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OOH-sounds family members more eaze, pardo & glass join forces on a celestial album linking ambient neo-folk, fractured electronics and romantic escapism.

Referencing to Wim Wenders' 1984 road-movie drama masterpiece, 'paris paris, texas texas' is a strikingly cinematic tapestry of americana, resampled guitars, glistening electronics, subtle field recordings and processed vocals.

The beginnings of this project date back to the summer of 2022 when pardo and glass started recording some improvisations in a small studio with the aim of making an experimental guitar record. Over time, the drafts developed into mesmerizing slabs of guitar textures, simultaneously immense and intimate. No material was better suited for more eaze to add to the recordings her transversal and sensitive approach, linking the past and the present.

Ranging from gentle ambient folk to winding pedal steel passages, from twinkling electronics to distorted drones, 'paris paris, texas texas' is an album that's not just "atmospheric", it conjures its own unique atmosphere from thin air. Like a snake shedding its skin, the record slowly mutates from track to track - an epiphany, a transformation, a tangible and perceptible moment. Despite its distant trans-Atlantic origins, it evokes a warmth and intimacy that is hard to deny, an emotion that has perhaps been held back for too long. A landmark release in OOH's catalogue, capturing the magic of its curation and sensibility in one sublime record.

Mastered by Giuseppe Ielasi, artwork by incepBOY, words by Adam Badi Donoval

Multi platinum-selling musician and multi-instrumentalist Jamie Cullum today announces The Pianoman At Christmas - The Complete Edition. Due for release on 19th November via Island Records. The deluxe album completes last year’s critically acclaimed hit album The Pianoman At Christmas Part 1, with its Second Part - featuring 11 covers of classic Christmas songs, as well as two original songs, including lead single ‘Christmas Don’t Let Me Down’, out now.

Drawing from the past and inspired by the present, The Pianoman At Christmas - The Complete Edition sees Jamie team up with London jazz innovators Kansas Smitty’s, as well as composer and producer The Vernon Spring and acclaimed LA-based jazz singer Lady Blackbird to complete a piece of work that is imbued with seasonal sophistication. Alongside his two original tracks, Jamie breathes new life into classics such as ‘Winter Wonderland’, ‘Silent Night’ and ‘Frosty The Snowman’, ranging from ‘Amazing Grace’ to ‘Man With The Bag’ and ‘Sleigh Ride’. The Complete Edition will be released on double CD and double black vinyl formats, alongside a limited run of 180G Heavyweight coloured vinyl in red and gold.

Speaking on the release, Jamie said -

“I had a huge amount of fun creating part two of TPAC. Recorded live, all in the room together - it’s the party after the big show, with friends, drinks and some of the finest musicians on planet earth.”

Released almost a year to the day before The Complete Edition is due out, The Pianoman At Christmas featured 11 original songs played by 57 of Britain’s best musicians, recorded in Abbey Road’s famous Studio 2 and produced by Greg Wells whose The Greatest Showman soundtrack spent 28 weeks at number 1. The album sold over 37,000 copies, spending 6 weeks in the album chart and peaking at number 11. In December Jamie broke the Guinness World Record for the largest music lesson ever, when he held a virtual piano lesson for 2,282 people, teaching them the carol ‘In The Bleak Midwinter’ with special guests Robbie Williams, Sigrid and Dodie.
With 10 million album sales and over 890 million streams to date, Jamie is a celebrated musician the world over with loyal fans in every corner of the globe. With a career spanning over 20 years, his legendary live shows have seen him perform and work alongside artists as diverse as Herbie Hancock, Pharrell Williams, Kendrick Lamar and IDLES - Jamie writing on the latter’s album Ultra Mono. The success of Jamie’s major label breakthrough, Twentysomething in 2003 and its follow up Catching Tales saw him nominated for a BRIT, Grammy and numerous other awards around the world. In 2020 he won an Ivor Novello Award for his track ‘Age of Anxiety’, taken from his acclaimed 9th studio album Taller. In addition to his enduringly successful recording career, Jamie has also established himself as a multi-award winning music broadcaster; his BBC Radio 2 show celebrated its 11th year on air this year.

With her debut album Black Acid Soul earning critical praise, Lady Blackbird is a revelatory new talent with music that transcends the jazz scene through which the LA-based artist is rooted. Reflecting influences as varied as Billie Holiday, Gladys Knight, Tina Turner and Chaka Khan, with critics drawing comparisons to Adele, Amy and Celeste, Lady Blackbird’s distinct and beguiling voice is not one to be missed.

UK band Kansas Smitty’s have developed a musical voice wholly unique from what’s happening around them. They are led by band leader and producer Giacomo Smith who's cinematic compositions feature on their releases, most recently 2021's acclaimed Things Happened Here for Berlin based label !K7. In 2015 they launched their own east London venue and bar, of the same name, which became one of the conception points for the current UK jazz boom.

Londoner Sam Beste aka The Vernon Spring is a polymath in music who has production, writing and performance credits as eclectic as Amy Winehouse, Matthew Herbert, Kano, Joy Crookes, Beth Orton, Blood Orange, Gabriels and MF DOOM. Since 2019 he has been making waves with solo project The Vernon Spring, which foregrounds his rare capacity to hold sophistication and simplicity in the same hands through highly intimate muted-piano compositions and improvisations.

"Ceasefire" ist nach "Wrong Side Of Town" der zweite Release der Dub-Serie auf Joe Armon-Jones' Aquarii-Label. Diesmal tut sich Joe mit Reggae-DJ-Legende Ranking Joe und Saxophonist und Ezra Collective-Bandkollege James Mollison zusammen. "Ceasefire" ist ein kompromissloser Aufruf zum Frieden in einer Zeit verschärfter globaler Konflikte. Weitere Gäste sind Morgan Simpson (Black Midi, drums), Luke Wynter (Nubiyan Twist, bass) und Mark Mollison (Loyle Carner, Celeste, git). Produziert von Joe Armon-Jones mit zusätzlichem Vocal-Mixing von Prince Fatty, gemastert von Noah Priddle.

In anticipation of Gitkin's upcoming album in October, Wonderwheel drops a cheeky little 7" with two Latin covers from the man himself. The A-Side finds an instrumental Cumbia cover of the eternal 80s classic by The Human League. Leading with the guitar for the verses, the song chugs along nicely with a faithful interpretation of the original with Simon Moushabeck's accordion leading the chorus. On the flip, Gitkin covers Peru's infamous Grupo Celeste's 1975 classic "Mi Lamento" with friend and collaborator Gabe Case on vocals. Keeping with the Tropical Andean sound of the original, Gitkin's funky, wah wah guitars drive the track set over uptempo, cumbia inspired drums while Case's melodic vocals float on top. Two fun, happy tunes to light up dancefloors this summer!

Introducing “Psyche Gems”, the Jakarta Records debut LP from LA based Rapper JUICEBOX & Norwegian producer duo Myeye. Debut LP “Psyche Gems,” a collaborative musical venture sparked by an impromptu Instagram jam session in 2021, is poised to mesmerize audiences. The brainchild of JUICEBOX, a versatile artist known for his roles as a singer, songwriter, rapper, and one half of the acclaimed group Figmore (with 10.4 Rog), “Psyche Gems” emerged from JUICEBOX's admiration for Simen Hallset's psych-pop band Gold Celeste (over 20 million Streams on Spotify). After reaching out to Simen, they swiftly connected with Henrik Norbakk, the other half of Myeye, igniting the genesis of the collaborative project. An Instagram jam session in 2021 gave sonic birth to LP “Psyche Gems”. Buttery vocals meet funky, soul-driven beats, meticulously recorded live, then chopped and repurposed to create an experience that transcends sonic definition. From vibrant head-nodding energy to lush beats seamlessly melded with an inimitable vocal delivery, “Psyche Gems” captures the essence of past and present, offering a kaleidoscope snapshot of life reflected through timeless grooves. The album's distinctive sound is characterized by meticulous layering, where each element is meticulously played, chopped, looped, and jammed over until achieving sonic perfection. United by their shared passion for old soul and jazz records, ‘90’s + ‘00’s hip hop, lo-fi indie, and psychedelic music, JUICEBOX and Myeye seamlessly fuse their diverse influences to craft a musical experience that resonates with listeners on a profound level. "We wanted to create something that inspires, provokes, and sheds light on the truths we all carry inside us," explains JUICEBOX. "Psyche Gems is more than just an album; it's an infinite journal entry of reflection, a testament to the power of music to illuminate the human experience."

A frequent collaborator of THE BANSHEES OF INISHERIN writer/director Martin McDonagh’s, Academy Award®-nominated composer Carter Burwell previously worked on three of his films, starting with In Bruges. He also worked on Seven Psychopaths, as well as his Oscar-nominated score for Three Billboards Outside Ebbing, Missouri, their last collaboration.

For THE BANSHEES OF INISHERIN, McDonagh already had, for one section of the film, a piece in mind that’s performed by a Balinese gamelan ensemble – mostly metallic instruments. Taking that inspiration, Burwell weaved gamelin instruments alongside the score’s three main instruments: the celeste – a keyboard that plays bell sounds, the harp, and the flute to create the film’s highly-acclaimed score.

“The score to Banshees is, like its slow simmering conflict, delicate and nuanced and heartbreaking all at once,” said Mondo Creative Director Mo Shafeek..” It takes small steps backwards and forwards like crashing waves on a lonely island, strings and woodwinds dancing with one another, in a waltz. The whole score plays like a dance between two overlapping voices - occasionally harmonizing, but never connecting. Occasionally beautiful, but always a bit melancholy.”

David Eugene Edwards has always been larger than life. His music with innovative heavy droning folk band Wovenhand, and before that the haunting revivification of high lonesome sound antique Americana of 16 Horsepower breathed a near apocalyptic sense of urgency and power into musical archetypes long abandoned in the latter-20th Century. On his first-ever solo album under his own name, Hyacinth, David Eugene Edwards delivers a sound uniquely his own, with a vulnerability and introspection unheard from him before. Stripping back the heavy rock of his recent work with Wovenhand, Hyacinth puts the man's voice, and sparing instrumentation into the main focus. There's a somber beauty and world-weary tone throughout these songs. The album could've been considered a slight return to the more melodic sounds of 16 Horsepower's Secret South (2000) and the first, self-titled Wovenhand album (2002). But there's more going on here: a rhythmic, pulsating undercurrent reminiscent of the tape loops and rudimentary rhythms of 80s Industrial post-punk as well as 808 Drill Style beats. The overall effect is often as if we're hearing the clock ticking away our own mortality. "Hyacinth was a sort of vision," Edwards says. "A dream. I sought out of my old wooden banjo and nylon string guitar a hidden path. Secrets they had kept from me within themselves all these years and created a new Mythos to myself of philosophical and spiritual ideas or concepts." Once he'd harnessed the music within, he enlisted multi-instrumentalist and producer Ben Chisholm (The Armed, Chelsea Wolfe, Converge) to help him realize the album's recording and mix. "Overall, the album is a weaving of narratives ancient and modern, of humankind's search for understanding of this world we find ourselves in and of each other. In all its simplicity and complexity," Edwards continues. "Hyacinth is a reference to the Greek myth of Apollo. And, the word meaning a precious stone and blue larkspur flower of purple and pall."

David Eugene Edwards has always been larger than life. His music with innovative heavy droning folk band Wovenhand, and before that the haunting revivification of high lonesome sound antique Americana of 16 Horsepower breathed a near apocalyptic sense of urgency and power into musical archetypes long abandoned in the latter-20th Century. On his first-ever solo album under his own name, Hyacinth, David Eugene Edwards delivers a sound uniquely his own, with a vulnerability and introspection unheard from him before. Stripping back the heavy rock of his recent work with Wovenhand, Hyacinth puts the man's voice, and sparing instrumentation into the main focus. There's a somber beauty and world-weary tone throughout these songs. The album could've been considered a slight return to the more melodic sounds of 16 Horsepower's Secret South (2000) and the first, self-titled Wovenhand album (2002). But there's more going on here: a rhythmic, pulsating undercurrent reminiscent of the tape loops and rudimentary rhythms of 80s Industrial post-punk as well as 808 Drill Style beats. The overall effect is often as if we're hearing the clock ticking away our own mortality. "Hyacinth was a sort of vision," Edwards says. "A dream. I sought out of my old wooden banjo and nylon string guitar a hidden path. Secrets they had kept from me within themselves all these years and created a new Mythos to myself of philosophical and spiritual ideas or concepts." Once he'd harnessed the music within, he enlisted multi-instrumentalist and producer Ben Chisholm (The Armed, Chelsea Wolfe, Converge) to help him realize the album's recording and mix. "Overall, the album is a weaving of narratives ancient and modern, of humankind's search for understanding of this world we find ourselves in and of each other. In all its simplicity and complexity," Edwards continues. "Hyacinth is a reference to the Greek myth of Apollo. And, the word meaning a precious stone and blue larkspur flower of purple and pall."

Gotts Street Park are a proud bunch of throwbacks. The Leeds-based trio - Josh Crocker (bass, production), Tom Henry (keys) and Joe Harris (guitar) - met through various music studies and friendship networks. Individually their tastes are diverse: from North Indian classical to experimental jazz, soul to alternative hip hop but their vision is united: “The idea of doing things live in one room has always been important,” remarks Josh. “That’s how they used to do it. Our identity evolved from that.”

The inception of the collective goes back to around 2012. There have been minor line up tweaks - they currently record with a rotating list of drummers - but the philosophy has stayed the same: an ongoing pursuit to capture the raw, unparalleled vibe that comes from recording music together, usually as one take, sometimes to analogue tape.

That approach is a deliberate call back to the methods made famous by legendary studios like Sun and Stax in Memphis, or FAME and Muscle Shoals in Alabama and their in-house bands. That’s why for years, GSP set up their own studio in a shared house in a tough (but, crucially, affordable) corner of west Leeds, Armley. Gotts Park (historically the home of industrialist Benjamin Gott) was close by - the group’s name was a nod to their local geography but also the fact it sounded like an area plucked straight out of some of their favourite East Coast hip hop releases.

Their work was quickly noticed, and it was from that base where they began working with an eye catching list of collaborators: Rejjie Snow, Kali Uchis, Cosima, Yellow Days, Chester Watson, Greentea Peng and Benny Mails. Tom also played keys in Mabel’s band. Early on, while performing as a band for hire for those artists, they were simultaneously honing their own sound; a deliberately retro “heavy, saturated” atmosphere that married the languid vibe of traditional soul with the pin sharp clarity of contemporary hip hop. Old leanings, sure, but upcycled with their own modern twist. “We’re constantly trying to build a catalogue,” says Tom. “Writing new stuff and sending it out to people.” That’s why after the release of their debut EP, ‘Volume One’, in 2017 the invitations kept coming; most notably from Brits Rising Star award winner Celeste, with whom they recorded two tracks on her debut EP ‘Lately’.

‘Volume Two’ once again features an impressive raft of vocalists - all female - from established names to fresh talent. This time, musically, the overall tone is lighter; less gritty, more optimistic. “It’s definitely not as gloomy,” says Josh. “Still though, there is this kind of dark, mysterious thing that we do a lot that works,” he continues. “Like the song we’ve done with Grand Pax, for example - it’s got that kind of witchy darkness to it. I think if you do a really straight male soul voice, it can be a bit cheesy and sound like you’ve heard it a million times before.”

Their collaborations might be some of the freshest of 2020 but make no mistake: Gotts Street Park are out there looking to create something timeless.

“One of the standout releases of the year” - The Times

“Lady Blackbird finds her calling with an extraordinary collection of songs and performances that burn deep into you” - The Guardian, 5*

The debut album Black Acid Soul from Lady Blackbird is one of the standouts for 2021. It's instant and within a minute you are hooked. Think Nina Simone, Hot Buttered Soul-era Isaac Hayes, Billie Holiday and Chaka Khan with critics drawing comparisons to Adele, Amy and Celeste, Lady Blackbird’s distinct and beguiling talent is not one to be missed. Gilles Peterson called her "the Grace Jones of Jazz".

With a voice that has stopped critics in their tracks, Lady Blackbird is a revelatory new talent with music that transcends the jazz scene through which the LA-based artist is rooted. Minimal yet rich, classic yet timely, the album connects backwards to Miles Davis (his pianist, Deron Johnson, plays Steinway Baby Grand, Mellotron and Casio Synth throughout) and forwards to Pete Tong (he made the Bruise mix of ‘Collage’ his Number Two Essential Selection tune of 2020).

It's 11 tracks have a sound, feeling and attitude that speak of Lady Blackbird's deep experiences in music, stretching all the way back to infancy. Standout tracks include the sad, elegantly simple tune, ‘Nobody’s Sweetheart’, plus two killer cuts written by Lady Blackbird and Seefried, ‘Fix It’ and ‘Five Feet Tall’. The former is an elegant piano ballad that sounds like a Great American Songbook standard sung by a woman on the side of the angels. Her ability to nail the song in the studio in minimal takes was clearly something to behold. The album also includes Wanted Dead or Alive, a rare groove classic recorded by funk/gospel collective Voices of East Harlem in 1973 and co-produced by Curtis Mayfield, an inspired reinvention on the aching 'It’ll Never Happen Again', written by Tim Hardin and a stunning take on Nina Simone's Blackbird.

Oneknowing is the debut artist album by acclaimed composer and producer Lena Raine, most recently known for her multiple award-winning soundtrack for the video game Celeste. Based in Seattle, Raine has been composing soundtracks for games and media for 12 years, her breakout momentcoming with her work on the classic PC game Guild Wars 2. Her most celebrated work, however, has come in the form of 2018’s Celeste soundtrack. A game based around themes of anxiety, self-examination and more, Celeste is considered by many to be the key indie game of 2018, and has won multiple awards for both game and soundtrack – something which Raine painstakingly developed in tandem with the game’s design since its first steps. A flagship year for Raine was capped off in December, where she performed live with soundtrack legend Hans Zimmer at The Game Awards, the video game industry’s flagship annual award show (Celeste was nominated for fourawards, and won two). Although she’s released several nonsoundtrack releases, both under her real name and her Kuraine alias, Raine considers Oneknowing her debut artist album - a 10 track set that ranges from distorted paranoia to ambient pop, brought together by the shimmering melodies that make her soundtracks so memorable. An album that draws from “personal experiences, important places, dreams and the lack of dreams”, Oneknowing’s tracks are also threaded together by Raine’s own vocals, sung in a language unique to the album and manipulated by the software Vocaloid. In Raine’s words, “I have nostalgia for my voice as it sounded when I was younger. I can't de-age my voice, but I was able to use software and tweak its settings to a point that it has a similar quality to my voice from backthen”. At times (‘Tsukuyomi’, ‘Light Rail’) her vocals lean towards traditional pop structures, while on tracks such as ‘Wake Up’, they’re repeated, chant-like, to create a hypnotic effect. As well as vocals and software, Raine plays rhodes piano, zither and various hardware synthesizers on Oneknowing, while Michaela Nachtigall contributes violin and viola to various tracks. A succinct but expansive record full of detail, Oneknowing represents Raine’s most personal and realised original material yet, while showing a different side to one of the most unique and accomplished composers of the modern era.

The first Azu Tiwaline's album, after been acclaimed by DJs like Lena Willikens, upsammy, Shanti Celeste and a bunch of electronic medias (Bandcamp, RA, Crack), is now remixed by a Lyon-Bristol-Berlin trifecta of similarly minded rhythmic innovators - twisting and warping her work into new shapes, featuring Don't DJ, Laksa & Flore reinterpretations.

Nothing happens overnight. Behind every emergence, there’s years of work, thought and preparation - both intentional and unconscious - that’s gone unseen.

So the past year might have been a ‘breakout’ year for Azu Tiwaline, but it was really built over two decades of experimentation, soul-searching - both creative and personal - and exploration. “A new name for a new spirit” as she likes to say, but with an unmistakable identity rooted in her history and ancestry.

On her debut album as Azu Tiwaline, Draw Me A Silence, a record released in two parts with her family at I.O.T. , she fused together two halves of her own heritage, inspired by a new home in the desert. Personal history collided with family heritage: half step rhythms from a career in bass music met the warm winds and wide open silence of El Djerid in Tunisia.

When music is sincere and honest, it tends to reverberate more widely, and deeply. The tracks written for the Magnetic Service EP were sent to one label and one label only, Livity Sound, who picked it up instantly. Something about the spacious, yet dense sonics - crafted with the help of percussionist Cinna Peyghamy - resonated with listeners starved of both the community of the dancefloor and the space of the outside world. The EP became one of the Bristol label’s most heralded releases of 2020, featuring in end of year coverage from Bandcamp to Resident Advisor.

Beneath the calm of her productions, a restless spirit inhabits Azu, born out of months and years spent on the road. In 2020, it was her music that took her places. She put together a series of podcast mixes that echoed the percussive, rhythmic curves of her own productions, for Boiler Room, Dekmantel and Crack Mag. She distilled Fazer Drums’ percussive experiments into dubby downtempo with a remix, and contributed her most rooted track yet - Violet Curves with Cinna Peyghamy - to On the Corner’s Door to The Cosmos compilation.

This will be followed by the Extended version of the album with a gorgeous ambient bonus track “Eyes of the Wind”, accompanied by a video clip directed by Azu Tiwaline, shot in her desert lands. This track will be appearing in a digital reupload reunifying Draw Me A Silence Part.I and II. As a sort of final chapter of this debut album.

As for the rest? We’ll see what 2021 has to offer for both the world and Azu Tiwaline. In the meantime, take inspiration from her music: keep the tempo steady, let some light in, and listen for the silence.

Airplay:

Ben Ufo - Hessle Audio Show, Object Blue - Rinse Fm Show, Leon Vynehall - Ra Mix, Shanti Celeste - Nts Show, Courtesy - Nts Show.

Dj Support:

Airhead, Anina, Bake, Ben Ufo, Bleaker. Bruce, Chekov, Ciel, Courtesy, Facta, Forest Drive West, Gigsta, Haai, Hodge, Laksa, Leon Vynehall, Minor Science, Objekt, Peach, Pearson Sound, Peder Mannerfelt, Re:ni, Resom, Ribeka, Simo Cell, Solid Blake And Will Lister

Music From Memory's final 12" for 2017 is a reissue of Dub Oven's self released, and sadly one-off, 1983 EP 'Skin N Bones'.
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Pioneers in the Post Punk Industrial and New Wave scene in 1980's San Francisco, Gary Miles (Voice Farm) and Blaise Smith (Minimal Man), met at San Francisco's notorious 181 Club in December of 1982. This straight/same sex/swing-both-ways late night dive bar was tucked away in one of the city's most risky, drug riddled neighbourhoods. Stationed near the SF Museum of modern Art it attracted a wild audience of local patrons, aspiring young artists and music heads. In the thick of all this the duo felt impartial to a lot what was going on musically and set out to produce electronic music that could break through the "somewhat exhausted post disco sound that was then competing in the local San Francisco clubs". Enlisting soul vocalist Celeste Miller, the duo were also inspired by Lee 'Scratch' Perry / Upsetters dub tracks being produced in Jamaica and created a unique breed of avant guard hybrid New Wave/Electronic Funk.

With it's influences seemingly as much rooted in the past and the present as it was focused on the future, Dub Oven formed a distinct, mystical approach to music intended for the dance floor. All three tracks on this 12" embody a signature groove and an inventive synthesized abstraction to express a languishing urban unsettledness and spiritual awareness. Recorded at L7 Studios in San Francisco with the assistance of the the studio's in house producer Marco Perry (who currently now works with Bjork) the record was unfortunately overlooked by A&R at several major and even local labels and was finally self-released in very limited quantities. Utilising analog electronics and instrumentation, the record draws on elements of dub, new wave, soul and funk to create a sound that is uncategorizable and one that was perhaps simply too forward thinking for it's time.

On Loop marks it's third year with the Volume 3 compilation curated by Moxie, due for release this Autumn. Sampler 1 of 2 provides 4 tracks from the main compilation, featuring exclusive productions from Shanti Celeste, Traxxploitation, Benedikt and Admin. Compiled of music from artists she continues to support on her bi-weekly NTS show, Moxie's selection know-how is apparent throughout. Opening up sampler 3.1 is Bristol DJ Shanti Celeste, kicking off the compilation with deep bongo cut 'Moved', followed by Traxxploitation's exploration of jazzy chicago house in 'Honey Pot'. On the flip, Benedikt switches things up with high-octane track 'Mnemonic', before Admin winds things down with dreamy percussive number 'Space Cadet'. With 2016's Volume 2 gathering support from names like Gilles Peterson, Benji B and Annie Mac - this year's release is set to meet a similar reception. In addition to Moxie's label, the On Loop party series has just celebrated it's 1st birthday with Kornel Kovacs and LK at On Loop's London home The Pickle Factory. The On Loop family has been growing all year, with Moxie inviting guests like Avalon Emerson, Damiano von Erckert, Alexander Nut and many many more, to over 20 parties at venues like Manchester's Soup Kitchen, Edinburgh's Sneaky Pete's and Lyon's Le Sucre. With more parties to be announced this year, an ADE showcase lined up, and a festival stage curation under her belt - Moxie's On Loop imprint is set to continue on it's upward trajectory.

After the Alma EP' by Shanti Celeste, secretsundaze' s 19th release comes from another UK home grown favourite Wbeeza.
Beeza is a firm part of the secretsundaze family and although it's his first release on the label, he has been a regular fixture at the parties now for 5 or 6 years playing at both the London events and touring internationally with Giles and James as a live act, as well touring extensively by himself.
We hope his music needs no introduction - his sound is quite simply fresh; an amalgamation of so many things from house, techno, jazz, hip hop to more UK leaning garage vibes. Born and bred in South London and the youngest of 6 brothers he has dance music pumping through his veins.
Black Moon EP is up there with the very best of his work and all 3 tracks show a level of maturity that comes from releasing over 14 EPs and close to 2 LPs (his second LP entitled Visions of Love drops next month on Third Ear)
Title track Black Moon is a murky, growling techno workout with syncopated lo fi beats, a thunderous bass line that is eq'd to within an inch of its life, and white noise FX. Within the right hands this should be a deadly weapon.
Like Butta is a hazy, percussive tool that keeps the tension high while B side track Ferguson is arguably the strongest track of the EP. Referencing the Ferguson case in Missouri that sparked vigorous debate about the relationship between the police and African Americans, the track is a timeless groove, coming on like a modern day version of Maurizio's 'M4' with its heads-down, hypnotic deep techno flow that one could simply listen to on repeat. Wbeeza on secretsundaze.....Need we say more!