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The fast-rising Purveyor Underground Ltd kicks on again here with a sizzling seventh EP that is as rude as they come - in both meanings of the word - from Die Familia. It is his own East Side Gangster remix of 'U Dat Bitch' that kicks off with hard-hitting house kicks and sleazy vocals over a rugged bassline. 'House Music' (part 1 - Late Night edit) is just as raw but more deep and hypnotic with its ascending synth lines and steamy vocal coos. 'Organic (Like Weird)' might be the best of the lot - a quick and urgent house thumper with silky hi-hats and rolling bass getting you up on your toes amidst swirling pads and a melange of vocals.

Ben Metek open this dancefloor session with a powerfull tribe very inbetween style : Pumpin & Hardfloor.... Efficient since the start the non-stop progression is defenitly in the OQP style ! Then comes Zayonne and a futuristic Pumpin teaser that delivers his kick after 1 minute...The style reminds Arobass and Fky. Sweet tenderness ! B side belongs to X-Tech and his Techno Tribe 160 electro vibe ! He finishes the job with hardfloor kick, hypnotized by the 7 minutes long set mental OQP smile !

Casino Classix is one of several aliases for legendary minimal man Baby Ford. Here it is also the name of a four-track EP that finds the long time UK underground operative working alongside fellow British techno luminary Mark Broom on a quartet of devastating cuts. 'Ringer' opens up with some dark and nimble baselines darting about beneath a dense layer of percussion and FX. 'Hoppa' is then a more precise and minimalist cut with wonky bass snaking down low beneath the icy hi-hats and jumbled toms. There is a warm dub depth to 'Hot Pot' to kick off the flip and 'Beach Club' shuts down with a restless mix of synth daubs and deft percussion over an ice cold groove.

The king is dead, long live the king, as they say - except in this case the late king is DJ Bone's legendary Subject Detroit label, which has now been shuttered after 25 years, and the newly anointed king is his new outlet Further, taken from his Amsterdam parties of the same name. It kicks off with a pair of new EPs on the same day and this is the first from Yeti Mind Tricks. 'We Ain't Like Them' is a hammering Motor City techno cut for the peak time which Bone remixes into a more stripped-back but no less edgy and potent cut. On the flip are 'Bimini Road' and 'Vandelay,' both of which bring stylish techno drenched in machine soul.

Warehouse Find!

A true studio visionary and son of Incognito's Jean-Paul 'Bluey' Maunick, Daniel Maunick virtually grew up behind the mixing desk and worked his way through the scenes of drum n' bass, acid-jazz, disco, samba, deep house and beyond. As Far Out's in-house producer his work is a key component in the consistency and transience of the label's sound, with key albums include Azymuth's Fênix, Marcos Valle's Estatica, Sabrina Malheiros' Dreaming and Far Out Monster Disco Orchestra. His latest credit on the catalogue is the next chapter of his Dokta Venom alias, Moodswings.Each track brings you a visceral dancefloor experience both sonically and structurally. Opener 'See the Sun' evokes an elevated, cloudy ether, with each kick drum another step up to the sky. Title track 'Mood Swings' deploys components of broken beat, garage, house, IDM and boogie, but shrouds them into a hazy deepness, like a dream through Maunick's musical memories. Whilst keeping the same intensity, 'I Owe u Something' ups the tempo and swings the mood. Propulsive percussion blurs the acoustic with the electric, glowing synths and anguished vocals formulate this eruptive full-floor belter that lodges somewhere in between early Pepe Bradock and Azymuth.With a solo album from Azymuth drummer Ivan 'Mamao' Conti, a collaboration between Sean Khan and Hermeto Pascoal, along with a long awaited new record from Sabrina Malheiros, 2017 is set to be an exceptional year for Maunick and Mood Swings is an inspired prelude of things to come.

Established in 1948 by César Roldán, Discomoda is one of the earliest record labels of Venezuela and the oldest family operated label in the country. Home to one of the most complete folkloric and popular music catalogues of Venezuela, the label also invested heavily in Afro-Caribbean and tropical rhythms that became popular in the 60s and 70s.

In the 1960s and before the Salsa era truly kicked off, Venezuela had a significant dance orchestra and big band movement. Unlike local record competitors dedicated to selling foreign productions, Discomoda achieved its leading position by recording the most important national bands, including Los Megatones de Lucho, Orquesta Sonoramica and Super Combo Los Tropicales; all featured in this compilation.

Later on, surrounding the festivities for the 400th anniversary of Caracas in 1967, the word "Salsa", which had been recently coined by famed radio host Phidias Danilo Escalona, was formalized to identify an Afro-Caribbean musical style with growing popularity in Venezuela and beyond. By then, the country was among the top 20 music markets in the world, with the local label Discomoda leading the way, responsible for one out of every five records sold in the country.

With the prolonged celebrations approaching due to the 400 years of the city, Discomoda and other labels began to capitalize on this new musical style by betting on both established and new local bands, such as Nelson y sus Estrellas, Los Kenya, Principe y su Sexteto and Los Satélites. As a result, this would kick off what could be considered a golden era of Salsa in Venezuela and which lasted until the mid-70s.

As we approach the 80s and with the emergence of new musical styles and bigger multi-national record labels funded by larger pockets, a lot of the previously popular bands begin to disband or choose to leave the country. Nonetheless, a few artists, like Rodrigo Mendoza, La Renovación and Grupo Yakambu, were still pushing out quality music.

We are thrilled and honored to celebrate one of Venezuela's and, equally, Latin America's most significant record labels, and to share a slice of their enduring influence in advancing Venezuelan-made Salsa music.

- Betty's classic third album, originally released by Island Records in 1975 - New vinly pressing on Metallic Gold colored wax - Featuring Betty's band Funk House - Booklet includes liner notes by John Ballon interviewing Betty plus full lyrics - Newly remastered from the original analog tapes by Kevin Gray at Cohearent Audio // In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music - a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic, and in full control, Betty paved the way for generations of future artists who said 'funk you' to the music industry and social norms. In 1975, Betty Davis's star was on the rise. With the backing of Island Records and a new band, Funk House, Betty's third album, Nasty Gal, leans into the hyper-sexualized persona with which her critics were so obsessed. She raps, purrs, shrieks, and moans on top of Funk House's manic funk-rock and lays claim to the "bad girl" anthems that now saturate the music industry. Mastered from the original tapes, Nasty Gal showcases Betty's groundbreaking work as a performer, writer, and producer.

Kick starting 2024 with intent, Berlin’s Pure Hate Trax starts the year in style with a pure power 4 track EP by Tripped. Hailing from Belgium, Francis Jaques started his journey at the tender age of 15 and quickly become A key figure in the underground rave & hardcore scene and up to now has celebrated over two decades of relentless dedication to the industry. While deeply rooted in Hardcore Techno, Tripped style is not limited to a certain genre. Always staying true to his gut, he keeps innovating his sound by using both analog and digital techniques, often with a wink to the pure and raw sound of the 90’s, dark, moody and kick-drum heavy. His label Madback Records, an outlet for his own productions has also seen contributions from the likes of Slave To Society, The Outside Agency, KRTM, Waldhaus, Mickey Nox and Umwelt. Aside from the music he also creates abstract paintings and mixes graphic design to showcase a truly unique collaboration of both artwork and music. As a DJ Francis is considered one of the most diverse acts from Belgium. His raw and powerful sets range from Rave, Techno, Industrial, Acid to Gabber and Old School Terror has seen him perform all over the world and at major events such as Thunderdome, Masters Of Hardcore, Tomorrowland, Bangface, Defqon.1, Kompass Klub, Dominator, Astropolis, Decibel and many more.

DJ Moplen has outdone himself with this reimagining of Machine’s disco classic. Sticking purely to elements from the original, he’s managed to completely redesign the song, starting with an extended version of the soulful piano intro. Punching up the kick drums and handclaps moves the track into house territory, complemented by a funky guitar riff that was completely buried in the original. When the bass enters front and center Moplen practically forces you to the dancefloor, leaving you vulnerable to August Darnell’s controversial lyrics. Fresh from a career-making start with Dr. Buzzard’s Original Savannah Band, lyricist/vocalist Darnell’s collaboration here with Machine was only months from his next incarnation as Kid Creole. Just like those groups, Darnell here fills his song with the politics of race, religion, and sexuality under the guise of a great beat. This release features that rarest of things: a dub just as good as the original. Rather than just removing the vocals, Moplen again rearranges the song, removing the slow intro and building a killer groove from the ground up. As well as the 1979 version, this 12” also features Timmy Regisford’s 1994 house mix and an alternate “acapella reprise” take of that mix, both of which capture the dark energy of the song perfectly.

Autumn 1904 is a post-punk indie-rock band formed in 1982 in Edinburgh, Scotland by Allan Dumbreck (keyboards) and Ross Thom (guitar). The band originally became a five-piece (Billy Bowie – bass, Keith Falconer – drums, Billy Leslie – vocals) but grew to a seven piece in early 1983 (taking on two female backing vocalists, Indira Sharma and Lisa Cameron). Autumn 1904 were part of the DIY indie-rock movement in Edinburgh in the early to mid 1980’s kicked off by The Shop Assistants, they worked alongside The Wild Indians, Finitribe (originally Gallery Macabre) and Goodbye Mr MacKenzie, often performing together or attending each other’s shows.

In February 1984 the band performed at the John Peel Roadshow at Edinburgh University and afterwards were invited to record a BBC Radio 1 session which was broadcast three times on the Peel show. They were immediately courted by 11 major record and publishing companies. In March 1984 their song “I heard Catherine Sing” featured on the Deadbeat magazine compilation album “Deadbeat 1”. Internal tensions and health issues over the summer of 1984 held up development and caused Sharma and Cameron to leave the band.

The band first split in January 1985 with Thom, Bowie and Falconer going on to form The Crows with former members of First Priority, including future Glasgow Cathouse / Garage promoter Donald McLeod MBE. Dumbreck and Leslie reformed the band and performed throughout 1985 sometimes including Shirley Manson, then working with Goodbye Mr MacKenzie and later with Garbage. This line-up lasted until November 1985 when the band split again. Dumbreck went on to work with Scottish groups The Big Dish, Horse and Thrum. Later working extensively in music education setting up the music department at UWS where Jim Prime (Deacon Blue) and Paul McGeechan (Love and Money) became lecturing staff.

The line-up at the time of the Peel session was Dumbreck, Thom, Bowie, Falconer, Leslie and backing vocalists Indira Sharma and Lisa Cameron.

In May 2021, the original five members agreed to re-master / re-record the original material from their studio recordings for release. Work began with producer Liam McCluskey (Gun, King King, Twin Atlantic). Approaching Ian Smith in 2022 at independent record label Last Night from Glasgow for advice, he offered to release the album on the label. The final masters include Tippi from label-mates The Hedrons on vocals and a number of fresh recordings of material written in 1982-83 but never previously recorded.

7” vinyl single w/ colour sleeve. For Fans Of Garage Punk, Power Pop, New Wave, Cheap Trick, Dollyrots, Pretenders, Go-Gos, Kate Bush, The Muffs, The Bangles, Larkin Poe. Josie Cotton’s Kitten Robot label issues their first 45 rpm 7”, and it’s a split between two of the label’s fave ladies: Josie her own bad self and Hayley and the Crushers. Josie’s song is the title track of her latest full-length, the Crushers issue a rowdy Iggy Pop cover that is also their latest digital single, releasing on Halloween of this year. Said Thoughts Words Actions of Day of the Gun, “The result is Josie Cotton’s signature sound, both timeless and contemporary, showcasing her ability to stay true to the roots while also pushing the envelope in new directions. Day Of The Gun is a masterclass in musical creativity and musicianship where Josie Cotton’s experience, talent, and ideas have come together to create an album that is both diverse and cohesive.” Meanwhile, Faster and Louder had this to say about Hayley’s recent LP. “Modern Adult Kicks makes it sound like Hayley and the Crushers have fast-forwarded ten years since 2020. This album doesn’t wallow in misery, but it confronts some heavy stuff...all the while reminding us to keep dancing no matter what happens

- Betty's classic third album, originally released by Island Records in 1975 - New vinly pressing on Metallic Gold colored wax - Featuring Betty's band Funk House - Booklet includes liner notes by John Ballon interviewing Betty plus full lyrics - Newly remastered from the original analog tapes by Kevin Gray at Cohearent Audio // In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music - a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic, and in full control, Betty paved the way for generations of future artists who said 'funk you' to the music industry and social norms. In 1975, Betty Davis's star was on the rise. With the backing of Island Records and a new band, Funk House, Betty's third album, Nasty Gal, leans into the hyper-sexualized persona with which her critics were so obsessed. She raps, purrs, shrieks, and moans on top of Funk House's manic funk-rock and lays claim to the "bad girl" anthems that now saturate the music industry. Mastered from the original tapes, Nasty Gal showcases Betty's groundbreaking work as a performer, writer, and producer.

orange marbled vinyl

A1 - The Construct
Opening the EP in style with a slew of darkly FX, The Construct sets a suspenseful tone before a thorough atmospheric amen on slaught takes center stage - solid, weighted breaks are chopped and edited to the standards fans have come to expect from ASC with a morose, anxious energy to the vocal samples and synthy backdrops punctuating the track in style. A banger for the club as well as the phones.
A2 - Tidal Lock
Distinctive thumping quadruple kicks thunder like a furious heartbeat as Tidal Lock mixes up the vibe and experiments with off-key tones and delivers a neurotic energy to the breaks. Rapid hats and snares accelerate the mix with deep undertone sub bass, as ASC crafts a cacophony of detail and delirium to a track that somehow fuses both calm and a tenacious ferocity in one. Unique, stylish and a joy to listen to.
AA1 - Centurion
A DJ-friendly intro opens Centurion with initially simple breaks which are soon joined with detail and a forceful finesse. Curious, inquisitive FX and melodies bristle melancholically as a stunning deep bassline seizes the attention and the atmosphere elevates. Familiar classic atmospheric signatures add to the complexity later in the track, with all layers continuing to breathe throughout.
AA2 - Nexus
ASC concludes the EP with a deep, rapid fire workout in Nexus -a track which quickly exudes a moody, tense vibe driven by a nervous vigor - inviting you to explore its immersive tapestry of quality modern atmospheric breaks. Persistent hi-hats and snares dominate the mix with vocal samples and otherworldly
effects, and parallel high horn notes complement the composition perfectly.

grey & green splatter vinyl

A1 - Spacewaves
Opening the EP in thunderous style, Aural Imbalance chops impeccable, clean amen breaks, rolling sublimely into a chorus of fluid, delicate keys. The track whisks the listener atop the crest of wavy edits before a quietly turbulent assortment of blips and notes punctuate a bass-heavy breakdown. The latter half combines the elements in surreal harmony for a triump hant crescendo, buoyed by the truly vibrant breaks.
A2 - Tranquil Sea
A masterclass in subsurface ambience introduces Tranquil Sea, glistening melodies cascade into punchy breakbeats, setting the pace. Brimming with sunken off-key 808 bass resonating unpredictably with the spirit of the ocean, Aural Imbalance gently builds the vibe with soothing waves of mesmerising soundscapes as the beats rumble on, inviting you to dance amidst the swirling currents of his inimitable sound.
AA1 - Concordia
Old school analogue breaks take center stage as Aural Imbalance rewinds the clock for a great dancefloor-friendly slice of history with a modern Spatial twist. Quiet plinky keys bubble underneath long, whooshing ripples of the sea, echoed hi hats and a distinctive classic bassline intertwine perfectly, carrying you to uncharted sonic territories that will linger in the recesses of your mind long after the needle is lifted.
AA2 - Fading Fields
Delicate cymbal work and stirring pads combine deliciously before the listener is lifted to blissful serenity with a sumptuous tapestry of synths and micro melodies set to an immense, head nodding break pattern. The noteworthy kickdrum delivers a classic analogue stomp while the drums joyously encircle them
in their droves, showcasing further the variety and density Aural Imbalance offers.

A new type of sound from uhinged live-performer and a one-woman fun tribunal. It's glossy, noisy, raw, futuristic, sensual, frivolous, dark, wonky, slow and fast alike - yet in all those variations, rather suited for bigger PAs. Tracks on Cracked, serving assorted sweets make heaven utilize pummeling yet unequal kickdrums and vary in tempo.

Side A turns risky breaks into an oddly enjoyable experience while the tracks on B flip trance motifs into rather serious, darker futuristic ride.
Isabella's work also happens to be a link between Rhode Island's noise scene & pranksters from Börft Records, Herrensauna's dancefloors and halls of Berklee College of Music where she lectures.

Minas 'Num Dia Azul' is a sublime slice of private press bossa nova meets jazzy MPB perfection. Warm and bubbling with youthful spirit, the music is simultaneously loose in swagger, yet slick and tight. The album was originally released in 1983 and reflects the great music coming out of Rio at the time, yet 'Num Dia Azul' wasn't recorded in Rio, but actually in the USA.

Recorded in North Carolina just after Patricia and Orlando Haddad had graduated from the North Carolina School of the Arts, the record was only released for the Brazilian market on their own Blueazul Records imprint. As with most private press labels, they could only afford to have it pressed in small quantities. To add to its later obscurity, hundreds of copies were also destroyed in a house fire. They say cream always rises to the top, and fast forward to the 2010s, the word amongst collectors and DJs was spreading about this mythical under-the-radar recording. People from across the globe were contacting Patricia and Orlando for more information, hoping to secure themselves a copy. Luckily the original tapes had remained with the artists and were in great condition, so in 2016 the pair ran a successful Kickstarter campaign to have it remastered and repressed.

For this Mr Bongo 2023 re-issue, we have tried to keep it as close to the original 1983 version as possible, both in the packaging and audio presentation. The CD version comes with bonus tracks. We are super proud to keep Patricia and Orlando's serene recordings in the circulation that they deserve to be. One for fans of Brazilian artists such as Burnier & Cartier, Edu Lobo and Joyce. We are sure those fans will lose themselves in the alluring textures of 'Num Dia Azul'

The twelfth volume of Drumcode’s flagship A-Sides series featuring future-facing cuts spanning the breadth of the techno spectrum, The annual compilation serves to showcase some of Adam Beyer’s favourite demo’s throughout the year, as the label boss enjoys the opportunity to introduce new artists to the label, while showcasing cuts from Drumcode’s mainstays.
Kicking off Part 2 is none-other-than Carl Cox whio makes his Drumcode debut with his remix of Label Boss Beyer's massive Take Me There feat DJ Rush.

Devon made her musical debut earlier this year, releasing her first ever recorded single, ‘Swim’ to swooning fans in September, and has decided to follow it up next week with a sultry and high energy tune entitled ‘Killer’. ‘Killer’ is the second song to be released by Actress/Model/ — and, now —Musician, Singer/Songwriter: Devon Ross. ‘Killer’ hits all digital platforms worldwide on the next ‘Bandcamp Friday’ (1-December -2023) in advance of her very first concert taking place at London’s legendary 100 CLUB on December 13, 2023. Inspired by Sixties and Seventies legends, such as The Beatles, Rolling Stones, Patti Smith, Bob Dylan, The Stooges and Television, Devon Ross is finally debuting her first recordings on the forthcoming EP, entitled Oxford Gardens. Oxford Gardens was recorded in Paris and mixed & mastered at Abbey Road Studios in London and set for release on Thurston & Eva Moore’s indie record label, The Daydream Library Series. TRACKLIST: 1/I Don’t Wanna 2/Swim 3/Killer 4/Mine Not Yours. Bio: Model-actress-guitarist, 23-year-old recording artist was raised in Los Angeles and moved to London in 2020. British Vogue cited Ross as “the coolest model currently climbing up the ranks”. During 2019, Gucci recruited her for a Rome runway show before casting her in the launch of the Gucci x Disney Collection (notably shot at Disneyland). It opened up the floodgates as she went on to walk for Valentino, Erdem, Gauchere, Sies Marjan, and Simone Rocha and lead campaigns for Vivienne Westwood and Mulberry. Her career would be chronicled by L’Officiel, 10 Magazine, W, and many more. In 2021, she joined the cast of HBO and A24’s Irma Vep - The Serial (2021) alongside Academy® Award Winner Alicia Vikander, Adria Arjona, Carrie Brownstein, Byron Bowers, and others. Eva & Thurston met Devon at Cannes Film Festival in France in 2021 and started going to shows and kicking around London together. After witnessing her guitar playing and hearing her music the couple invited her to release music on their independent record label. This month November 2023, The Daydream Library Series independent record label will celebrate five years in operation. Thurston & Eva founded the label in 2018 to release the debut album Sistahs by London’s black, feminist, punk band Big Joanie.

Following her contribution to this Spring’s Gudu & Friends Vol. 1 compilation, Lady Blacktronika steps out with a full EP for Peggy Gou’s Gudu label.

Whether operating as Lady Blacktronika or her Femanyst alias, Akua Grant has built a deserved reputation as one of house and techno’s most daring and unique artists - one that dates back 25 years now, when she first debuted as a vocalist.

“House and techno” can be a cliched catch-all term, but in Grant’s case, she really has explored the extremes of both sides. Her early Lady Blacktronika work, when she earned the nickname The First Lady of Beatdown, saw her produce and narrate a style of deep house that was both sensitive and transgressive, while as Femanyst, she explores some of techno’s darkest corners, all distorted kicks and serrated edges.

Her EP for Gudu kicks off with some serious intent: ‘Baby I Got It’ chops its vocals rough and raw, pairing them with marching drums and the sort of idiosyncratic synth-work that feels like a Blacktronika signature at this point. ‘Sing the Blues’ and ‘Hold My Hand’ take things smoother, but without ever deferring to type — as ever with Grant’s music, she works with such sleight of hand that it’s easy to skip back three minutes previous and wonder how the hell we got here. Her tracks are just that hypnotic and hallucinatory.

Closing the EP, Octo Octa provides a remix of ‘Hold My Hand’ that extends things to a full 12 minutes (note: slightly shorter on the vinyl due to time constraints), taking us out with crushed percs and held pads over some undeniable drum work.

This EP marks the final release of Gudu’s busiest year to date, with music on the label in 2023 coming from Special Request, Matisa, Mogwaa, Hiver, Matrefakt, DMX Krew, Dukwa, Brain de Palma, Lady Blacktronika, Salamanda and Closet Yi.

Hot Creations recruits Italian duo ItaloBros as the pair deliver three vibrant tracks across their latest EP, ‘Gosadera’

Hailing from Scalea, Italy, ItaloBros have been riding the wave of success, captivating dancefloors worldwide at venues like Ushuaia Ibiza, Motion Bristol, and PM Open Air in Buenos Aires and boasting releases on Circus, Material and Knee Deep In Sound, amongst others. With 2022 seeing the pair team up with Jerëmie for the release of their single 'Attention' on Hot Creations sister label' Hottrax, February now sees the duo step into the limelight as they drop their solo debut EP on the renowned Hot Creations with a trio of blazing tracks across 'Gosadera’.

Already becoming a mainstay in Marco Carola’s sets, ‘Gosadera’ kicks off with an orchestra of vibrant
trumpets and lively bongos layered on top of a relentless, grooving bassline. Next, ‘Story’ takes on their old-school roots, teasing lush piano chords complete with vibrant, punchy drums. Closing out the EP, ‘Amira’ showcases a deeper, sultry vibe with alluring male vocals at the core.

The brand new EP "Wellental" by Extrawelt on Traum is herewith reveled to the fans. Their new 3 track vinyl 12" gives a nod to the mayhem and urgency of techno all finely tuned. Straightforward in its brilliance and simplicity, yet carefully measured with a maturity that speaks the language of Extrawelt´s minimalism.

We attest: a unique techno track for the dance-floor on the a side, a trippy track on b1 and a very musical one as B2.

What happens within these 3 tracks is nothing short of alchemy, traversing all sorts of grounds without ever losing the plot. It’s due to the duo’s keen grasp of sound design—they always exchange ideas, on an expansive set of hardware, so no matter what tunnel they’re traveling down head-first, the sounds are always pristine, filled with unexpected details.

The EP opens with the title track "Wellental" which translates as "wave trough". Wave trough valley refers in particular to the points of maximum negative deflection in a traveling wave. In contrast, the points of maximum positive deflection are called wave crests. Musically this converts in a way that, although the title track "Wellental" has a lot of forceful steady forward motion and zig zag sequences cutting into it, it also has that "hanging time" feeling that adds unpredictability and tension to the track. You can defiantly sense that Detroit theme in a post Detroit interpretation here.

The flip-side starts with "Unter Wasser" which is illustrated by urgent uptempo beats that can push it on the dance floor and dreamy, surreal soundscapes on the other hand that account for that great under water feel. The track sounds a bit like the "Deep End" film soundtrack from CAN in that respect.

The B2 track is called "Samtstrand" and there is a reason for this since the track is very gentle and brushes over a surface with velvet hands but in contrast to that, the Extrawelt beats are kicking out the jams here! So this song has a twin drive going!

East Los Angeles quartet Levitation Room’s floaty, cosmic songs are always a trip. Since forming nearly a decade ago, they’ve self-produced dizzying, otherworldly music that’s connected with fellow travelers in the hallucinogenic world of outré rock music. Led by singer and guitarist Julian Porte along with founding members Gabriel Fernandez (lead guitar) and Johnathan Martin (percussion), the band has enchanted live audiences at Desert Daze and on tour with like-minded groups Post Animal and Psychedelic Porn Crumpets. The band’s vivid sound has found them placed on popular playlists like Modern Psychedelia and the legendary superproducer’s Danger Mouse Jukebox. Their 2015 debut, “Friends,” has surpassed 18 million streams. Joined by new member Kevin Perez (bass) in 2021, Levitation Room have continued to expand their colorful, unearthly sound, a process that has culminated with the vibrant new album Strange Weather. Collaborating with former Brian Jonestown Massacre keyboardist Rob Campanella, Jason Kick (Mild High Club), and Black Crowes’ Joel Robinow, Levitation Room take a new step in their story and vision with Strange Weather. The record’s lyrical narratives—about love in the park, life in the city, and the fact that “The world today is such an illusion”—are appropriately steeped in ’60s sonics and a dreamy, lo-fi atmosphere. It’s spacey, celestial guitar music for escaping into, and “it feels just like heaven.” Join Levitation Room on their new voyage.

Limitiert auf 300 Stück!


When HorrorPops say Bring It On, it"s as much about the music as it is about kicking ass. While never dropping their trademark sexy, horror-flick flair, Bring It On!, produced by BAD RELIGION"s BRETT GUREWITZ, revealed new depths of songwriting. Brash, Link Wray guitars; singer Patricia"s sultry petulance; throbbing standup bass - all served up in loving tribute to the brooding pop of 80s icons like Blondie and Siouxsie Sioux. First repress since the original release in 2005.

East Los Angeles quartet Levitation Room’s floaty, cosmic songs are always a trip. Since forming nearly a decade ago, they’ve self-produced dizzying, otherworldly music that’s connected with fellow travelers in the hallucinogenic world of outré rock music. Led by singer and guitarist Julian Porte along with founding members Gabriel Fernandez (lead guitar) and Johnathan Martin (percussion), the band has enchanted live audiences at Desert Daze and on tour with like-minded groups Post Animal and Psychedelic Porn Crumpets. The band’s vivid sound has found them placed on popular playlists like Modern Psychedelia and the legendary superproducer’s Danger Mouse Jukebox. Their 2015 debut, “Friends,” has surpassed 18 million streams. Joined by new member Kevin Perez (bass) in 2021, Levitation Room have continued to expand their colorful, unearthly sound, a process that has culminated with the vibrant new album Strange Weather. Collaborating with former Brian Jonestown Massacre keyboardist Rob Campanella, Jason Kick (Mild High Club), and Black Crowes’ Joel Robinow, Levitation Room take a new step in their story and vision with Strange Weather. The record’s lyrical narratives—about love in the park, life in the city, and the fact that “The world today is such an illusion”—are appropriately steeped in ’60s sonics and a dreamy, lo-fi atmosphere. It’s spacey, celestial guitar music for escaping into, and “it feels just like heaven.” Join Levitation Room on their new voyage.

"US & Canada Platinum certified alt-pop rockers Mother Mother kick off a bold new era in 2024, with the release of their new album Grief Chapter on 16 February.

Mother Mother have quietly become one of 21st century rock’s brightest rising acts. To date they have hit a staggering 6.9 billion global streams and 3.9 billion views across YouTube, while their social imprint has dramatically expanded, with an audience of nearly 9 million total followers.

Starting in February the group has an extensive 30-date tour of Europe, including stops in the UK, Ireland, Belgium, France, Spain, Germany and more, see the band performing to some of the largest European audiences in their career across the eight-week trek"

East Los Angeles quartet Levitation Room’s floaty, cosmic songs are always a trip. Since forming nearly a decade ago, they’ve self-produced dizzying, otherworldly music that’s connected with fellow travelers in the hallucinogenic world of outré rock music. Led by singer and guitarist Julian Porte along with founding members Gabriel Fernandez (lead guitar) and Johnathan Martin (percussion), the band has enchanted live audiences at Desert Daze and on tour with like-minded groups Post Animal and Psychedelic Porn Crumpets. The band’s vivid sound has found them placed on popular playlists like Modern Psychedelia and the legendary superproducer’s Danger Mouse Jukebox. Their 2015 debut, “Friends,” has surpassed 18 million streams. Joined by new member Kevin Perez (bass) in 2021, Levitation Room have continued to expand their colorful, unearthly sound, a process that has culminated with the vibrant new album Strange Weather. Collaborating with former Brian Jonestown Massacre keyboardist Rob Campanella, Jason Kick (Mild High Club), and Black Crowes’ Joel Robinow, Levitation Room take a new step in their story and vision with Strange Weather. The record’s lyrical narratives—about love in the park, life in the city, and the fact that “The world today is such an illusion”—are appropriately steeped in ’60s sonics and a dreamy, lo-fi atmosphere. It’s spacey, celestial guitar music for escaping into, and “it feels just like heaven.” Join Levitation Room on their new voyage.

We’re kicking off the new year in style with a fantastic new double header by RAXON. This Egypt-born, barcelonese powerhouse has left his scent marks all over the place in recent years. He has developed an instantly recognizable sound and that’s no small feat in these times shaped by so much formulaic dullness. “Your Fault” sees our Catalan hot shot in an exuberant disco mood. Mind bending chord progressions foiled with Raxon’s trademark vocal stutters guarantee for wonderfully twisted hands in the air moments. With “Beskar” we’re entering Star Wars nerd territory. Jedipedia says, Beskar is a uniquely resistant iron that develops a wide range of properties—and colors—in the hands of skilled metalsmiths. Alright. Musically speaking, we’re dealing with a stealthy, funky as hell trance-not-trance juggernaut. 2024 is off to a good start:)

Wir beginnen das neue Speicher-Jahr stilvoll mit einem fantastischen neuen Doppelwhopper von RAXON. Dieses in Ägypten geborene Kraftpaket aus Barcelona hat in den letzten Jahren überall seine Duftmarken hinterlassen. Er hat einen Sound entwickelt, den man sofort wiedererkennt, und das ist keine kleine Leistung in diesen Zeiten, die von so viel formelhafter Langweiligkeit geprägt sind. “Your Fault” zeigt unseren katalanischen Draufgänger in ausgelassener Disco-Stimmung. Verrückte Akkordprogressionen, gepaart mit Raxons Markenzeichen, der Stotterstimme, sorgen für wunderbar verdrehte Hands in the air Momente. Mit “Beskar” betreten wir Star Wars Nerd-Territorium. Laut Jedipedia ist Beskar ein besonders widerstandsfähiges Eisen, das in den Händen geschickter Schmiede eine breite Palette von Eigenschaften – und Farben – entwickelt. Nun gut. Musikalisch gesehen haben wir es mit einer verstohlenen, verdammt funkigen Trance-Not-Trance-Rakete zu tun. 2024 hat einen guten Start hingelegt : )

Warehouse find!

Infuse return for their first release of 2017 with a fresh new look and talent in the shape of Jack Wickham, who provides a VINYL ONLY 4 tracker of dance floor goodness.
'Exchange' kicks things off with a perky tech houser with an emphasis on groove whilst 'Kotone' delves deeper.
'Cos' keeps the energy high with a kinetic slice of tech-funk and 'Brick' rounds things off nicely with a brisk & sprightly romp.

This split release between Frustrated Funk and Indulge Records sees FF head honcho klen Ovatow reconnecting with Indulge's Oliver Kapp, a link that was established all the way back in the mid/late 90s. Celebrating with a remastered version of Kapp's Piston Rings (ME-01), one of the tracks that kickstarted the Indulge imprint in 1996. And on the FF side Ovatow reshaped Kapp's The Trail into a 12 minute deep dive. Obviously not your typical techno.. Beware!!..

Jovonn's Body N'Deep label kickstarts the year with the next in the series (Vol 4) of the sought after BND Projects. This release brings standout tracks from the like's of Jovonn (edited by Ben Rebel), Marc Cotterell, Matty Gillespie and good friend Jermias Santiago.

Der US-Rolling Stone wählte Dion 2008 auf #68 der 100 besten Sänger aller Zeiten. Seine größten Erfolge feierte er als Dion & The Belmonts in den 1950er und 1960er mit Hits wie "A Teenager In Love", "Runaround Sue" und "The Wanderer". Bis heute bleibt Dion DiMucci ein gefragter Rock'n'Roll & Blues-Sänger und Songschreiber und veröffentlicht nun mit "Blues With Friends" ein fantastisches Album mit prominenten Kollaborationen, darunter mit einigen der größten Rock- und Bluesmusiker weltweit. Die Liner Notes schrieb niemand geringeres als Bob Dylan. "Blues With Friends" erscheint auf KSTA Records (Keeping The Blues Alive), einem neu gegründeten Sublabel von Joe Bonamassas Imprint J&R Adventures, das 10% der Einnahmen an die KSTA Foundation spendet, eine Stiftung, die Musikerziehung in Schulen fördert.

People Of Earth strides into the New Year with a new project called The Elements Series. Part one welcomes some serious names, not least Detroit's ambient and techno master John Beltran who kicks off with 'Nuyorico' a joyous, chord-laced house groove laden with organic percussion. Javonntte's 'Tropical Feelings' is another of his textbook deep house cuts with whispered vocals bringing a spiritual vibe. Atlanta's main man Kai Alce does his do with the jazzy synth energy of shuffling house cut 'Benefit' (NDATL instrumental mix) then Byron The Aquarius pairs things back to dusty drums and humid chords on 'Sun Gods'. This one is only for the real heads.

Egil Kalman has levelled up on this one; we were stunned by his last solo opus, and on ‘Forest of Tines’, the bassist/synthesist has traded the EMS Synthi 100 for the Buchla Series 200, recording at Stockholm’s illustrious Elektronmusikstudion (EMS). Here, he builds on themes he explored on his debut with a generous 20 track double album that marks firmer lines between Scandinavian folk music and contemporary electro- acoustic minimalism.

Using woody, synthesised tones that gradually open into sawing wails, Kalman suggests harmonies that lie between the 17th century polska and earlier, pre-Renaissance sounds, mimicking the tonal and textural fluctuations of strings with advanced tuning and sequencing techniques. There are plenty of artists delving into the past to unravel their identity, but Kalman’s approach is refreshingly unadulterated. He recorded the entire set on the fly, using just spring reverb to add extra texture, without overdubs or modern DAW-style layering, the Buchla 200 played almost like an acoustic instrument.

There’s a glimmer of vintage acid on the lithe ‘Dub One’, a complex, rhythmic experiment that lashes its pulses together with willowy portamento slides. And on ‘Klystron’, he absorbs warehouse techno’s architectural oomph, splaying psychedelic, reverberating ascending sequences over jagged kicks; listen carefully, and there’s something else going on in the background too, as Kalman meets his stabs with flute-like echoes. It’s a peculiar cocktail of ideas and provocations: ‘Mbira’ finds the composer shaping his synth into dusty, fluttering hits that resemble the titular Zimbabwean finger harp, and on ‘Drums’, he pipes pre-recorded percussion through the system, triggering its oscillators and helping shape its rhythmic patterns. He’s most comfortable when he’s mines a hazier past, ‘Autumn Leaves’ is a mystickal, just intoned droner that harmonises with Mattias Petersson’s awesome ‘Triangular Progressions’, and ‘Subtines’ sounds as if Kalman has deployed his instrument in a subterranean crevice, resonating his rumbles around synthetic water droplets.

If it’s uncanny court music you’re particularly interested in, there’s plenty of that too. ‘Polska’ is another sublimely hauntological Swedish folk interpolation, while closing track ‘Ocquet’ appears to blur Kalman’s ideas more thoroughly, melting folk phrasing and peaceful, uneasy drones to draw us to a neat conclusion. Soft-hearted but animated, it’s modern electronic music that isn’t afraid of employing vintage techniques to suggest new directions.

The Horn Track was created by Missile Records founder Tim Taylor in 1992. Released on the iconic FFRR imprint it crashed into the rave psyche and has been an ever present since.

Influential to dance generations worldwide and sampled by the likes of The Prodigy and RL Grime, The Horn Track does not sound like any other track. The Original and Micky Finn remixes are remastered and joined by a kick ass drum and bass remix from Blade of ONE7SIX Records.

Warehouse find!

While the German producer Martin Matiske averages a new release under his given name every few years, there was a long stretch of time in which sightings of his Blackploid alias were much more rare. After dropping an EP for Frustrated Funk in 2006, fans found further material hard to come by over the next decade or so. However, Matiske has reinvigorated Blackploid in recent times, with the project making a few compilation appearances and dropping a couple of EPs across 2020.

That run now culminates inCosmic Traveler, a four-track affair which marks Matiske's debut appearance on Sheffield's Central Processing Unit. Given the long wait, it's great just to see Blackploid back among the fray once again. But for the project's CPU curtain-raiser to be an EP of such high-quality techno jams? Now that really is spoiling us.

Cosmic Traveler's title nods towards the sort of stargazing aesthetics one finds in classic Detroit techno. However, while there are undoubtedly ties to the Motor City in this music, the record ultimately steers less towards spacious atmospherics and more towards the taut, lean machine-funk of seminal practitioners like Dopplereffekt.

Matiske sets his stall out from the off. Opener 'Electric Engine' begins with a run of stiff-necked 808 kicks before hissing hi-hats, a grizzly bassline and all manner of futuristic sounds enter to warp the tune into hyperspace. Following cut 'Night Drive' repeats the trick of 'Electric Engine' but adds a pleasingly dinky synth lead in order to nudge itself slightly towards bleep-techno territory.

The two cuts on Cosmic Traveler's B-side are pure late-night goodness, a pair of mid-set heaters primed for dark basements. 'Pleasure Activism' delivers on the promise of its title and then some, pushing the Kraftwerk template to extremes by bringing a load of gnarly synth lines into play over a wobbling acidic chug. Finally, EP closer 'The Race' is reminiscent of both the twisted machine-funk of Gerald Donald's Japanese Telecom project and the playful modern evolutions of artists like fellow CPU high-flyer Jensen Interceptor.

The resurgence of Martin Matiske's Blackploid project continues withCosmic Traveller, an EP of timeless electro-funk and techno.

FFO: Dopplereffekt, Japanese Telecom, Jensen Interceptor, Cardopusher

Brasilian Producer Apoena kicks off 2024 in style for Hudd Traxx following an impressive back catalogue of releases on labels like Jimpster's Freerange and Jus Ed's Underground Quality.

Pure Feeling opens up proceedings in a deep and hypnotic style reminiscent of Ron Trent and Chez Damier's early releases on Prescription. Rico Balanço follows in a similar vain oozing with raw Berlin vibes, which is where Apoena currently resides.

The B side features In between the beat and the title track Mystic which are melodic trippy groovers for early hour vibes. 2024 is shaping up to be a big year for Hudd Traxx keep em' peeled.

Specimen Records will kick off with "Zero Plague" January 2024 after a long hiatus from 2022 through to 2024. Specimen are now proud to present such a prolific artist as MANASYt whose level production has reached so many labels, along with extensive Dj work throughout Europe.

Zero Plague - another neurovision broadcast by replicant agent MANASYt. The opener - is a dystopian death march anthem, guided by a rolling snare, thick kick and throbbing bass. Arpeggios sounding like wasps on acid hover in the background, adding to the atmosphere of imminent danger!
Angellust - a hectic breathless industrial electro monster. Fuzzy distorted bass is driving us through a dark desolate territory. Complete with chaotic claps, minor synth stabs, a siren-like clinical pad and Petar's hopeless vocals (reminiscent of his days fronting metal bands).

Next is the Pestilent Mix for SNS Sensation new wave masterpiece "Mirror Radio". Sebastian is also the voice of UK duo Heartbreak (with synth wizard Ali Renault). Petar says : "It's a very impulsive work that sounds nothing like the original! Blending two different beats, mangled voices and psychotic off-kilter leads. Total madness."

First on the flip is the Novichok Mix for Poladroid. Petar and Vadim go way back to Roulette Rekordz in 2003, so this colab is natural, to say the least. It's the only time where the tempo slows down a bit on this EP. Bubbling worm-like bass, metallic percussion, cold windy pads and a classic electro lead take you on a journey to a soulless barren planet.

At last "In Deep Tongues". A heady schizophrenic exercise. A commanding beat, a grotesque polka bass followed by a paranoid synth lead pull you through a darkened maze with no exit. Underwater gurgles and fearsome corroded effects fill the air, no escape!

After 20 years, MANASYt hasn't slowed down or mellowed his intense immoderate sound one bit! And "Zero Plague" is undoubtedly a true testament to that!

He is an artist who couldn't care less about trends or hype, and whose main driving forces authenticate passion for this genre. Some of his tunes resemble future horror movie soundtrack, others a visit to a mental clinic, but most sound like what hostile aliens would listen to while attacking Earth.

Bulgarian dark mastermind Petar Tassev Manayst has been rocking his brand of Nuroelktro since 2003. He is responsible for a vast array of menacing titles on labels such as Touching' Bass, Kommando 6, Musar, and the infamous Bunker, along with 40 others.
MANASYt is currently based in Xiamen, China.

Culled from three 1985 gigs in the UK during a transitional and transcendent time in the band’s story, Sonic Youth’s The Walls Have Ears appeared / disappeared as a 2LP set in 1986, not just a live album but an artful tapestry full of live experimentation with songs, between-song tape segues, darkness, humor and audio verité. It’s now issued for the first time officially under the band’s auspices.

The ’85 shows were the second time the band appeared on UK soil, Brits now getting juiced to the mythos of the emerging guitar-slinging American independent underground; an art / punk band from NYC sporting casual attitudes and tees sporting Bruce Springsteen, Madonna, and Prince made some good press copy on top of their bludgeoning stage appearance. Paul Smith of the newly-founded Blast First label acted as an overseas diplomatic envoy for Sonic Youth through their SST years as well as issuing their classic 1988 Daydream Nation outside the USA. However the Smith-produced ‘bootleg’ of their ’85 UK gigs surfaced much to everyone’s surprise, just before EVOL was to be released. It turned out to be a marker of the group’s dissatisfaction that ultimately led to the release’s deletion, and the band and Smith parting ways after Daydream.

In this 2LP set brimming with primitive classics like ‘The Burning Spear,’ ‘Death Valley 69,’ and ‘I’m Insane’ (uncredited on sleeve), segues and live guitar changes ooze together threaded by Madonna tapes and vocal loops off the board (somewhat a necessity for distraction until the band had a full fledged stage crew to prepare guitars). The first two sides of Walls are massive, cavernous, with newly-drafted drummer Steve Shelley. SY tear it up especially on one trash-fi excerpt of ‘Blood On Brighton Beach’ (actually ‘Making The Nature Scene’) from a legendary outdoor gig November 8th where Thurston Moore, Kim Gordon and Lee Ranaldo’s guitars treble-blast dissonant shockwaves over the black-stoned beach of Quadrophenia fame.

The record’s second slab spotlights an April 1985 at London’s Hammersmith Palais and was one of the final appearances live of Bob Bert on drums, again featuring some molten takes on ‘Brother James,’ ‘Flower’ (listed as ‘The Word (E.V.O.L.)’), and others. This document remains an essential representation of some lean and mean years of the quartet’s throttling march out into the world. (by Brian Turner)

Culled from three 1985 gigs in the UK during a transitional and transcendent time in the band’s story, Sonic Youth’s The Walls Have Ears appeared / disappeared as a 2LP set in 1986, not just a live album but an artful tapestry full of live experimentation with songs, between-song tape segues, darkness, humor and audio verité. It’s now issued for the first time officially under the band’s auspices.

The ’85 shows were the second time the band appeared on UK soil, Brits now getting juiced to the mythos of the emerging guitar-slinging American independent underground; an art / punk band from NYC sporting casual attitudes and tees sporting Bruce Springsteen, Madonna, and Prince made some good press copy on top of their bludgeoning stage appearance. Paul Smith of the newly-founded Blast First label acted as an overseas diplomatic envoy for Sonic Youth through their SST years as well as issuing their classic 1988 Daydream Nation outside the USA. However the Smith-produced ‘bootleg’ of their ’85 UK gigs surfaced much to everyone’s surprise, just before EVOL was to be released. It turned out to be a marker of the group’s dissatisfaction that ultimately led to the release’s deletion, and the band and Smith parting ways after Daydream.

In this 2LP set brimming with primitive classics like ‘The Burning Spear,’ ‘Death Valley 69,’ and ‘I’m Insane’ (uncredited on sleeve), segues and live guitar changes ooze together threaded by Madonna tapes and vocal loops off the board (somewhat a necessity for distraction until the band had a full fledged stage crew to prepare guitars). The first two sides of Walls are massive, cavernous, with newly-drafted drummer Steve Shelley. SY tear it up especially on one trash-fi excerpt of ‘Blood On Brighton Beach’ (actually ‘Making The Nature Scene’) from a legendary outdoor gig November 8th where Thurston Moore, Kim Gordon and Lee Ranaldo’s guitars treble-blast dissonant shockwaves over the black-stoned beach of Quadrophenia fame.

The record’s second slab spotlights an April 1985 at London’s Hammersmith Palais and was one of the final appearances live of Bob Bert on drums, again featuring some molten takes on ‘Brother James,’ ‘Flower’ (listed as ‘The Word (E.V.O.L.)’), and others. This document remains an essential representation of some lean and mean years of the quartet’s throttling march out into the world. (by Brian Turner)

He's back - again! Years after the end of the Heisei era, the big G came back to film in 1999 with the first of a new era: GODZILLA 2000: MILLENNIUM. Directed by Takao Okawara (GODZILLA VS. DESTOROYAH), a new look Godzilla is still harassing Tokyo, with the Godzilla Prediction Network out there trying to figure out where he'll show up next. To make matters worse, the government's Crisis Control Intelligence care more about firing missiles, but everything changes when they discover a mysterious meteor has a UFO inside. All of this results in Orga, a kaiju made from Godzilla's DNA, and of course it's up to the Big G to kick its ass back to space. Scoring GODZILLA 2000 was Takayuki Hattori, who had previously composed 1994's GODZILLA VS. SPACEGODZILLA. Hattori's music is very much about mood; the composer brings a sense of lyricism to proceedings, but of course, he also knows how to get us excited for Godzilla's appearances. Hattori does that with a spectacular new theme for the Big G that perfectly captures the creature's grandeur and immense power. There's also a fantastic piece for the UFO that has a wonderfully primevil beat, and of course, Akira Ifukube's classic theme for Godzilla returns in a big way. A perfect start to the Millennium era! (Charlie Brigden)



Artwork by Matt Ryan Tobin

2X 140gram Eco-Vinyl