Elevators. They are the
first band to call their music psychedelic and are known for their innovative use of the electric pitcher. The original
vinyl has long been sold out and unavailable.

mule musiq welcomes british producer jimmy wallace, presenting his debut album “red, yellow, black” - a nine track strong record that partly leaves the dancefloor behind.

since childhood, music has been a strong influence on the 33-year-old artist. his mother, a music teacher, exposed him to classical sounds from an early age.

but it was hearing the electronic tones of the french touch movement, which really ignited his mu-sical journey. a year later he started to dj, acting out his love for four-to-the-floor grooves in local clubs. today you'll find him on the bill with artists like ruf dug, mr scruff, or bradley zero, heating up the dance floors.

as a producer he has already released a handful of stunning eps, including one for sweden’s finest house label studio barnhus, and one for london’s revered rhythm section international imprint.

both feature house tunes with an edge, house tunes with a love for the roots of the genre along-side more reflective, ambient moments. he also runs the label tartan records, where he publishes dancefloor focused white labels.

his music has been championed by titans of the scene such as palms trax, ryan elliott, dj tennis, gilles peterson, dixon, and hunee. axel boman even coined his debut ep as “one of the very best demo emails ever received at label studio barhnus hq”.

an advance praise, that wallace now acknowledges with an album full of deeply crafted music. some tracks lean towards the dancefloor, like the swung sounds of “bubbles”, the hypnotic mael-strom of “good morning”, or the epic, jazzy moments of “labyrinth”.

the theme of nature is evident throughout, with field recordings and environmental sounds he rec-orded on the road, being fused with his own musical ideas.

tracks like “waterfall” and “tokyo street”, draw influence on time spent in asia, whereas "dhq", "by the river", and "by the lake" are inspired by his childhood and hometown in the shropshire country-side. “i’ve been writing ambient and more nature focused material for a few years now without really having a plan for it.

finally, this year after writing the tune “labyrinth” i felt i had a body of work which was both diverse and cohesive enough to bring together on a record. so, the album represents moments of time i have spent in various outdoor spaces around the world, using sound to try and turn these experi-ences into musical format.” wallace discloses.

the result is a mesmerizing long player featuring an evocative, emotional story arc that avoids ste-reotypes and straight party orientated narration. “having written plenty of club music for the past few years, i wanted to show a different side to my sound.

something more intimate, private, experimental which can be listened to away from the party.” he reveals on the meditative, blissful “red, yellow, black” - an album, which has the power to transport listeners to places and spaces new – for inspiration, relaxation, and dancefloor moments off the beaten path

For fans of post-Chicago post-"Second Summer of Love" acid; Chris & Cosey, Terekke, Cabaret Voltaire, Anthony Naples, JTC, D.K., Luke Vibert, Khotin. The latest by Texan-turned-Angeleno progressive vaporwave producer Carlos Ramirez aka AURAGRAPH finds him shifting focus to the dance floor across eight chrome clockworks of cosmic acid house and liquid rave glide: New Standard. Inspired by lessons learned during a 5K mile American road trip tour in the summer 2022, he set to work in his Simi Valley Tuff Shed of synths and hardware, pursuing an explicitly DJfriendly muse: "I realized I wanted to make a record where every track could go off in a live setting." These cuts do just that, revved and rhythmic, peppered with slap bass, Madchester whistles, filtered acid, gated snares, baggy cowbell, and sample pack classics - record scratches, orchestral stabs, the "Yeah! Woo!" from Lynn Collins "Think (About It)." Ramirez describes the process as immediate and instinctual: "I'd turn on the MPC, pick a tempo, and just improv - it was incredibly fun." From sleek freeway techno ("110 Cruising") to arcade lurker acid ("Coast 2 Coast") to big room bangers ("666 Ambience"), the tracks time-travel across the canon of club music, sifting tricks and styles to fashion fresh anthems of hypnagogic jack. It's an album channeled as much as crafted, tapping into the decks of mythic warehouse infinities past and present, where the system rips all night and acid never dies.

Nicole Sabouné will release her fourth album "Kismet", a soundtrack that no one ordered or asked for but which fits perfectly with the listener's everyday, miserable or wonderful life. A both powerful and intimate song cycle that is tied together by a recurring melodic theme and whose sonic ideal was taken from the idea that it would be a soundtrack to a Sofia Coppola film. "I wanted it to feel grand but at the same time fragile, I like how Sofia Coppola often succeeds in conveying just that feeling," says Nicole. On the album, where there are also influences from both krautrock and Massive Attack, Nicole Sabouné has written some of the songs herself and others together with Billy Cervin. In addition, Nicklas Stenemo (Kite) and Björn Yttling (Peter Bjorn and John, Lykke Li) figure as songwriters on each song. Jon Bordon has been a co-producer - together with Nicole and Billy - as well as mixing. Nicole Sabouné released her critically acclaimed first full-length "Must Exist" in 2014. The follow-up "Miman" from 2015, inspired by Harry Martinsson's epic "Aniara", was named the best album of the year by Fredrik Strage. In 2021, the Jenny Wilson-produced third album "Attachment Theory" came, which prompted Nöjesguiden to write: "Nicole Sabouné seems to have simply found her way home."

Venom & Faith (Released in 2018) is two Americana artists pushing expectations to create something both familiar but also innovative. Not many artists could pull off what they"ve done here.

Founded in 2016, Belleville Boogie is a DJ collective inspired by the vibrant energy of Belleville's nightlife. The collective’s soul feeds on bringing people to bounce on an eclectic curation of vinyl. Belleville Boogie’s debut release is the brainchild of Lemon McWright and Jan Decent.

Born from the depths of lockdown, "Le Pacifique" is a balearic slow burner that captures the longing for the dance floor, while "Grateful" takes us on a jazz-infused journey featuring the talents of FredMelosax, Charif Megarbane, and Rafael Powell. For those who remember the early days of the French House scene, "J'aime Danser" is a playful nod to the scene that shaped us, while "Bella Belleville" lures you into a hypnotic, downtempo trance that's perfect for intimate gatherings or solo listening.

Crafted with the same heartiness as our parties, we're excited to spread the Belleville Boogie spirit with this vinyl. Be sure to check out our upcoming events to see when we'll be bringing the dance floor to your city. Let's keep the good times rolling!

Powerfully epic breaky sound hailing from the UK during the early 90s. Beautiful tempo juxtaposition of fast passed driving beats pushed by low ph bass lines under slower piano riffs and patient vocal elements making it a hard one to forget.

Low end elements clearly carved from primordial UK Bass aesthetics taking the amen break to new plateaus already very much overlapping with Drum & Bass territory.

Ultra dreamy vocals on some kind of The Mamas and The Papas reincarnation, UK dreaming all the way. Heavy ending track vibes. In addition, Juan Ramos' masterful half tempo remix offers the listener a completely different experience with full respect for the original, what else to expect from someone with this caliber of dance floor education <3 meticulously remastered.

Whatever condition your condition is in, Soul4Real have huddled together a team of the finest soul physicians to make you feel good.

We scoured all the shelves in the soul pharmacy and discovered some potions that were only just through the trial stage. Just one listen to the brilliant Aretha, Gladys, Walter Jackson and the Purify’s tracks convinced us not to wait for FDA approval, so we took the plunge and shared them with the world on vinyl for the very first time.
Recorded in 1968, Arthur Alexander‘s magnificent “I Need You Baby” reached legendary status during the tape-swapping epidemic of the late 70s/early 80s. The first traces of Alexanderitus were linked back to a tape dispensed by a north London mod by the name of Randy Cozens, which went viral. Even today, the mere mention of the title to any of those C60-swap-survivors can cause severe heart palpitations.
Down in Memphis, they tend to practice the holistic approach to heartaches. Southern folk understand it’s about the voice and its natural healing powers, especially when it’s being administered by the likes of the Soul Children and Shirley Brown, who instinctively inject the perfect amount of ache, warmth and emotion to hit just the right spot. May we prescribe at least two listens a day, taken with or without food.
Helping with recovery we have included tracks by our care team Maxine, Gil Scott-Heron and the Isleys, whose gentle grooves will help nurse you back onto the dance floor in record time.
And finally, my personal favourite, Dr Johnnie Taylor. Frankly, it beats me how someone who delivers the lines "she don’t break no records when it comes to good looks” and “she burns up the food when she cooks" to his girlfriend manages to avoid a trip to A&E. We decided such foolish bravery should be rewarded by having his picture on the album cover.

12 tracks, all great examples of real soul music, a mix of well known classics, overlooked gems, and 4 original unreleased songs.

Two leading lights of UK house join forces for a special collaboration which delivers every bit as much as you would expect from anything with the Jimpster & Crackazat stamp on. Having been introduced to Crackazat’s vocal and lyric writing on his acclaimed Evergreen LP from last year Jimpster was keen to team up to bring some of that flavour to his own sound. Born out of a desire to stretch outside of their comfort zones, and with a mutual respect for each others productions, the Natural Child EP brings us two original vocal tracks and two dub versions covering a spectrum of moods from classic soulful to deep, atmospheric, contemporary house.

Opening track Natural Child leads the charge with Crackazat’s trademark jazz-influenced piano part, swirling moog lines and vocal being complimented with Jimpster’s punchy drums and warm, rounded bassline. The result is a spacious and deceptively simple track which will wrap you up in its warm confines.

Next up we have a completely different take on Natural Child which ups the BPM and adds a more live, percussive and rolling vibe which will no doubt get the house dancers throwing down.

My Harmony comes next with its slick and soulful sound which draws inspiration from golden era NYC sounds of Blaze and Louie Vega while Nick Cohen’s live bass brings a bounce to the chunky, shuffling house beats.

Closing out the EP we have a dub version of My Harmony which loops up the Rhodes part, strips back the groove and adds layers of FX and arpeggiating synths resulting in a heads-down deep and soulful track to warm up the dance floor.

Swarm Intelligence’s unique take on industrial techno is back, with the second instalment on his self-titled label, coming this November.

Fiercely intense, dramatic and cutting-edge, Swarm Intelligence’s distinctive take on techno has garnered him a solid following amongst the true underground of the scene. Following on from the widely supported launch of his label, SWRM002 is a striking next step – a testament to the quiet confidence of a skilled artist unafraid to eschew norms and carve his own path. This second EP continues to draw inspiration from dystopian themes of new and imagined technologies and their resulting societal impact.

‘Critical Signal’ was produced during the global pandemic, and iteratively refined over the following years. Grinding basses and tense atmospherics sit atop a thunderous four-to-the-floor. Its message to humanity is as relevant now as it was then – “you are resilient, you will prevail”. In ‘Mass Disinformation’ a visceral, bleak and unsettling sonic landscape punctuated by a slamming groove is an apt metaphor for the psychological warfare being unleashed on the world today.

Opening the B-side, the uplifting glory of ‘Digital Immortality’ lifts the tone of the release. Here, Swarm’s signature glitchy, broken beats complement beautiful melodic swells and a rolling bass line. The track imagines a digital afterlife where, upon uploading our consciousness, we leave our bodies behind. Bringing the EP to a close, “Singularity Dawns” is the most freeform, cinematic composition. Its obscure broken rhythms and traversing sequence tells the tale of an AI becoming self-aware and discovering its capacity to feel.

Enter COMPASSA! Finally Tom Trago & Charles Levine formally known as The Compass Joint arrived at a new identity that pays homage to their shared musical influences and dedication to compassion, mindfulness, life and music.

At this moment they proudly present The Compass Choice EP, a sonic foundation representing another taste of their range and capabilities with this collaborative project. This latest release dives deeper into a love of FM synthesis and a dance floor interpretation of these mixed up electro-Caribbean-techno-futuristic flavors!

These songs, rhythms and melodies are born out of a pureness of heart and designed to bring positivity, joy and a little Compassa magic to you!