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The saga continues. With his second V/A vinyl release, Giano Electronics has the pleasure to host a great producer like Teslasonic with a proper electro-bomb, also joined by stunning electro tracks from Direct Y, the acid duo Twist Head Groove, Stefano Rocchi and iQbit’s atmospheric vibes.

Artwork by Abu Qadim Haqq
Masterd by Andrea Merlini
Future sounds from the eternal city

Germano Ventura is an Italian DJ, Producer and owner of the record label HOWL. A resident at the famed Circolo Degli Illuminati club in Rome, his busy touring schedule sees him play at some of the country’s most iconic venues such as Il Muretto in Jesolo and Cocoricò Riccione, sharing the decks with artist like Ricardo Villalobos, Zip and Loco Dice. Known for his dark and minimalistic style, his productions often take inspiration from early House tracks, even more so here in his debut EP “Mai Day” for Memento. The title track’s swinging groove and percussions match catchy New York House vocals, a nod at what could be heard at the Big Apple’s clubs Studio 54 and Limelight. “Time 22”pounding drum sounds and raw beats bring on funky sounds reminiscent of the ball room scene seen in the documentary Paris is Burning, while closing track “F8” boasts hip-hop vocals and some naughty electro-disco melodies, ready to cause some serious voguing on the dance floor.

Following on from September's "Sonic Underworld EP" by Shlomi Aber & Kashpitzky, James Ruskin's label delivers another first as Chloe Lula presents her Blueprint Records debut with the "Torpor EP".Her debut on Blueprint, "Torpor" is a reflection of her stylistic evolution, bringing the sounds of ambience and synths into a clean, contemporary techno framework.



Chloe is a resident DJ at Tresor. She's played at Berghain, Boiler Room, Khidi, Movement weekend in Detroit, and countless clubs, festivals and parties across Asia, Europe, and North and South America alongside artists like Kanding Ray, Helena Hauff and Lewis Fautzi, becoming known for atmospheric, acidic sets that dig deep into the niche recesses of techno. In addition to her career as a DJ and producer, Lula is a cellist-her debut instrumental full-length will be out on James Ginzburg's Subtext label in November 2024-and the senior producer of Resident Advisor, where she hosts and curates panels and interviews as a broadcast journalist at festivals like Nuits Sonores, Dekmantel, Unsound, Rewire and more.

Her debut on Blueprint, "Torpor" is a reflection of her stylistic evolution, bringing the sounds of ambience and synths into a clean, contemporary techno framework. A lifelong reader, each track-and the EP's name itself-pays homage to a book or piece of writing that has been influential in her development as a writer and an artist.

Kerri Chandler joins forces with Nae (SA) for new single ‘Caged Bird’, accompanied by remixes from the widely beloved Atjazz, and Moplen.

Leading the release is the ‘Full Vocal Media Mix’ of ‘Caged Bird’, which sees Kerri Chandler lay down emotive piano melodies, organic drums and atmospheric strings alongside soulful vocal stylings from South Africa’s Nae.

Up next is Italy’s Moplen, producer for the likes of G.A.M.M. and Lumberjacks In Hell delivers his twist on ‘Caged Bird’, shifting gears into more classic house realms, infusing drifting keys, weighty lowend tones and heavily swung drums and violin melodies with the original’s smooth house aesthetic.

On the flip side is the first ‘Atjazz Remix’ of ‘Caged Bird’, a nine minute cinematic excursion from the British composer, embracing the soulful fragments of the original and twisting them into a slow burning, subtly evolving nine minutes delicately detailed with sweeping echoes, reversed reverberations, crisp percussion and choppy stab sequences. An ‘Atjazz Remix Instrumental’ follows, as the name would suggest stripping away the vocals.

A sense of destiny hangs over Sentir Que No Sabes, Mabe Fratti’s fourth solo-credited album released in a five year span. Her work has always possessed a finely tuned sense of drama capable of expressing a range of emotional states, and across this new album, she conveys the struggle to process various relationships or situations–and the actions that come next. Sentir Que No Sabes is urgent and clear, poppy, generous and approachable, while showcasing a considerable emotional hinterland. It is also, as Fratti is quick to mention, “groovy.”

Written and recorded with her partner, multi-instrumentalist, and co-composer Héctor Tosta (I.La Católica, Titanic), Sentir Que No Sabes is the result of an intense, detail-oriented process. Fueled by a new confidence gained in their collaborative project, Titanic, and its critically acclaimed 2023 LP, Vidrio, the two hunkered down in the familiarity of their studio (aka Tinho Studios) to bash out the initial sonic coordinates of her new record. “We talked and talked, and discussed ways of playing and recording, until things became inevitable,” Fratti explains. “We recorded a bunch of demos at our home studio and that meant we had a lot of time to re-edit and experiment. We really dug in. We were super focused on detail.” Tosta also took up the controls as producer and arranger-in-chief for all additional instruments. The album was later completed at Willem Twee Studios in Den Bosch in the Netherlands, and Pedro y el Lobo Studios and Soy Sauce Studios, in Mexico City.

For the final studio recordings, the pair were joined by drummer Gibran Andrade and trumpetist Jacob Wick to fill out and expand on Tosta’s percussion and brass arrangements. This small group of friends were able to work quickly and openly, and without fear: a testament to the exhaustive groundwork put in at Tinho Studios. This can be heard in three short, intermediary tracks that also manage to be the most aggressive on the record: “Kitana” (a scratch-laden instrumental that acts as a strange prelude for the last track, “Angel nuevo”) and a pair of two-minute instrumental interludes, “Elastica” I and II. None are throwaway mood pieces; rather they act as emotional cue cards, and hint at the way Fratti and Tosta created the overall atmosphere of Sentir Que No Sabes.

A strong sense of rhythm irrigates the sound from the jump, as heard on the glorious opening track, “Kravitz.” Here, the brilliant plucked cello line acts as a bassline and props up the steady thump of the kick drum. The cello’s growl serves as a conduit for a set of slightly paranoid lyrics that tell us “Quizás haya oídos en el techo” (“maybe there are ears in the ceiling”), while the song also introduces another staple of the record: the clever brass stabs, whistles, parps, and other interjections that paint a canvas of traffic in a city. It’s a postmodern, widescreen sound that for some might recall The Blue Nile’s Hats.

Sentir Que No Sabes is a record full to the brim with a modern pop sensibility, invoked by the sort of magpie spirit that ensnares anything it can find, repositioning sounds for the here and now. The keys and melody on the melancholy “Pantalla azul” (“Blue screen error”) transport us back to the glossy mid-1980s. “Oídos” (“Ears”) is a beautiful slice of contemporary, hybrid pop, in which Fratti’s vocal lines delicately spin themselves around the lean structures erected by the brass and drums, and the descending “plink” of a set of piano chords. Then we have a gloriously strong ending with the swell of “Angel nuevo” (“New angel”), another cinematic track full of gentle, instrument-rich swells and eddies that manages to be almost endless in its range–and yet intensely personal, as Fratti’s voice is close, almost whispering in your ear. A much needed lullaby for our fractious times.

The lyrics, for their part, have a stop-start quality to them, and hint at the small, incremental emotional taxes we pay through just living our lives. They circle around the music like birds waiting to swoop. There is something of the spiritual in all of Fratti’s work that expresses itself in a form of yearning: she looks to new horizons while personal dramas find themselves internalized, contextualized, and then dealt with through metaphor. Here, she was keen to mention Tosta’s constant encouragement in her finding a path to best sing or phrase her words to impart their maximum effect. “Hector was super inquisitive about my lyrics and asked me questions about what I meant, which sometimes is something you don't wonder so much about in isolation,” Fratti explains. “Besides, he is a great poet, and you can see that in what he did on the Titanic record. This made me go deeper into my lyric writing and definitely transformed it into something that I feel super happy about now.”

Take “Enfrente” (“In Front”), a track that initially comes across as a languid, glossy number, with plucked cello strings standing in for a bass line and brittle synth parts. Soon we catch on to a brilliant minor chord switch, which mirrors the fear and doubt expressed in the lyrics as someone “trembles up to the podium” in a “search for meaning.” There’s also the startling introduction of a vocoder in “Quieras o no” (“Whether you want it or not”); it comes precisely at the point Fratti sings “Quieras o no es un desastre” (“Whether you want it or not, it's a disaster”). Moments like these leave room for interpretation and, over time, create a strong bond between the listener and the record.

In fact, across Sentir Que No Sabes, each phrase–whether instrumental or vocal–becomes at some level emblematic of acts and moods that impart deep emotional significance. We see this best on “Intento fallido” (“Failed attempt”), which could be the score to feeling trapped in self-doubt, only to suddenly be sprung free by the song’s gloriously upbeat ending. On “Márgen del índice” (“Index margin”), the quicksilver switch between initial disharmony and a beautiful melody is breathtaking, all augmented by evocative arrangements, textured production, and the slightly playful, gnomic lyrics. The track’s emotional ecosystem allows another brilliant ending, which uses the simple repeated phrase, “Cómo lo va a ver?” (“How are you going to see it?”).

So what to make of Sentir Que No Sabes? High gloss Pastoralism? The sound of a city-bound, post-post modern soulscape? No matter the emotions evoked, it's the work of an artist coming into their own, and creating a benchmark record.

Leya Touch & soFa elsewhere aka Dream Baby Dream combine their left-of-centre musical perspectives on an otherworldly new self-titled album that arrives on Hell Yeah this September and will get a Japanese domestic release on CD. The duo's beguiling mix of occult synths and treated vocals ride dubbed-out mid-tempo rhythms on a retro-futurist record that blends cold wave, cosmic disco, dub and trance.

Dream Baby Dream describes themselves as "two children who refused to grow up" and now they offer a glimpse into their very own fantastic land of dreams. This journey into diverse flavours spontaneously started after a cosy dinner and after just three sessions resulted in the album presented here. Playful yet sometimes gloomy, this music echoes life, both imaginary and real - the highs, the lows, the dark moments and the joy, trance-inducted love zones, daydreams and everything in between. It is a coherent hole but one filled with surprising turns, moments of deja vu and plenty of outsider dance floor delights.

Leya Touch is a rising voice and live act on the Brussels alternative scene. Together with soFa, a veteran DJ and producer who released on many forward-thinking labels worldwide, they provide signature vocals and synths that challenge typical genre categorisations.

Opener 'Love Zone' sets a strangely seductive basic channel vs dreamy pop vibe with wispy cosmic melodies and oodles of echoes as Touch's vocals draw you in. Lose limbed percussive jumbled and sci-fi motifs define 'Badalamenti On Fries', 'Curry Con Sax' has an avant-guard sense of soul and melodic curiousness and 'Diskoteka' is a jittery mix of retro synth sounds and whispered vocal coos that shimmer like stars in the night sky. Elsewhere there's the malfunctioning Kraftwerkian electronics of 'Körperkonsum', goa-filter madness of 'Banana Trance' and the eerie interplanetary dub of 'Carpenter On The Beach' while 'Whale Rider' and 'The Rude Red Lady' bring warped lines and enchanting vocalisations that sound like nothing you have heard before.

This is an exultant album of new musical rituals, tiny soundscapes, dehumanised words and combinations of the past, present and future that never fail to excite and intrigue.

Limited to 300 copies

We are honored to present a proper house music classic from 1991 to y’all which was huge back in the day and we had the pleasure to re-vamp for today´s house heads: Urban Soul ft. Roland Clark- Alright! This project is a brainchild from one of house music´s most prolific figures, Roland Clark, who actually wrote and produced the original track that we all love. Vocal credits also go to Roland and to the late Ceybill Jeffries. The remixes on this beauty are rather huge! First up Baltimore´s finest DJ Spen and MicFreak team up and do a masterclass on remixing, what a soulful house monster, beautiful new chords and a baseline to die for. One of Peppermint Jam´s first artists on the roster, Mellow Man, just couldn´t stop and delivered a fantastic remix with that jackin´ groove which puts us back right to the glorious days of house music in the naughties. Vinyl Only Mixes!

It´s allllllllllllllllllllright!

Wellington, New Zealand-based producer, drummer and band leader Cory Champion aka Borrowed CS delivers his second release on Planet Trip Records ~ Rise N Shine EP, expanding the infectious outsider boogie sound he explored on ‘Mystic Shuffle’ (off 2020’s Balance/Ascend EP) into a six-song suite of neon-lit machine funk, mutant post-disco and uptempo future soul. Draped in synthesisers that sparkle and glitter like summer sunlight hitting the harbour waters, the programmed Roland TR-606 drums and keyboard bass on these club tracks absolutely snap, wobble and groove.

From the space-aged melodies and throwback electro bounce of ‘All My People’ (featuring the pioneering British electronic soul vocalist Steve Spacek) to the dialled-in dancefloor weaponry of the title track and ‘Potplant’, the A-side of Rise n Shine unfolds like Friday night at a 1980s roller disco. On the flip, Champion reconnects with the idiosyncratic Māori singer-songwriter Mara TK to pen another golden-voiced chapter in the hi-tek South Pacific future soul story with ‘Hearsay’ before diving into some deep mid-tempo body music on ‘Subsonix’ and ‘Mystic Dream’. One for the dancefloor dreamers, Rise n Shine, will be available in 12” vinyl (limited to 300 copies) and digital versions.

Open Space is proud to present our first ever full-length LP by LA’s newest 3-man band, Puli. Some words from our dear friend Matt McDermott below:

In recent years, a cadre of musicians from the east side of Los Angeles have reestablished the city of angels as the first city of Balearica. Alex Ho’s “Move Through It” followed in the lumbering footsteps of Project Sandro’s “Blazer.” Now, there’s a new landmark for the floating west coast sound. Swirling, the first album from LA supergroup Puli.

If you’ve got your ear to the ground you know the names involved here. Drummer and producer Damon Palermo’s pedigree stretches back a good 15 years or so, starting off with dub punks Mi Ami. Phil Cho is one of the busiest DJs, musicians and advocates for the deep stuff in LA, throwing legendary hillside parties under the Third Place banner. John Jones, the preternaturally talented guitarist and electronic tinkerer, records as AV Moves, is a key member of the Suzanne Kraft and Baba Stiltz live configurations and plays in The Trilogy Tapes-affiliated act Geo Rip.

But this listing of personnel and credentials puts too fine a point on it. Puli are three close friends who go to parties, DJ and get tacos together, repairing to their Chinatown studio a few times a week and coming out with remarkably textured, idiosyncratic downtempo jams. Building off the solid foundation of their 7-inch of heavyweight dubs for Melbourne’s Constant Delay, Swirling is an exploration of new horizons in chill out.

“Ramona” acts a statement of purpose—with halftime/double-time dub-tinged rhythms, hazy yet bright synth motifs and atmospheric guitar from Jones, not terribly far from the expansive approach of Japanese dub aesthetes Pecker. “Cloudy,” meanwhile, is a sort of deconstructed and bittersweet Balearic pop featuring Cho’s ethereal vocals. “Bongo Springs” is steppers’ house not far from close LA peer Benedek or the Mood Hut crew up north.

But what truly sets this record apart is the space and layers in the production—while it’s nominally an electronic record, Puli is a band that has slowly crafted these songs in the rehearsal space. “Havana Jam” cruises along a sliding roundwound bass guitar take with dubby chords and textural guitars. Palermo’s hand drums and live percussion enmesh perfectly with icy pads on “Leech Seed Dub.” Cho is back on the mic for the gorgeous closer, “C.S.B.”, underpinned by breakbeat and trunk-rattling sub bass. Puli doesn’t sound like anyone else, and is ultimately reflective of the city itself. Listening to Swirling feels like navigating a warren of side streets in the eternal sunshine. Take the drive and dive.

Now celebrating 20 years since the original release of 'Salsoul Nugget' in April 2001, M&S enlists Mighty Mouse and Mark Knight for some amazing remix to celebrate this milestone anniversary.

Mighty Mouse pulls out all the stops with expertly chopped vocals and loops that builds intensity with a breakdown that is equal parts intense and euphoric and is sure to get the club absolutely heated.

With a career that spans across two decades, DJ & Grammy-nominated producer and Toolroom head honcho Mark Knight jumps on board the Salsoul Nugget mix package. It's fair to say Mark Knight knows his way around creating records that connect with house music lovers. 2020 highlighted Mark Knight’s more soulful house roots and follows his desire to create timeless dance records that stand the test of time, including the Sunday Shouting sampling 'All 4 Love' (feat Tasty Lopez). 2021 saw the release of ‘Everything’s Gonna Be Alright’ with Beverly Knight and the London Community Gospel Choir. For his mix of Salsoul Nugget, Mark beefs up the drums for the main rooms while being respectful to the original.

The original vocal and original extended vocal mix and original extended Klub Mix are on the flip.

They’re Only Chasing Safety is the fourth studio album by American melodic hardcore band Underoath. It was released on June 15, 2004, through Solid State Records. Following the release of their third studio album, The Changing of Times (2002), half of the band's members were replaced. After finalizing the line-up with vocalist Spencer Chamberlain, the band recorded They're Only Chasing Safety with producer James Paul Wiser (Dashboard Confessional, Further Seems Forever, Paramore). In the heavy and punk music scene, the album is considered a watershed moment.
The blend of heavy metal and hardcore influences with a strong pop/punk sensibility spawned a new branch of heavy music. The sound eventually became synonymous with the scream scene of the mid-2000s. The record went gold in 2011

Exploration, collaboration and curiosity define the rhythm at the beating heart of Mehmet Aslan’s exemplary compositions. The Swiss-born producer of Turkish heritage has already forged a singular path through production, DJing and full-band performances, navigating the more esoteric corners of Berlin’s club culture without sacrificing his musical heritage or innate creativity.

A conceptual new LP ‘Auguri’ follows on from 2021’s gnomic, ornate ‘The Sun Is Parallel’, which saw Aslan musically associate with the likes of Valentina Magaletti and Niño De Elche. ‘Auguri’ also has its foundations in collaboration, born out of a musical lab at Lyon’s annual
Nuits Sonores, the forward-thinking festival with whom Aslan has maintained a lengthy creative relationship.

The resulting audio-visual performance, ‘Bird Signals For Earthly Survival’ introduced Aslan, to the Greek filmmaker Stratis Vogiatzis. Drawing on the philosophy of Donna Haraway and envisioning new ways of being, of living on earth, Aslan and Vogiatzis crane their necks to the sky to witness flocks of birds performing spectacular movements in unison. Fluid and ancient, their organic waltz provides inspiration for Aslan’s extension of the project, spanning sonic shades of electro, ambient and modern folk psychedelia.

On the coastline of Vogiatzis’s home country of Greece, as in many places across the world, climate change threatens to effect the ancient migration pattern of millions of birds, just as their fellow beings on terra firma become increasingly entangled in a man-made disaster of their own creation. In unison, ‘Auguri’ is adorned by artwork from designer Xavi Bou. Known for his ‘ornithographies’, this striking visual captures avian life not only as a force, but a wry observer.

“We need to transform our connections with other living beings to protect the Earth and live together harmoniously”, reflects Aslan. “Personally, this project has made me more sensitive to this issue. I wanted to give back in return for the inspiration I've received."

Perhaps upending expectations of a more traditional ‘ambient’ album, Aslan commits some of his finest compositional work and understated songwriting to this urgent imperative, creating original music that nonetheless, has nature flowing through it. ‘Critters’ presents a spectral sound collage on which Aslan himself speaks from the texts composed at the residency, conjuring visions of “the birds flying… shape of the future”. Meanwhile, the undulating, psychedelic ‘Pigeon Blinks’ takes inspiration from more domestic scenes, charting the unexpected roosting and hatching of an egg on a kitchen window, while ‘Auguri’ gives the album it’s title in connecting to a higher plain, demonstrating Aslan’s ability to lure melody and catharsis from looping hypnosis.

Opener ‘Spectra’ provides a forceful, almost industrial breakbeat that establishes the exigency of the album as well as its sense of wonder, while ‘Euphoria’ reaches the potency of its promise slowly, with Aslan’s modular melodies meeting the flourishing percussion of guest player and multi-instrumentalist, POPP. Finally, ‘Aura’ delivers a cinematic conclusion, mixing an elegiac organ motif, haunting guitar chords and the prophetic sense of a scorched earth. Here, with patience and soaring production, Aslan once more makes the abstract and the unthinkable somehow tangible, mixing in sampled birdsong.

Accordingly, ‘Auguri’ is being released in accordance with EarthPercent, the music industry’s climate foundation, co-founded by Brian Eno. A portion of the album’s publishing will be credited as part of ‘The Earth As Your Co-Writer’ initiative, allowing artists to directly credit The Earth in their new compositions. Here, streaming and publishing from Aslan’s recorded sounds are automatically paid back to a number of vital initiatives worldwide.

Leaning into some of the most vital questions and anxieties of our time, ‘Auguri’ is not a project without a sense of hope. From studio to sea, Mehmet Aslan continues to look to the skies and beyond.

Two amazing jams! The Perpetual Singers are a collective of gospel singers from Amsterdam - both songs produced by Arp Frique.

Supported by Gilles Peterson, Louie Vega, Antal, Lerato, Tama Sumo, Palms Trax, Gigi Testa, Hunee, Coco Maria, Josh FB + + +

"Hot Love It" - Lerato
"Amaaaazing" - Tama Sumo
"Ah amazing!" - Palms Trax

UK producer Lex Wolf joins the RNT roster with a searingly hot EP of summer bangers! Known for his recent superlative output on the Make-A-Dance crew’s MAD Edits series, Lex brings his signature sample-heavy touch to this quartet of club and festival-ready tunes. Sounding a bit like Bob Sinclar over tough electro production, ‘Get Into The Sound’ starts the record off with a party then moves to the genre bending ‘Russle Love,’ with its melancholic vocals floating over a pulsating rubbery bassline. On the flip, ‘Warmer’ takes us into darker latenite territory with heavy low-end, stabby 80s synths and abstract vocal samples, and the record finishes off with the whimsical and effusive Sendsome, a plucky-guitar and horn driven earworm of an Afro edit. Classic RNT white label design with a special hot pink sleeve…because this baby is HOT!

La Nota Del Diablo welcomes Lugano's rising talent Matthew Dexter with a diabolical two-tracker that showcases the producer's extensive skills in creating a balance between rich synthesis, intricate construction, drive and ethereal atmospheres, leaning towards the darkness with the dancefloor in mind.

Mood Waves 010 by Ilkay Yeler! We are proud to be releasing another debut EP by a very talented producer! A friend and a resident at the famous Buerro club! Expect 4 unique tunes that represent the Mood Waves vibe:)

Theme: collaboration. Or how to remain creative in the modern world. Nanocluster started as a bespoke one off pop up gig that turned into an album series. Built around Colin Newman from acclaimed UK post-punk band Wire and his partner in life and sound Malka Spigel from Minimal Compact with various guests, they define collaboration. Colin met Malka when he produced her band in 1985.The collaboration started there. They became a couple and created their own projects like the instrumental electronic duo Immersion in 1994 and Githead in 2004 - spaces where they both 'feel really comfortable.' Growing out of Immersion, Nanocluster was birthed as a series of one-off gigs at the Rosehill in their new hometown of Brighton in 2017 with an added cast of influential and cutting edge musicians. These were not ad hoc jams. The songs had been written and rehearsed prior to each performance. This adventure led to a debut album, Nanocluster Vol 1, released in 2021 with Stereolab singer/guitarist Laetitia Sadier, German post-rock duo Tarwater, electronic musician Ulrich Schnauss and experimental artist Robin Rimbaud (Scanner). Released again as double 10 inch with each collaboration taking up each disc, the new album Nanocluster Vol 2 has further developed this idea with a stark beauty that sounds like a future pop with sleek lines and unexpected great melodies. Disc one is built around Thor Harris, the charismatic percussion player from Swans and many other projects, who they met and performed with at South By South West in Austin, Texas in 2023. Thor adds ideas, his tuned percussion instruments, clarinet and trumpet to the sessions. Disc two is built around Cubzoa (Jack Wolter from the band Penelope Isles) who brings his musical craft, beguiling voice, guitar and much more. Meanwhile Matt Schulz from Holy Fuck plays drums across both combinations helping the resulting music become a third entity. What results is a true collaboration that, enhanced via Immersion's production, merges its elements to develop a new harmony. Key to the process is Colin and Malka's radio show for Slack City radio, 'Swimming In Sound' with its entertainingly diverse playlist that has widened their horizons. It's also helped build relationships not only with these collaborators but also musicians like ambient country masters SUSS, with whom they plan an extended Nanocluster tour in the USA with in 2025 and Brighton via Falmouth's "jangly pop punk" Holiday Ghosts with whom they will perform the next Nanocluster event in their hometown, as well as many more in the pipeline. Malka: 'Nanocluster is collaboration but in a very specific form. We don't have rules. It's a series of creative snapshots. We start as the gig with our collaborators with tracks that we rehearse because this is not a jam and where it stops is an album.' Colin: 'It's chemistry & music. Malka & I operate as a team and now we've taken it to another level. Malka comes from a band where they would stand in a room together and work out the material. In Wire, I would present the songs, so when Malka and I first started working together, we had to find a third path, and that was the concept behind our collaboration.' Nanocluster Volume 2 is a 21st century collusion of shared ideas, creating a momentary extended musical family. It's about musical and personal relationships and the meeting place in the middle. A temporary band of house guests. The place where Immersion happens.

For over a decade, Mako has been a distinctive presence, both as an individual and through his music, a talent we've proudly showcased at Metalheadz.



This September, we are honoured to release his third album on the label, and his second solo endeavour, which serves as a seamless continuation of his earlier work. His 2020 album, 'Oeuvre', represented years of dedication and refined production, solidifying Mako's esteemed place within the Metalheadz family.



Now, four years later, we're thrilled to present 'Oeuvre – Part 2'. This 12-track album is a celebration of Mako's deep passion for music, while also reflecting his sometimes disillusioned views on a modern era that often seems to pass us by. In a world where individuality can struggle to shine amidst an overwhelming flood of content, Mako's superior production stands out as a beacon, demanding not just recognition, but active listening.



Mako's commitment to his musical community is evident throughout the album, with contributions from long-time collaborators Fields, Hydro, Villem, and Mikal, each bringing their unique expertise to the project. The album also features a special collaboration with the late Marcus Intalex, a friendship that blossomed in the years before Marcus' untimely passing and one that continues to bear fruit.



Diving into the heart of the album reveals Mako's charm as a producer: from the captivating vocals in 'Feed You', the sleek homage to techstep in "Suspension', to the pure dancefloor energy of 'Direct Source', a track long favoured by Goldie. As expected, Mako also delivers deeper, more contemplative pieces like the album's opener 'True Expression' and the graceful melodies of 'Overshare'.

For over a decade, Mako has been a distinctive presence, both as an individual and through his music, a talent we've proudly showcased at Metalheadz.



This September, we are honoured to release his third album on the label, and his second solo endeavour, which serves as a seamless continuation of his earlier work. His 2020 album, 'Oeuvre', represented years of dedication and refined production, solidifying Mako's esteemed place within the Metalheadz family.



Now, four years later, we're thrilled to present 'Oeuvre – Part 2'. This 12-track album is a celebration of Mako's deep passion for music, while also reflecting his sometimes disillusioned views on a modern era that often seems to pass us by. In a world where individuality can struggle to shine amidst an overwhelming flood of content, Mako's superior production stands out as a beacon, demanding not just recognition, but active listening.



Mako's commitment to his musical community is evident throughout the album, with contributions from long-time collaborators Fields, Hydro, Villem, and Mikal, each bringing their unique expertise to the project. The album also features a special collaboration with the late Marcus Intalex, a friendship that blossomed in the years before Marcus' untimely passing and one that continues to bear fruit.



Diving into the heart of the album reveals Mako's charm as a producer: from the captivating vocals in 'Feed You', the sleek homage to techstep in "Suspension', to the pure dancefloor energy of 'Direct Source', a track long favoured by Goldie. As expected, Mako also delivers deeper, more contemplative pieces like the album's opener 'True Expression' and the graceful melodies of 'Overshare'

Jean-Phi Dary's much-anticipated *MIND* project gets its first release with the *For Peace Remixes EP*. The record is set for release on September 20, 2024, via Comet Records. Featuring the extraordinary talents of French producer *I:Cube*, who brings his extensive expertise in the electronic scene to reinterpret Dary's original MIND compositions in his own unique way.
The record opens with a masterful blend of rhythmic precision and electronic depth, infused with Dary's signature style with a mindful, meditative quality. This 3-tracker delivers a dynamic and immersive experience with *I:Cube* signature rhythmic excellence and sharp focus on dance floor ready grooves.

Jean-Phi Dary, a producer and keyboardist with deep roots in Paris, London, West Africa, the Caribbean, and the United States, has crafted his debut project MIND to serve as a culmination of his musical journey. With sounds inspired by legends such as Herbie Hancock, Wally Badarou, and Brian Eno - Dary's work is bedded deeply in the modern modular synth culture and enriched by his collaborations with renowned artists like Tony Allen, Papa Wemba, and Jeff Mills - who Jean-Phi is currently collaborating with on "Tomorrow Comes The Harvest" with their album Evolution out last year, soon to be followed by a worldwide tour in 2024!
His innovative use of technology and analog instruments, combined with the unique contributions of I:Cube make the *For Peace Remixes* a notable release.

*Artist Quote* "I had the opportunity to use magnificent samples of the voices of singers from the Maroni River in French Guiana on certain tracks, these voices of the Bushinengé people reconnect me to my Guyanese and neg-maroon origins, my mother was born on the river and my father grew up in the Amazon region..”

Powerful duo Henri Bergmann and Wennink make their Crosstown Rebels debut with ‘Guardian Angel’. Stimming and Hardt Antoine take the single to darker territories on their remixes.

Magnetic husband-and-wife duo Henri Bergmann and Wennink blend Bergmann’s taste for melodic realms with Wennink’s etherealv vocals and experimental left-leaning sound. Focusing on supporting up-and-coming talent via her label Automatik, Bergmann has also recruited some of the most notable producers in melodic house and techno for remixes, including The Element, Hernan Cattaneo, and Betical, while the duo's compelling collaborative work has caught the attention of heavyweights like Afterlife - featuring on the label’s ‘Realm Of Consciousness Pt.VI’ VA. Now, following Bergmann’s recent Hï Ibiza appearance and ahead of forthcoming sets at the likes of Zamna Mexico City, KOKO and Amsterdam Dance Event, the London-based couple bring their talents to Damian Lazarus’ Crosstown Rebels with ‘Guardian Angel’. Set to captivate audiences, the enchanting vocal single lands this September with remixes from German house DJ/producer Stimming and fellow London-based eclectic talent Hardt Antoine.

Melancholic yet uplifting ‘Guardian Angel’ opens with richly textured choric percussion that rises to meet Wennink's angelic vocals to powerful emotive effect. Stimming’s remix enters second, reaching for intensity over a stripped-back rendition through the driving rhythm and ethereal SFX. Closing out the record, Hard Antoine's remix pulsates with darker basslines and sharper synths, leaning into the otherworldly and stretching the melody into satisfyingly strange sci-fi-esque planes.

2024 Repress

Beautifully produced German Disco release with an environmental edge. Originally released in 1979 on a Contemporary Christian Music Label called Lord, this rarity is remastered and brought back to life with a respectful extended, previously unreleased, edit.

Bread & Souls is a new project dreamt up by Italian entrepreneur and music lover Franco Fusari. Franco invited Mark de Clive-Lowe on board to direct and produce an album of collaborations with some of our favorite artists including the likes of Bembé Segué, Vanessa Freeman, Paul Randolph, Rich Medina, Tommaso Cappellato and more...

Presenting Chapter 4! Working On It (here’s the original - you heard the remix on Chapter 3), a mid tempo bossa-inspired track features the wordsmithery of Philadelphia’s Rich Medina speaking on the idiosyncrasies and journey of life, joined by Bembe Segue. Together features Vanessa Freeman on vocals - previously heard in remix form on Chapter 2 - a timelessly uplifting soulful house excursion. Domu returns to the project with a second remix of Little Did I Know - this time flipping it for the broken beat dancefloor in classic Domu style, and we wrap up with Neroli’s Volcov remixing Anybody Out There for the 4/4 lovers.

Time to Play is pleased to introduce the fifth chapter of its catalog, titled
Midnight Love, created by the young Japanese talent DJ Dreamboy. The main
track, which shares its name with the EP, serves as a true manifesto of
Japanese deep house: minimal, intense, balanced, and dreamy. It’s no
coincidence that this track was chosen by Brazilian producer Zopelar for a
tough and driving remix.
The B-side opens with “Vibe,” which starts with a minute of suspended
ambience before unleashing a burst of kicks and acid arpeggios that ignite a
contagious euphoria. “Dream Town” follows in a similar vein, maintaining a
softer profile akin to Midnight Love. The EP closes with “My House Style,” a
high-speed journey through nocturnal Tokyo, featuring deep basslines, dreamy
atmospheres, a relentless rhythm, and an irresistible desire for the experience
to never end.

Their debut album "Unbändige Kinder" by Angelo Repetto and Nicolas Balmer, alias Konstant, blossoms from the burdens of days gone by and describes their world in a phase of change and new beginnings.

Constantly looking ahead, driven by New Wave, Kraut and Post Punk, they define their own musical form. Both have been active in the Zurich scene for a long time and have come together to create their own language. The album is characterised by rawness, bluntness and the syllables from the heart. Honest and direct.

Recorded and produced by Domi Chansorn at Studio G5, the recording describes the rawness of our time. Perhaps the feeling of a generation – maybe just a breath of the wind.

For the release of "Unbändige Kinder", Subject To Restrictions Discs and Default Mode Records are joining forces and releasing the music into a world that needs it.

Our 6th vinyl only installment features four very familiar faces from the ever growing House Cookin' family.

On the A-side we have 2 young producers with an oldschool mindset when it comes to producing House tracks. Analog warmth and deep grooves that ride along some swinging percussion.
DJ Merci kicking it off with a bouncing bassline and nice deep chords. Followed by Bruno Bar, he continues the vibe with a pleasant vocal twist of the words "House Music".

On the B-Side we are joined by two fellow Belgian producers. Pat Lezizmo, providing his well known smooth vibe.
And Reagan Mian, finishing the VA with a punch!

2024 Repress

Coming through on the 17th release of the label is the multi-talented Charles Accarisi aka Chlär, one of the promising names currently surfacing in techno. A concept creator from the heart and on another level technically, both as a producer aswell as a DJ. Chlär delivers us a very strong yet diverse four-tracker selection made for the dancefloor, all killer no fillers. Highly essential!

Somewhere between Solid State Survivor, Force Majeure and Danzindan-Pojidon you’ll find Shinichi Omata’s Boku ・ Neko ・ Platanus. Or rather you won’t – throughout his captivating debut from 1984, reissued by chOOn!! in 2022, you’ll hear connections to other music but its unique unbridled will keeps pushing those references out of mind.

Shinichi Omata is a fascinating figure – an unsung hero of early Japanese electronic music who between 1981–84 recorded three albums of incredible DIY techno-pop while studying as a student in Tokyo. At University, Omata worked and collaborated as a sitar player and keyboardist with artists such as Hiroko Yoshihara, Takami, DEA and various members of the LLE music circle, where he developed an expressive fusion of minimal synth and psychedelia.

This selection, lovingly extracted from Omata’s unreleased early recorded output, dating from 1981’s Neo Modernism through to 1983's With My Dog Ricky, demonstrates just how closely he clung to the original abstract ideal of moulding 8-bit bleeps and ungainly drum patterns into lo-fi triumphalism. On paper you wouldn’t give this aesthetic clash a pass were it not for the aural evidence of a unique sensibility, precociously openminded and visionary, charmingly transparent in respect of its influences yet possessed of a need for individuality.

Throughout this kaleidoscopic collection, all the ghost plastic in Omata’s head, Kosmische synthesis, synth-funk squiggles, arcade games and early Ambient is thrown together, reimagined and regarded affectionately – through a glass lightly, so to speak. Beneath the pulsing arpeggiated bleeps, Omata’s compositions show a remarkable economy and poise hinting at European classical influences - like a reimagining of Erik Satie’s piano miniatures that swaps 19th century Parisian boulevards for Tokyo’s 1980s technopolis. The music is sheer skin- puckering delight throughout, a delirious, mesmeric collage of dark disco bubblegum and eccentrically enchanting atmospheres that you cannot quite believe you’ve never heard before.

Available for the first time on vinyl, With My Dog Ricky: The Early Works of Shinichi Omata 1981-1983 is a vivid selection of synth miniatures lovingly extracted from Omata’s unreleased early recorded output.

Produced in cooperation with the artist for chOOn!!.

Mastered for vinyl/digital by Josh Bonati. Artwork by the acclaimed book designer Luke Bird

CVP is a side project of three Greek musicians Costas Andriopoulos (producer and keyboard player of “23rd Underpass”), Vicky Archontouli (singer of “VHS”) and Panos Papapetros (guitarist of “Noely Rayn” and “VHS”). CVP means “Central Venous Project” but it also hides the initial letters of the band members’ first names (Costas, Vicky, Panos). Being huge lovers of the 80’s, the threesome wrote their first songs in an “early 80’s Electropop Italo Disco” style, blended with the dark atmosphere of Costas Andriopoulos’ productions.

After a duo of floor-stomping releases, Rhythm by Nature is back for its third release with one of the most prolific producers in the game — Tommy Vicari Jnr. The Sheffield-based musician went from being an enigmatic figure to becoming a true example of musical discipline, boasting a seemingly endless musical output under several aliases. With "Francis Bacon Size Hangover EP," Vicari presents a diverse four-track EP that showcases his ability to traverse various soundscapes without ever losing grip on rhythm.

'Francis Bacon Size Hangover' (A1) opens the EP in pure Vicari style, plunging atmospheric dub-infused pads, delayed drums and competently edited vocal breaks on a cosmos of shifting sound signatures. The result is an infectious dance floor weapon drenched in mind-boggling groove with funky, light-hearted undertones. 'B Doll' (A2) goes a bit jazzier, delivering an analogue-driven, breakbeat-tinted track with intricate percussion and deep, resonant synth work. B1: "Newdays" finds Vicari immersing himself in the essence of house music, powerfully rooted in Chicago's disco and proto-house aesthetics: punchy drums and propulsive basslines keep the track in constant motion while atmospheric textures forge an irresistible soundscape of skillfully layered, ingeniously sampled sounds. Originally crafted in 2004, 'Vommer' (B2) closes the EP by showcasing Vicari's longstanding dedication to his craft — a slow-burning, minimalistic dub track that's as beautifully understated as it is gracefully spaced out.

"Francis Bacon Size Hangover EP" is a testament to Tommy Vicari Jnr's enduring influence in the electronic music scene and proof that Rhythm by Nature is perfectly capable of continuing to build momentum.

ER gladly welcomes Juan Barraco aka Bunda to our catalog. Bunda is an Uruguayan producer/live performer who’s been linked to music since a young age through a classical approach with a later interest into electronic music production.

Origen EP is his debut vinyl release delivering a solid four-tracks record: dancefloor-oriented pieces on each side’s first half and two downtempo tracks as second choices.
A1 ‘No hay salida’ is a proper dancefloor piece featuring a stomper and sticky kick drum along with a non-stop bassline hypnotic pulse. A2 ‘9º Mandamiento’ features a different sound landscape with a hint of Arabic melodies in synths and basslines programming.

On the flip side B1 ‘Stardust’ crafts a more sci-fi-bleepy grooving Techno sound while keeping an hypnotical atmosphere all along. Bunda shows a different facet in B2 with ‘Xep Nuit’, where he shows his skills and creativity in musical composition and sound picking.

Cosmic Twist EP is a Repress from 1993 written and produced by Iain Clifton. These tunes never made it past the white label promo, since the original distributor from back in the day went bust, along with the stock. Great to be able to bring this back to life for this follow up EP to BSBR002 "Respect to all that skated at Bowes Lyon skatepark, Stevenage and raved at Liberty 1992".

Announcing Icon Roller's Debut Vinyl and Digital Release: "Anytime EP"
Following the success of Icon Roller's two digital-only releases, we are thrilled to announce the of his debut vinyl EP titled "Anytime EP." This highly anticipated release features four exceptional tracks that have garnered rave reviews and support from some of the most respected DJs and producers in the Jungle scene.
Tracklist Overview

A1. Anytime. The title track, "Anytime," is a masterful blend of influences from Source Direct and Total Science. It features filtered pads, dubbed-out effects, and intricately chopped-up Apache and amen breaks.
This track has received significant praise from Double O, who featured an early version in his Juno Daily mix. Jungle originator Bizzy B has also highly praised this track.

A2. Peaceful & Orderly. "Peaceful & Orderly" starts with a pulsing beep and filtered-down pad, as the filters rise, so does the track's energy, transforming it into a true dancefloor banger.
This track has received significant acclaim from the Bristol Jungle scene and has been played on radio shows by Amy Kisnobo (SWU/RinseFM), Leftarm (Eruption), and Aftershock (Afterdark Radio).

B1. Personal Riddem. Kicking off the B side, "Personal Riddem" is a dark roller featuring a warped, time-stretched melody.
This track has been played by Double O on his Rinse FM show and was featured in Bizzy B's YouTube show "Dubplate Wars," where it won the popular vote against nine other contenders.

B2. For The Listeners. "For The Listeners" is a chilled track that begins with a 2-step flow break and sampled Rhodes. In the second half, it transitions into more jungle territory with a syncopated and pitched break, offering a unique blend of styles that cater to both casual listeners and jungle enthusiasts.

Mastering and Production
The "Anytime EP" has been mastered and cut by Beau Thomas at Ten Eight Seven Mastering, renowned as one of the best in the industry. His expertise ensures that each track is delivered with pristine sound quality, providing an exceptional listening experience.
Stay tuned for the release of "Anytime EP" and join us in celebrating Icon Roller's debut vinyl release.

From Karma Recordings comes their ninth EP. Another huge producer in Dead Dred brings his famous basslines and overhauls the track Tina by DJ Ande. Adding awesome brekbeats and you have a sure fire jungle anthem on your hands Oldskool style.

The second track on the A side is the creepy original Tina which builds to a scary crescendo. We are very proud to be introducing the first vinyl release from Dubious, an absolute jungle master and his track Iron Lung fits on this EP with ease.

Then last but not least we have an absolutely blinding Tina remix from the hardware extraordinaire 12Bit Jungle Out There who hails from down under. An absolutely brilliant 4 tracker not to be missed. Karma Recordings are going from strength to strength.