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Brand new Bastard Jazz signing Buscrates comes out of the gate swinging with his first release for the label full of the bubbling, electronic funk he's become known for. "Lost & Found" features the vocal talents of Sally Green over a slappin' bassline, guitar licks and airy synths while "Cruise Control" goes on an instrumental ride with it's heavy drums, catchy g-funk lead and growling bass. Another funky affair from the Pittsburgh producer.

Repress.

stunning second 12" single on his new label´is finally coming folks. what a name for this pretty incredible 2 tracker!! "Return of the Zombie Bikers" is a massive spine shiveringly intense almost dnb b lined big room track recorded in early 2005 and can easily be compared to Mat´s strongest moments including "decompression" on minus. Don't get us wrong though, this track doesn´t necessarily need the comparison,it easily stands out by far.let it work on and let it touch you, we feel it´s probably one of the strongest records MJ ever did!! "Put your booty shorts on" is yet another a side track written in 2002 dedicated to his wife Frank and remixed with including a vocal in 2005. A unique taste of what is to come in future live sets at the festivals this summer.this is the "hi end" in micro house coming.

Samuel Rohrer CONTINUAL DECENTERING
With his Arjunamusic label and a growing catalog of categorydefying releases, Samuel Rohrer continues to quietly, yet confidently, make a name for himself as a genuinely unique Gigure within the European electronic music realm. In the current era, talk of blurring boundaries between musical genres and attitudes is more the rule than the exception, but not always something done with any degree of success. Rohrer is one of those rare alchemical explorers to have truly created a hybrid which is all his own, one that does not just exist to melt distinctions for its own sake, but is a natural result of years of experimentation with both the determination of electronic music and the ludic spirit of ‘free improvisation.’ On his newest offering, Continual Decentering, this vision is applied to a set of mostly in real time (live) performed explorations. 
In keeping with his many years’ worth of fruitful collaborations, the tonal palette on this new record is one that is expectedly rich for those familiar with his work, yet still surprising in terms of how exactly the differing tonal colors come together. Representative tracks like Spondee and The Fringe are brimming with dub pulses, noir shivers and blooming timbral variations that are in many places carefully isolated / focused and in other places blended together in vivid fusions. In terms of the emotional atmosphere created here, the pensive and questioning tone hearkens back to the ‘wide open’ state of electronic music in the mid-late 1990s, yet with a greater clarity and maturity of vision that makes this music feel like a possible answer to aesthetic questions being raised at that time. As with Rohrer’s most recent solo work, like the Range of Regularity LP, Continual Decentering showcases the artist’s skill in turning the drum kit into a lead instrument. While the term “lead instrument” denotes a kind of exuberant “Glash,” or a clear separation from the rest of the voices in an ensemble, we can take the term to mean something different throughout this listening program of 13 short vignettes: that is to say, everything else within the audible environment exists to complement the character of the percussive playing rather than to stand apart from it. It helps that Rohrer has, in fact, developed a unique and complex hybrid system in which drum hits trigger modular synthesizer processes, the use of which makes for an incredibly fluid response time between distinct sonic events. In contrast to the previous Range... LP, this new offering is propelled less by interlacing threads of intensity and more by a shared sense of deep listening. As displayed on pieces like All Too Human, there is a profound sense of attention to silences or thoughtful pauses that maybe hints at another crucial aspect of Rohrer’s style: over the course of this program, we tend to hear the player not only playing but listening, an activity which makes perfect sense given the sense of instrumental dialogue already mentioned. All of the above come together to give Continual Decentering a “live”-ness that will easily translate from recorded document to dynamic performance.

Mega rare and collection Ben and Platano group is for me another Long awaiting 45s release. Massive B-boy dance “Platano split is worth it's weight in Gold! And Castle Battle – just gets me every time. Hammond groove!!!

After his debut on Wilson Records with his first LP, Sanso is back with another record which has been inspired by the US scene of Detroit and Chicago. If you like Theo Parrish, Kyle Hall, Jay Daniel and you are fan of early Dance Mania Records this is definitely something for you.

THE GOOPY GOONS ARE BACK with another collection of twisted American electronics. For those not familiar, CP/BW is a collaboration between Corporate Park (aka Shane English/Jonah Lange) and Beau Wanzer. This second LP collects tracks from various recording sessions done in Texas over the past 5 years. Humid ditties, bumpkin beats, toothless treats, and only for the freaks.

When Air’s Nicolas Godin released his debut solo album, Contrepoint (2015), he channelled the influence of Bach into a rich, resonant and hugely rewarding spread of musical explorations. One soundtrack (A Very Secret Service) later, Godin builds on equally fertile conceptual foundations for the follow-up. Released through Because Music on 24th January, Concrete and Glass is an exquisitely crafted set of variations on architectural reference points: mounted with minimalist precision and delivered with an abundance of pop warmth, it finds Godin in his element, working seductive wonders with poise and style to spare.

For Godin, the album circles back to his formative work as half of ground-breaking French electronic group Air. Revered modern architect Le Corbusier was an influence on the young architecture graduate’s music, notably on his 1997 debut “Modular Mix”. Twenty-plus years later, Le Corbusier featured on a list of modernist architects Godin was invited to compose tributes for, tributes intended to be heard as the soundtrack to site-specific installations around the world.

In its soft ambient pulse and melting minimalism, lead track “The Border” is a perfect entry-point to Godin’s hymns to buildings, arranged and co-produced with Pierre Rousseau. Its levitating synths, vocoder vocals and scudding bass hove into view with understated elegance, all the better to accommodate the discreet slow-build of delicate details within. As with Air, Godin makes gorgeously light work of every angle: this is music that seems entirely unperturbed by gravity, occupying an elevated atmosphere of its own.

Elsewhere, the title-track’s clean synth lines, crisply apportioned arrangements and tender timpani offer another inviting entry-point, sculpted with architectural clarity. While Godin’s vocoder vocals also hark back to Air’s early work, the album accommodates a diverse spread of guest vocalists elsewhere. Hot Chip’s Alexis Taylor guests on the falsetto-soul dream-pop of “Catch Yourself Falling”, one of Godin’s sweetest melodies yet. Oxnard singer/activist Cola Boyy brings soul to the righteously engaged “The Foundation”; the squelchy synths and buoyant grooves burn slow, allowing the stealthy arrangements and message room to resonate. Psychedelic soul singer Kadhja Bonet sings with measured serenity over tremulous synths on “We Forgot Love”, while Russian experi-pop artist Kate NV brings a gracefully aching romanticism to the blissful swoon-pop of “Back to Your Heart”.

Additionally, Australian conceptual provocateur Kirin J Callinan contributes a vocal of restrained drama to “Time on My Hands”, a midnight-drift soft-pop ballad with a silky allure. One of the quickest tracks to record for the album, it emerged in collaborations between Los Angeles (”During some lively sessions in Mac DeMarco’s studio,” notes Godin) and Paris. After he missed his flight home, Callinan stayed in France for a day as the guitar solos were recorded, complementing the song's air of sleek luxuriousness.

Between its title-track and the sultry, smoky jazz stylings of closer “Cité Radieuse”, Concrete and Glass is an album that truly travels, in tune with its global pitch. For Godin, it marks another milestone in a musical journey that began when Air’s 1998 debut album, Moon Safari, became the sublimely weightless soundtrack of its time. For Concrete and Glass, Godin builds on his storied past with tremendous finesse, charm and fluency, opening fresh windows of perspective at every lovingly executed turn.

Andras’Joyful is a cornucopic vision rooted in the decay of dance music from one of Australia’s most distinct yet understated voices. Cutting a path through an overgrowth of nostalgia around 70's acid folk and 90's acid house, Joyful is an invitation to till a n old garden in a glistening new light.

A thirteen year old Andrew Wilson sits in the back of his parents’ sedan, driving down the coast from Melbourne. Headphones covering his awkwardly aged ears and connected to a jam-packed mp3 player, he experiences an intense synchronicity when the car careens over a mountain crest in the Otway Ranges right as the track in his ears peaks. A momentary vision of a “first rave rush,” in which Australia’s lauded party history dances tellingly with this dreamer’s destiny.

Not so much later but perhaps more worldly and certainly more aware, Wilson returns home from touring, now a “veteran” of the dance world, to realize a different synchronicity in his record collection. Finding Ian Van Dahl nestled next to John Fahey, William Orbit spine-to-spine with Shira Small, the harmony between folk music of the early 70's and dance music from the 90s becomes perfectly audible in unimaginable ways.

Through an afterglow from both summers of love seeped in shared sonic soil, on Joyful, Wilson cultivates melodic drama and tenderness, memorable hooks and rapturous arpeggios; sentimental strings summon both joyful aspirations and the shadows of faded dreams. Using folk songs as fodder—lyrics, samples, note progressions—each entry of Wilson’s debut album under his Andras moniker is a return to a different springtime of the mind.

Many artists working in Australia can relate to the feeling of “not quite being there,” as Wilson describes it. Always a couple years behind trend. Turning up at the party as it’s winding down. Fearing that in many ways the culture is looking backwards, confirming the narrow outlook of a parochialism that many have worked tirelessly to disprove. Using this disconnect as an invitation to dream another dream, Joyful becomes the soundtrack of early teen Andrew’s fantasy of Utopic parties past, specifically the late discovery of a bygone warehouse rave scene, as well as a return to a guileless chapter of personal history as heard through plain, sane, and simple folk melodies. Joyful is a homecoming, a testament to the evolving euphoria of a flower garden rooted in earth’s tender rot, of birds and bees flying free but not without a changing landscape in sight.

Andras’Joyful is available on LP and digital formats on January 31, 2020 via Beats In Space. On behalf of Andras, a portion of proceeds from this release will benefit the Invasive Species Council on the recommendation of Tim Low, author of the book Feral Future and Where Song Began.

This album is Acid Jazz’s tribute to an eccentric, a charmer, an unsung Sixties hero who still has soul. The character that is Graham Dee has lived one heck of a life, from surviving the blitzing of East London during WW2 to playing with Pink Floyd and Jimmy Page - Graham has done it all and this compilation hopes to look back at the story of his life through music.

Dee was the A&R at Atlantic Records, signing artists and producing their songs plus playing on sessions that included pre-Led Zeppelin Jimmy Page and John Paul Jones. One of his tracks, ‘A Love I Believe In’, narrowly missed being a Number 1 after Tony Blackburn proclaimed the single as his Record Of The Week, only for Blackburn to be playing the flip side, ‘The Bitter With The Sweet’.

Around this period Graham was working with the likes of Georgie Fame, Elkie Brooks and Mike Berry to name just a few and even filled in for the absent Syd Barrett on some Pink Floyd shows.

He eventually parted company with Atlantic after he damaged studio equipment whilst practising pistol fast draws and purchasing a hunting bow and accidentally firing it, flooding the office and terrifying the staff.

A lot of the tracks signal specific moments in Graham’s life that involve a lot of these stories. The stories provide the context for the tracks and this spreads a certain spirit throughout the compilation. Now in his seventies, Graham Dee is still writing, recording, performing and releasing solo records.

A record to be enjoyed to its very last second AM Jazz is set to place this songwriter where he just might, finally, receive the recognition he deserves; from unsung hero to a truly worthy candidate for being called up to join the City of Manchester’s ranks of great musical icons. Whether you prefer to know him as Mr. Roberts or simply call him Al, it’s time to become acquainted with the real Jim Noir.

Tossing his bowler onto the hat stand and sliding on his slippers, AM Jazz sees ‘Jim’ putting his feet up whilst Alan Roberts takes the lead. A creative masterpiece for the record player and the mantlepiece, it’s a multi-layered album that features close friends including those dearly departed, and is his truest record to date, by a songwriter painting his own hypnotic Portrait of the Artist as a Young Man.

“I haven’t 'felt' like Jim Noir for a long time. I’m not sure I ever did; it was a construct of other people’s imaginations,” reveals Al. “AM Jazz is definitely the kind of music I make generally. It harks back to when I started making music years ago and didn’t worry about capturing a particular style. It will be nice to show people more of that.

It's the best album I've written; real hypnotic minimalism, the good stuff!” 15 years since he recorded the first ever 'Jim Noir' EP, AM
Jazz is the record all Noirheads won’t be surprised Al had inside him.

Letting the Beatlesesque stylings of his most recent album Finnish Line be (5 years ago no less), AM Jazz suits the Noir repertoire of his catalogue so far and is another homegrown offering which sees the Daveyhulme composer tinkering in his suburban Manchester studio once more, with the magic of his computer work sorcery, analog and tape recordings.

“For this I went back to the slightly more haphazard way I wrote my first album, Tower Of Love, wherein I’d use things in front of me, or a bit wrong like headphones for a microphone, to make the most Hi-Fi Lo-fi album ever.”

Whilst a brief disappearance of Jim’s online persona may have provoked bleak theories as to his whereabouts, Al had little time for digital distraction. Whilst writing and creating with friends, he has worked on electronic pet project, FAX with former Alfie guitarist, Ian Smith, and the vintage analogue house meets electro sound of his own solo EP Granada Personnel Recovery, as well as producing local band, Shaking Chainsor, and helping long-time musical colleague, Aidan Smith with his long-awaited 'The Planets' project; “I’ve been writing in dribs and drabs when I feel like it,” Al says. “I used to write all day everyday but it’s a lot harder now I’m (feeling) over 100 years old.” Never not sonically exploring or being inspired by the sounds around him, there was even a red-carpet moment when he appeared as a film premier guest after a couple of his songs were selected for the OST of director Jason Wingard’s film Eaten By Lions.

Performing all AM Jazz’s instrumental parts himself but also, at the right moment, bringing in present and past pals along the way, sexy lounge song, ‘Hexagons’ features 'Phil Anderson' and Mark Williamson singing and playing “legendary OTT guitar solo” respectively. Meanwhile the orchestration of ‘Peppergone’ waltzes like a beautifully romantic ode to Beethoven’s Moonlight Sonata – a tribute to dearly departed best friend 'Batfinks' who originally wrote the chords in his song 'Peppercorn.' “I hope he doesn’t think it’s shit,” Al jests. Listen closely and you may even find a few unsuspecting celebrity guest appearances as, perhaps, it could be the very first album to feature soundbites of podcasts sneaking onto the recordings. “I will have a podcast on if I’m recording; Adam Buxton, Athletico Mince, Frank Skinner or Richard Herring… I’m sure some mics will have picked them up, like in the old Tower of Love days,” he says referring to his breakout debut.

Culled from around 50 tunes AM Jazz moves like the time of the day, from dawn to night, stirring from the pop of ‘Good Mood’ and ‘Upside Down’s Beta Band groove. “As the album was playing, I imagined this smoky backstreet with all those neon signs outside clubs at about 4am,” Al says. Mellow ‘TOL Circle’ is like Percy Faith’s Theme From A Summer Place synthesized, capturing the style of TV library music or movie soundtrack obscurity that has always stirred Al’s curiosity, and the album plunges into a vast chasm of instrumental exploration with ‘Mystermoods,’ visiting Japan’s funky synth whiz duo Testpattern and Hakabashi Sakamoto. Darkening and deepening in intensity, ‘Eggshell’ is like an undiscovered gem from Angelo Badalamenti’s cutting room floor, the Panda Bear shimmer of ‘Lander’ is where blissful positivity and sadness meet, about another of his friends who left the world too young. “By the album’s close, its nearly time to let go and enter the ether,” he says of the album’s story. “Like one would do when they take their final sigh on this earth.”

Twelve years have passed since eedl released their masterpiece “Everse” spa.RK, 2007 and in that time the duo -formed by Miguel Ángel Martínez and Joan Duat- have shied away from the spotlight and stage. Despite this apparent lethargy, their previous two works - "Parallemped EP" spa.RK, 2003 and the aforementioned "Everse"- provided them with cult national scene status, while raising more than a few eyebrows among European “headz”. Both works continue to sound overwhelmingly modern and
undated, an obvious signal that eedl is a special breed of cutting edge electronic music.

Although creatively silent for a number of years they have remained musically active. As well as his career as a product designer, Miguel Ángel has applied his musical experience to the technology sector, and since 2016 has fully immersed himself in “modular”–Winter Modular, Plankton Electronics and Patching Panda–; Meanwhile, Joan, office programmer and classically trained pianist, has found his equilibrium with work and building a family life.

"Unstored" is their long awaited return to the fray and their second studio album. It is comprised of eight songs, some of which have been have been slow cooked since 2002, with others gestating more recently. Maybe such a long hiatus seems excessive, but the meticulousness nature and obsessive love for detail found in "Unstored" more than justifies the wait, which at times felt like a long goodbye.

This collection of songs navigates between perfectionist electronica, new generation electro, noisy harmonies, glitch and deconstructed rhythms; a sonic memoire with strong roots in British experimental electronic music -reminiscent of Autechre or Plaid-, another reason in understanding the longing produced by their extended absence.

It is therefore with great honour that in early January 2020, Lapsus will release the new album from the elusive eedl project in a luxury edition format.

Ivan Smagghe & Rupert Cross collaborate again.. and it's another beauty! TIP!

"This second LP on Offen is an ajar window overlooking the phantasmagoric world of Smagghe & Cross, a remembrance of days that never were. The music is sparse, the past is forever : ghosts of industries are conjured through the English countryside, fading memories play static with an idea of romance, the sun breaks through the iron clouds. A record free of uncouth nostalgia but laced with ethereal melancholia. "

Edinburgh born Chris Braun, otherwise known as Duellist, is set to drop a hard-hitting new release on the immersive Wunderblock’s sub label Folgsamkeitfaktor, in partnership with Berlin-based Ready Made Distribution. Duellist has already surpassed a dedicated following with his forward-thinking industrial sound.

Known for breaking boundaries within the techno sphere, the primarily industrial and EBM influenced Folgsamkeitfaktor choose wisely with Duellist as the deliverer on their third release, a swarming industrial 7" EP titled Hereditary.

The Original Mix ‘Hereditary’ is energetic from the start, real industrial techno to sink your teeth into, the producer clearly pulling some unique textures from his love of grunge and metal. Truly powerful, the track takes you into another dimension from it's smoky beginning until locking you into a frenzy of kick drums and pounding bass.

The track is given an atmospheric remix by fellow friend and producer Swarm Intelligence, lowering the BPM and increasing the distortion on this dark and tense banger of a remix.

Not to be missed among the industrial underworld, the handle-with-care EP will be delivered on 27th of January; via Folgsamkeitfaktor.

Ever since dropping her critically-acclaimed debut LP Online Dating through Central Processing Unit back in 2017, Tryphème (Tiphaine Belin) has marked herself out as one of the more unique voices in contemporary electronica. We mean that literally - Belin's productions are characterised by frequent use of vocals, either processed to provide atmosphere or deployed high in the mix as passages of singing/spoken word. When these are wedded to her typically deft electronic productions the results are lush, atmospheric and moving.

Two years on from Online Dating and Tryphème has returned to CPU with the six-track Aluminia EP. While Online Dating leaned into a range of rave styles, Aluminia is more painterly, with Belin putting greater emphasis on timbre and texture. 'Lava', 'Fey' and 'Cry Silent Cry' are some of the most innovative tracks Belin has produced to date.

While another producer would allow listeners to luxuriate in such warm synth tones, Belin doesn't let you get comfortable, constantly surprising you with innovative structural choices or unexpected sounds. The way in which 'Lava' is agitated by chattering voices and processed singing recalls both the uncanniness of Holly Herndon and the maximalism of A. G. Cook, while the synth line that snakes through 'Cry Silent Cry' nods to Lorenzo Senni's recent trance deconstructions. Beats and bass take precedence in Aluminia's midsection.

This is the portion of the record which most closely recalls Online Dating - 'Eedyu' and 'X-Ray Mantra' are more settled than the other cuts on Aluminia, and it's here that the 90s electronica influences that so often inform CPU's output are most keenly felt. Those who enjoyed Bochum Welt's recent Seafire full-length - itself another CPU drop - will be able to get behind these tunes.

The two sides of Aluminia are combined in penultimate number 'In A Cyber Spiral'. The track's eerie beginning, with its ghostly vocals and nagging drums, is reminiscent of Hype Williams. Soon things morph into a leftfield digi-dub replete with speaker-crushing sub. Halfway through Belin wrong-foots us again, cleverly flipping the drums from half-time to a kind of fluttering breakbeat. It's the most diverse and unique production in a record full of them, drawing on everything from IDM to Eskibeat, and a track which furthers Tryphème's status as an exciting new artist on the European electronics scene.

'Active Imagination' is a result of the bringing together of musicians for a day in the studio, with minimal rehearsal, to collectively experiment and improvise in the moment - in contrast to the more composed and structured recordings of the Paradox Ensemble album 'Awakening' from January 2019. All musicians contributed their distinctive individual voices, creating a united force of spiritual, freeform jazz. Each composition is based on a different mode, all with their own distinctive flavour: "So Long Chef" nod's to Coltrane with its chords jumping by major thirds, before a more static middle section,offering a chance for Walters and Jeff Guntren (tenor sax) to explore the Lydian mode."Ahimsa" is a meditative reflection and group improvisation, based around a simple theme in the mixolydian mode, resulting in a spiritual journey steered by Rebecca Nash's hypnotic piano solo. "Gordian Knot" was conceived as a vehicle for Ed Cawthorne (aka Tenderlonious) to cut loose on soprano sax in the phrygian mode, which he achieves with devastating effect, backed up by Nim Sadot's infectious bass hook and complimented by an equally striking trumpet solo from the band leader. Finally, "Dansoman Last Stop" uses the dorian mode to channel the spirit of a bustling travel interchange in southern Accra, Ghana, conceived further by another exquisite trumpet solo from Walters.

Matasuna Records starts the new year 2020 with a brilliant release, featuring two contemporary tracks by Paris based Afrobeat band Batunga & The Subprimes, available for the first time on vinyl.

Batunga & The Subprimes was founded in Paris in 2009 by musicians from different backgrounds, united by the will to mix traditional African music with other elements (Latin, Jazz, Second Line and even Rock) and to bring this explosive mix on the streets & on stage. After many shows all over Europe and beyond, their first official album Man in the Field was published in 2017, followed by their EP Let dem In in late 2019. Matasuna has chosen two extraordinary cuts of these self-released albums to release them on vinyl for the first time.

Gates Of Ouantou from their EP is a great tune that sets the bar for contemporary Afrobeat and has all the ingredients for a timeless classic: the arrangement, the instrumentation and the interplay of the seven musicians in the song are excellent and will immediately draw you into its spell. A real gem and great tune!

Man in the Field on flipside is a cut of their first official album. Unusual is the use of a banjo in an Afrobeat song but not surprising that this fits in very well and also shows that classical structures can be broken up and developed in a new approach/context. Another great piece of this extraordinary band that has been operating under the radar - until now!

This time we'll treat you with a very special branded practical bag.
A small bag, to put inside small things, important things. Once you'll open it that little vinyl smell contained inside ("Air De Wax") will forever evaporate but you'll know that the bag will be forever useful!

Apparel Wax comes back after a long summer with another EP, the 7th of its catalogue and yet again another display of four different musical approaches brought together as one. The EP is, indeed, a 4 tracks one and starts off with a groovy execution of a classic house track, an archetypical and simple house tune with a defined personality and the perfect start, from square one. With 007A2 we start to shift the perspective to a more funky and tribal vibe with the help of the percussions, piano chords and simple bass and guitar lines to close an A side which is a modern view on something classical.

007B1 breaks in bringing an energetic overload since the first seconds with a heavy rhythmic section and keeps up the same pace throughout the whole track even when slowing down. Its insistent and slightly distorted hi hats, along with decisive piano chords helped by some well crafted vocal samples, take us all round this journey through a packed imaginary dance floor. Let's take the foot off the pedal for 007B2 which is instead the most desirable closing with it's smooth yet impactful sounds which create an ideal sunset mood to plunge into. So the sun sets on APLWAX007 and we hope you dig once more what the masked hero brought us this time around.

Another great release on the mexican label this time by Brandub to be out late November. Vinyl only!

It’s that time of the year again: we’re finishing our 6th year of Heist Recordings with our annual potpourri of remixes with this
year’s artists on ‘The Round up part VI’. This year, we’ve got a few really cool newcomers on the label like Demuir, Perdu and
Makèz, as well as label mainstays Fouk and yours truly delivering a great collection of remixes.

The EP starts off with label heads Detroit Swindle giving their high-energy take on Fouk’s ‘Need my Space’. They’ve chosen for
a stabby club version of the more introverted original, with different layers of synths building up alongside a pumping drum track
and a punchy Moog bassline. Check the break for a nice dreamy broken beat section before the track comes back into full
dancefloor madness.

Makèz have only just released their well-received debut EP and now they’re flanking Detroit Swindle on the A-side with their
remix of Perdu’s hit ‘Sacramento’. They replace the broken beat vibe of the original and instead go for a 4x4 track with a driving
bassline, warm pads and subtle placement of Perdu’s original elements.

On the B-side, we have Fouk reinterpreting Demuir’s take on Detroit Techno with their remix of ‘3nity returneth’. Their version is
a tom-heavy high-energy club track with a strong nod to the past, whilst still keeping that strong Fouk signature intact. They
mangle the vocal sample in a drunk and twisted break before setting the track back on fire with an extra acid line for good
measure.

The B2 goes to Perdu’s dreamy slow burning remix of Detroit Swindle’s classic house bomb ‘Music for clubs’. His version takes
the tempo down and dials the dreamy level up a notch. A mellow but punchy acid line and worldly synth hits give this remix it’s
cool twist and it’s a great showcase of Perdu’s view on the broad world of house music.

This year’s Round up finishes with Demuir’s trippy ‘playboy edit’ of ‘Random Visits’ by Makèz. He takes the vocal sample and
layers it behind a haunting string, dreamy keys and a steady groove. It’s got a funky vibe where Demuir’s knack for a good
groove fits perfectly with the fresh original.

The Round up is a special moment for us each year and we’re excited to share these reinterpretations of another year’s worth of
house from the world of Heist Recordings with you.

Yours Sincerely, Lars & Maarten.

Concealed within the eclipse, Overdue presents a new black-label 12" series - symbolic of its sinister auditory contents.

Further proof of their unbridled dedication to sound system music and commitment to quality, the Belgian Dubstep imprint unravels
it's fifth physical release. Based in Denver, its newest signee by the name of Ghast returns to the spotlight, following up on heavyweight releases on prominent labels such as Encrypted and Gradient Audio.

The talented American artist sets the stage with two unruly armaments, alongside murderous remixes by Denmark's bass music stalwart RDG as well as the label operators themselves, Substrada & Caba.

Starting the engines, 'Mothership' immerses the stage in flickering echoes and haunting wails - the air bustling with anticipation. Eerily disfigured, granular reverberations materialize amid a pressurized and truly outlandish soundscape, barren at its core. Heading into the second section with renewed vigour, no dance floor remains unscathed in the ensuing aftermath.

The subsequent doomsday scenario, as engineered by Substrada & Caba, strips the ship to its bare essentials - laced with trippy drum instrumentations and the psychedelic foley samples. The meticulous flow presents itself in a bleak dungeon style - hoodlum vocal fragments rounding off the resulting low-frequency inferno.

Flipping the record to its equally profound B-Side, 'Vehement Mess' unhinges another portal into madness - dance floor upheaval guaranteed. Showing no signs of mercy, the infernal armagedon proves to be emblematic for Ghast's dystopian sound design. Profusely industrial and with clinical efficiency, hitting all the right frequencies as the second wave ignites but all available power reserves.

Finishing off any remaining survivors with his irreproachable signature style, RDG's remix marches onwards with unrestrained might in a four-to-the-floor fashion - super-charged, galvanizing the rave in a no-holds-barred shutdown.

In a career spanning 45 years, Leo Sayer has sold more than 80 MILLION records worldwide. ‘Just A Boy' is Leo Sayer’s 2nd album, originally released in 1974, reaching #4 in UK Albums Chart and includes the hits ‘One Man Band’ (#6) and ‘Long Tall Glasses’ (#4). The album also includes his version of the song that he wrote for Roger Daltrey, ‘Giving It All Away’. It was co-produced by former teen idol and actor, Adam Faith and his long-term writing partner David Courtney. It was co-produced by former teen idol and actor, Adam Faith and his long-term writing partner David Courtney.

Indeed, while he's best known as a DJ/producer in his own right, Duvante's own A&R skills are impressive, with Residual counting on everyone from Fym to Boo Williams to Garrett David over the years. As with their last V/A (the brilliant Refraction Vol. III), the label owner has done another expert job at rounding up some great troops here, with four emerging producers delivering the goods courtesy of Refraction Vol. IV.

We get underway courtesy of Rukka's 'Stellar Radiation'. Full of zippy, nimble synths and clever cowbell sounds, 'Stellar Radiation' is a brilliantly constructed slice of intergalactic funk that brings the rabbit role in some style. Teakup's 'Believe' is a more stuffy, techno-focused cut, the likes of which has been produced in a unique, urban-influenced vein. Miscellanea I on the Is / Was label, it's another reminder of the Ohio native's undoubted talents.

'Sepehr's 'Exit Your Body' plays out like a vintage cut from The Martian. Loaded with funk and soul motifs and characterised by its 808 sounds, this is techno of a real swagger and panache. Deep but brilliantly catchy, it's indicative of the label at its very best. It's then left to Italian producer Pressure Point to see us out, a task he fulfils in some fashion thanks to 'So Far So Good'. Another track with its roots in classic sounds, it too maintains a sort of contemporary edge. Really fascinating and sumptuous stuff that strays down different paths throughout the course of its almost 6 minutes, it closes the release in truly emphatic fashion.

Space-influenced tracks that bring the listener to the heart of the funk cosmos, Residual's latest serves up a brilliant and dexterous voyage to soundspheres that are well worth getting lost in.

After lasts years beloved Operator release, SOLIDE returns with the second part, again by label head honchos D.Y.A and Kalyma.

With this current release, they take heed of a well known principle that has been brought upon us by the Hollywood film industry - any thrilling, perfectly executed and audience approved production needs to get a sequel - So, the curtain raises now for Operator II, a tune instantly reminiscent of its predecessor in beat architecture and kalimba arrangement, yet thought through with even more sophistication and sensitivity.

A Gardener's Perspective pursues that same kind of vibe, coming along with slight Electro-borrowings and cocooning synth-harmonies, climaxing in an masterly organ solo that has soul and devotion to sound written all over it.

Yet another tune that doesn't even have to conform with peaktime arithmetics to send whole floors into frenzy, no matter what time of the night it might be. Closing things off it's Casino Lunch Break, another strongly vibing and very tribal affair radiating afterhour qualities, ending another more than solid offering on Solide on a high note.

Award-winning bassist Daniel Casimir and vocalist Tess Hirst release their debut album via pioneering London-based record labe Jazz re:freshed. Following the success of Daniel Casimir's critically acclaimed debut EP 'Escapee' which featured Hirst on vocals and fellow rising stars on the scene Moses Boyd, Joe Armon-Jones and Shirley Tetteh, this album - 'These Days' is inspired by the duo's London surroundings, delivering thought-provoking lyricism, neo-soul and modern jazz

Casimir, a former Birmingham Conservatoire student, has collaborated with Julian Joseph, Jason Rebello, Benet McLean, Lonnie Liston Smith, Nathan Facey, Shane Forbes, Chihiro Yamanaka, Ashley Henry, David Lyttle, Nubya Garcia, The Tracey Quintet (Meantime Jubilation), Tom Harrison (Unfolding In Tempo), Jasmine Power (Stories And Rhymes), Camilla George and Art Blakey Jazz Messenger saxophonist, Jean Toussaint.

Named Young Jazz Musician of the Year by the Musicians' Company in 2016, Casimir has received plaudits for his arrangements and recital, while Hirst has made a name for herself with her vocals on the jazz circuit having moved between London, Leeds and LA to hone her craft. What sets Hirst apart as a musician is not only the originality of her music but her perspective of herself as an artist. She is an Ethnomusicology Graduate of SOAS and her writing style walks us through her upbringing in West London and down the halls of academia

Casimir and Hirst fuse traditional jazz sounds into beautiful compositions, narrating their way through a political and cultural landscape across these twelve tracks. The frenzied groove heavy'Security' addresses the need to trust one another and how we protect ourselves personally, while the rich atmospherics of 'Freedom' combined with Hirst's vocals, explore liberation and the rejection of duty - from a female perspective.

At the heart of 'These Days', Casimir plays with a passion and power that resonates throughout each composition. His knack for complex chord changes are highlighted in 'What Did I Do', bringing an energy and enthusiasm to the track while Hirst decries our changing capital. Elsewhere, references to John Agard's poem 'Listen Mr. Oxford Don' in 'The Magic Money Tree', explore the past and its relevance to now while a re-imagining of Charles Mingus' 'Fables Of Faubus' further ensures this theme remains central to the essence of the album.

Daniel Casimir and Tess Hirst have already received radio support from BBC Radio 3, BBC Music Introducing and Jazz FM, along with coverage in the London Evening Standard and Jazzwise Magazine

'Don't Let Them' interpolates elements of 'Fables Of Faubus' written by Charles Mingus (c) 1959. Published by Jazz Workshop Inc. Administered by BMG Rights Management (UK) Ltd. Used by permission. All rights reserved.

After taking time out to search for the right blend of carefully curated tracks, Bristol-based dancefloor futurists Innate return with a third multi-artist EP - shot through with melody, warmth and soul.

A quartet of timeless-sounding tracks full of stargazing sounds, undulating acid lines, far-sighted electronics and crackling beats, the A side kicks off with Perseus Traxx's "Drifting In Space": a loose-limbed exercise in analogue house deepness that wraps slowly shifting pads, meandering melodies and pulsating TB-303 motifs around broken house drums.

Welcoming Australian scene stalwart Ewan Jansen to the fray with "Sinders", he effortlessly blurs the boundaries between far-sighted, Motor City style techno and the kind of head-in-the-clouds analogue sounds that have always been his forte.

On the flip, Reedale Rise adds his touch with "Coral". In keeping with the brilliance of his 2018 debut album "Luminous Air", he drops a colourful, picturesque voyage into deep electro territory rich in ear-catching melodies, engaging chord sequences and crunchy machine percussion. To round, label co-founder Owain K returns with "Teifi", another ultra-deep treat: an enveloping, dancefloor excursion rich in fluttering lead lines, slowly expanding chords, vintage bass and punchy drums. A fitting conclusion to Innate's latest immaculate, eyes-closed voyage."

smokey vinyl / label sleeve / incl. dl code

Next on the label that only releases tracks at One Hundred and Seventy Five beats per minute, come two tracks that are quite different from one another.

"The Opposites" strongly relies on the contrast between melody and extremely energetic percussion, tied together by the voice of a girl who wonders how close two people can get without triggering "their crazy". The track's friendly atmosphere almost makes it a Crossbreed love song of sorts.

The much harsher flip side of this release entitled "More Primitive" deals with a different kind of issue: what happens when people get pushed hard, forced to act on instinct... the moment their true, often damaged, selves are revealed.

The seventeenth release on One Seven Five is proof that The Outside Agency still has a lot more tricks up its sleeve, showing the world what Crossbreed is all about.

This golden release (PRRUKBLK050) sees prolific producer Edit Select adding another excellent deep techno EP to his ever expanding catalog.

ALEX ATTIAS presents his new single featuring GEORGIA ANNE MULDROW on vocals and KID K playing soulful jazz keys . The track is simple and groovy , warm and soulful, exactly what Alex is into right now . Alex is very happy to have Georgia Anne Muldrow singing on an uptempo track and Kid K playing Rhodes , analog keys and moog bass. Theres also Cicco the percussion man laying great congas and percussions as well as Arthur Donnot young musician on sax giving the track a live jazz dimension.The B side is a dub instrumental to get the musical vibe of this track made with love . Another great release for Visions Recordings in 2019. Watch out for more goodies in the near future .

The Godfather of the Montreal disco Robert Ouimet was a resident DJ at The Limelight between 1973 to 1981.
Basically this man got history!

After a fine release on Basic Fingers last year he now got two funk-disco edits for GAMM. On the A side Robert takes on a classic, Yellow Sunshine by Yellow Sunshine (translated in French on the release) which was a well established b-boy anthem as well as a classic cut for DJs like Danny Krivit and David Mancuso.
On the B, we find another obscure funk-disco jam packed with soulful vocals, moog synths and big disco breakdowns.

Another G.A.M.M sureshot !!

Inviting slow disco and spaced out ambient characterizes this new material from Golden Bug and In Fields on their collaboration-album ”Vibration Métallique”. Golden Bugs kind of extrovert and electronic sound is recognizable from his previous 7” release on Höga Nord Rekords and together with In Fields it gets dressed in a fluffier costume.

This album is the result of two persons with tons of respect for one another musically, two musicians who have been floating past and sometimes in two each others projects for the last couple of years. Their musical roots In ”Leftfield land” intertwine and reaches up above ground, connecting to different musical stems and holds together the sound; like sightseeing in a familiar town this album has outer limits but as unpredictable as the city can be, this record surprises you from one track to the other.

The album has a springtime feel to it in all it's brightness, but suddenly it shifts shape in a song like ”Lush”, picked straight from the factory floor. This album is both a standoff and a board meeting in electronic music. Golden Bugs metallic excentricity meeting with In Fields darkness and live feel creates an unpredictability and the music goes on an exploratory trip far away!

Woods 786 is back. The alter ego of Roberto Bosco returns with “Exploration 01”, a live jam recording split in two tracks performed with Elektron Analog 4 and Analog RYTM. Last Drop Records and Sonorous Waves' founder has been for years both a producer and a DJ with dates all around the world, now takes another step forward into ambient music. His hypnotic textures invite the listener to travel without moving. Mastered at Mixmastering Studio, the first joint effort between Souterraine.org and Envlp_Imprint, “Exploration 01” is a dreamy continuum of twenty-five minutes or a way to escape from everyday chaotic life. Synthesizers brings you the sound of outer space.

At the start of the year, Rocafort Records treated us to it's first roots reggae outing in the form of 'The Circle of Confusion' featuring the legendary Studio #1 vocalist 'Cornel Campbell'. ... Warm, feel-good, socially conscious, intergalactic dub.

We hoped for more, and finally it's here! Although slightly more digital in production, "Yesterday was History" cannot be claim to differ enormously from its predecessor. But hey, why mess with the formular when the results are pure and damn-near perfect ... ?

'The Circle of Confusion' are a Swiss production duo: Seb.K (Shakedown productions) and Phil'eas (Black Diamond Sound).
Recorded at Addis records in Geneva on the day of Mandela's passing, this track is another slice of dubby humanity-driven peace and love that buoyantly skips along aided by the sweetest scatting voice in reggae, (not showing any signs of it's 73 years), and all the appropriate studio space-age sound effects, harmonics and vintage keys. Modern roots reggae at its best, where the dub version is as banging and cosmic as the A Side.

Mysterious German producer His Master's Voice makes his debut on Delsin Records. With three mind bending originals plus an absorbing Vril rework his entry on the Delsin e-series is a deeply immersive beat trip into another dimension. The roughed edged ambiance of 'Fire Red' opens the dance in soothing yet engaging fashion with superbly spacious soundscapes pulling you in and slowly involving into a foggy kick drum extravaganza. 'Eve' then offers a deep and propulsive electro groove with glitchy atmospheres. Lead track 'Transition' hits hard, an intergalactic trip on turbulent stuttering drums and whipping synths. To finalize an immersive EP, close friend Vril jumps in for a rework of 'Eve' where he smoothly connects the dots between his typical dark bass lines and blistering dub chords.

Here is another amazing old skool reissue from Underground Music. This time from a label setup in 1993 called “Faceless Productions”. This EP has 3 classic 90’s old skool tracks that have been recovered from the original DAT master! Sounds better than the original pressing due to the amazing work from Finyl Tweek with the mastering. With prices upwards of £100 to grab a copy of the original it was well worth a reissue to make it available at a reasonable price for all the Djs & collectors!

Jarle Bråthen returns to Ivaylo's Bogota imprint with two original tracks accomplished with outstanding remix from another Norwegian fellow, Kim Dürbeck! Known for it's transmittable deep sound, Bogota Records delivers another timeless release!

Two years after an acclaimed first album, Al Sunny and Favorite Recordings proudly present Planets, carrying on their collaboration and bringing it to another level.

Al Sunny is a young and talented singer/musician/composer emerging from the French soul music scene. During his conservatory studies, he refined his knowledge and confirmed his desire to write and compose. He quickly matured the music that he truly loves, inspired by artists such as Tim Maia, America, Al Green, and Al Jarreau. Giving birth to the majority of his compositions through his guitar, he always seeks to bring his songs’ melody to the forefront. During his studies he kept experiencing live performing on different scenes and confirmed his choice for a musical career, while also meeting many brilliant musicians, including Florian Pellissier, who later introduced him to Pascal Rioux and Favorite Recordings.

It resulted in 2017 in Time to Decide release, a dazzling first album establishing Al Sunny’s music and writing style, looking towards the 70s and 80s Westcoast movement, infused with Blue-Eyed-Soul, Pop and Folk flavors. Built on the same influences, Planets is made of 8 new compositions (including a CD and digital bonus), and is clearly a continuation of its cadet, asserting Al Sunny’s talent and singing skills.

Fully recorded live and analogic in Paris, this new album also stands out by an impressive level of production, faithful to some classics of the genre. Mixing catchy melodies, soulful vocals, warm and heavy bass, strong beat and beautiful guitars and keyboards harmonies, Planets just perfectly meets the AOR and Modern-Soul golden era standards.

“Osondi owendi. What is cherished by some is despised by others. One man’s meat is another man’s poison. Different strokes for different folks. To each their own. Osondi owendi.

It’s a conventional aphorism in the Igbo language but if you utter the word “osondi owendi” in Nigeria today, the first thing that comes to anybody’s mind is the cucumber-cool highlife music maestro Chief Stephen Osita Osadebe and his legendary album that takes its name from the adage. Released in 1984, Osondi Owendi was instantly received as Osadebe’s magnum opus, the crowning event of an exalted career stretching back to the early years of highlife’s emergence as Nigeria’s predominant popular music.

Stephen Osadebe first appeared on the music scene in 1958 as a spry, twenty-two year-old vocalist in the Empire Rhythm Skies Orchestra, directed by bandleader Steven Amechi. With his dapper suits, urbane Nat King Cole-influenced vocal stylings and jaunty, uptempo, calypso-scented dance tunes, he personified the frisky spirit and anxious aspirations of a young, educated generation that had come of age in the wake of the Second World War, in a Nigeria that was rapidly shaking off British colonization and marching towards an independent future. 1959 would be the year that he truly made his mark in the business with his debut solo single “Lagos Life Na So So Enjoyment.” A giddy exhortation of the music, sex, fun and freedom availed by life in the big city, the song became a sensation and an anthem, and Stephen Osadebe became the leader of his own popular dance band, the Nigerian Sound Makers.

Osadebe would ride this wave of acclaim through most of the nineteen sixties, but a change in direction would be called for at the dawn of the seventies. As Nigeria emerged from a devastating civil war, so did a new generation of youth inspired by rock and funk, confrontational sounds reflective of a more violent, less idealistic era. All of the sudden, the idioms of the post-WWII dance orchestras that nurtured Osadebe’s cohort seemed quaint, the stuff of nostalgia. Osadebe needed to evolve to respond to the new tumultuous, turned-up times.

His response? He cooled it down.

Abetted by a new crop of fire-blooded young players, Osadebe slowed his music to a mellow, meditative tempo, brought forward the lumbering, Afro Cuban-accented bass and percussion, from the rockers he borrowed searing lead lines on the electric guitar. Over this musical bedrock, doesn’t so much as sing as he dreamily muses, coos, sighs aphorisms, words of wisdom and inspiration. “When one listens to my music, all I say appears meaningful,” Osadebe explained his lyrical approach, “at times they are in the form of proverbs which provoke much thought afterwards.” The result is a blend that is both rollicking and soothingly languid. Osadebe christened the style Oyolima—a tranquil, otherworldly state of total relaxation and pleasure. Osondi Owendi represents oyolima at its finest, and possibly Nigerian highlife in epitome.

Osondi owendi. What is cherished by some is despised by others. In some way, the album’s title constitutes a paradox. Because Osondi Owendi is a record that it’s almost impossible to imagine being despised by anybody."

“Lugar Alto presents their very first release: the incredibly rare and absolutely stunning “Homenagem”, by Leonardo V. Boccia. This is a forgotten gem from the eighties that examines traditional Brazilian themes such as choro, northeastern folk, and capoeira with touches of eighties electronics and new age.

Leonardo Boccia is a musician, multi-instrumentalist, composer, researcher and university professor of Culture and Society at the Federal University of Bahia, whose interests include sound studies, manipulation of sound media, audiosphere and aesthetics, musical theatre, audio culture and neuromusic.

Born in Italy, this respected academic studied music in Berlin, moved to Rio de Janeiro and established himself in Salvador where he was invited to research the northeastern music of Bahia. There he created the experimental group Macchina Naturale, an eclectic combo that performed regularly during his stay. In November 1980, Boccia participated in the first Instrumental Music Festival of Bahia as a soloist where he performed works of his own.

But it was in 1983 that Professor Boccia composed, directed and produced the LP Homenagem. With photos by renowned photographer and artist Mario Cravo Neto for the front and back cover of the booklet, the album presents new and original compositions for instrumental ensembles, such as: Choro Fantasia – for guitar and berimbau -, Canção para Iracema, Homenagem and Lenda do Sertão. The LP was originally released on January 3rd, 1984, with a live performance in the main hall of the Castro Alves Theatre under the title Tribute to Brazilian Music, with the participation of vocalist Sueli Sodré, who contributes to the album, instrumentalists Zeno Millet and Onias Camardelli, accompanied by choreography and visuals.

Much of Homenagem examines the genre of Brazilian music known as Choro, or Chorinho, a genre which appeared in Rio de Janeiro in the 19th century. Choro is regarded as the first typically Brazilian urban music and, over the years, it has come to be considered one of the most prestigious genres of national popular music. Stylistically, it originates from Lundu, a percussion-based rhythm of African inspiration but also influenced by European genres. The instrumental composition of choro was based on the trinca flute, guitar and cavaquinho. Over time, other wind and string instruments were incorporated.

Here, in Homenagem, Professor Boccia deliberately mixes the old and the new, the traditional and the innovative; the album is the environment of Chorinho reconsidered and recontextualized, and its melodies and harmonies still capable of surprises. Just listen to “Terra e Povo” – it has an almost proto-acid-house quality to it, while the synth washes on “Mãe Natureza” with the ethereal vocal stylings of Sueli Sodré ushering in the progressive quality of the album.

Too long out of print, new label Lugar Alto now offers you the chance to reappraise this fascinating reissue of yet another forgotten chapter in Brazilian music.”

After the major success of Part 1, Cosmo Vitelli & Malka Tuti are presenting Holiday in Panikstrasse Part 2, the 2nd and final part of Cosmo’s 2XLP on the label.

After collaborating with Fantastic Twins on Part 1, the amazing Julienne Dessagne’s vocals are back on Part 2 as well for the opening track Fragments of Reality. Another collaboration on the record is with Croatian singer and vocalist Tanja Vezic, whom we’ve already seen collaborating with Cosmo on his Les Disque De La Mort release, and who gives a cinematic sort of feeling to the track Party old boy.

With “He just wanted to hang out with the DJs” Cosmo creates a slow burning dark banger that will not go unnoticed.
The final track Irritable is the perfect mixture between German Krautrock heritage and the French disco-synth touch of the 80s - emotional, growing and cathartic, one cannot stay indifferent to it.

2024 Backstock

After having released several solo works of both artists, Dauw announce the first collaborative full album by The Humble Bee & Benoît Pioulard; 'I suppose I'm your future'.

Both artists hold a very special place in the history of the label. The Humble Bee was already present from the very beginning and, in hindsight, definitely has put an important mark on the musical aesthetics we've been developing throughout the years. On the other hand, we crossed paths with Benoît Pioulard several years ago through our ongoing Living Room Concert Series in which he offered one of the most magical evenings to date. Given their mutual love for the tape medium and melancholic compositions, we only had to connect the dots as we were pretty sure that some magic was up in the air.

It goes without saying that we were uttermost happy when they both accepted our invitation to work on a collab album. Even though we didn't know where their efforts would end, it already felt like a victory that we, as a label, were able to link these artists. Above all, the art of curating can be considered as an essential feature of running a label but for us it is also the most wonderful part about it. Linking artists to each other, like we also did in our Dialog Tapes or Illuminine Reworks series, even goes a step further as it makes new connections, pushes boundaries and ultimately can result in an unexpected enrichment of the musical field.

"I always look forward to the Dauw collaboration releases. Most of the creativity for these lays within their curation: it brings together artists that, although arc in the same orbit but somehow never cross paths. The beauty of collaborating is that we learn from having to give space to another creative force, working alone we fall back on what we know and what we have already done. Although I wasn't paired with Tom for earlier projects, the guys at Dauw thought (and rightly so) that it was about time we crossed our musical paths for an lp." (The Humble Bee)