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A truly incredible collection of foundation Jungle / Drum & Bass from these ground-breaking labels. Splash aka Undercover Agent aka Daz has been with SubBase since the start, having signed to Suburban Base Publishing (including the iconic track Babylon) back in the 90's and remained with us ever since. As part of the SubBase Family we’ve collaborated once again to deliver a perfect package of in-demand classics and unearthed dubplate specials.
Daz Ellis, most commonly known as Undercover Agent, was a true pioneer of the emerging jungle scene back in the early 90’s. He was heavily involved in the pirate radio scene, setting up the infamous Cyndicut FM to transmit breakbeats & basslines across the airwaves of the South East of England, noted for having one of the strongest and widest reaching broadcast signals of the period.

Under various aliases he produced music that defined the sound of the dancefloor. Early releases featured on the genre-defining Suburban Base & Lucky Spin labels.

As Splash his seminal track Babylon set the standard for how amens and ragga infused samples should sound, a format that has stood the test of time and can still be heard today regularly getting played by the world’s biggest drum & bass DJ Andy C! This compilation includes the 2 most in demand versions of this foundation anthem.

In 1994 off the back of his success he launched Splash Recordings, then the year after Juice Records came into fruition. Under the guises of DAZ, M.T.S. and various releases as Splash Collective, all on his own Juice & Splash imprints he gained an army of dedicated fans, demand from whom has led to the creation of this special vinyl box set!

For this exclusive compilation project Undercover Agent went searching back through his original studio master tapes from his impressive back catalogue to find both the original recordings, and some of the alternative edits that never made it to vinyl back in the day. There were also a handful of special versions made exclusively for DJ’s to play on dubplate that are now available for the first time ever.

Exclusive to this collectors box set are 6 never before released versions of classics such as Oh Gosh, Five Tones, Jah Works, an alternative mix of DJ Zinc’s remix of Hard Disk & Bass Kick that were unearthed from the original session DAT’s!

This album features 16 of his most legendary tracks, remastered & pressed across 4 slices of vinyl.



c B1. Undercover Agent - Oh Gosh! (Daz '95 Dubplate) Unreleased

e C1. M.T.S - Baad Boy Sound ('95 VIP) Unreleased


h D2. M.T.S. - Hard Disk (DJ Zinc Remix VIP Dubplate) Unreleased

j E2. Undercover Agent - Five Tones (97 Daz VIP Mix) Unreleased

l F2. Undercover Agent & The Kriminal - Jah Works (Exclusive '95 Alternative Studio Mix) Unreleased



[c] B1. Undercover Agent - Oh Gosh! (Daz '95 Dubplate) [Unreleased]

[e] C1. M.T.S - Baad Boy Sound ('95 VIP) [Unreleased]


[h] D2. M.T.S. - Hard Disk (DJ Zinc Remix VIP Dubplate) [Unreleased]

[j] E2. Undercover Agent - Five Tones (97 Daz VIP Mix) [Unreleased]

[l] F2. Undercover Agent & The Kriminal - Jah Works (Exclusive '95 Alternative Studio Mix) [Unreleased]

Polifonic Records is the melodic balance between antagonistic vibrations, spirits and energies that inhabit the land of Puglia since the dawn of time.

An harmonic exploration into colorful, vibrant sunrise atmospheres and emotional, introspective sunset sensations. One Body. Many Souls.

PF004 // The fourth vinyl of Polifonic Records label brings together artists from different cultures and ethnicities to create a seamless blend of sounds with diverse influences. Encompassing genres like house, Balearic beat, and acid, harmonized through ambient arrangements and 4-tothe-floor rhythm patterns to chill and groove to, this record is a material embodiment of the multicultural and polyhedric approach that Polifonic adopts throughout the multiple extensions of our projects.

The first track “Generations of Sunsets” by Lipelis joining with Andy Butler from Hercules and Love Affairs, vividly illustrates the extent of their sonic palette: a journey that runs through a Balearic groove - also with the use of guitar - and expands the mind to exotic places keeping the body moving with its acid touch.

Italian 90’s riviera house meets percussions and ethnic grooves in the born new track from the Milano duo Eternal Love. “Kuasi Riviera” reflects perfectly the nature of Polifonic between clubby atmospheres and connection with the wild world.

Then comes the darker side with Yu Su, who switches it up with new diversions in tempo and rhythm throughout “Oil” with a blend of deep basslines and obscure soundscapes contributing to this journey through space and time.

Benedek’s “Desperado” doesn’t shy away from deep diving right back to the 90s Italian house overlapping bold soundscapes through the lens of a contemporary producer. Distinctive,
immersive, and dauntless.

Like meeting an old friend again, Dalmata Daniel welcomes DJ Overdose back to their catalog. Six years ago the infamous Dutchman's '05 Poly 800 Loop' EP was released, which served as a powerful launch to Dalmata Daniel, opening the first chapter in their story. Later in 2019, a split release with Sematic4 was also a highlight in the life of the label; and now, 3 years later, DJ Overdose checks in with the 'Powers of Ten EP' with a J. Mono remix, available both in digital and vinyl format, the latter having 2 bonus tracks.

The distinct, crunchy sound of DJ Overdose, bearing aspects of old school hip-hop-infused sampling and contemporary analog vibes creates the perfect blend of both worlds. 'Garden of Lust' opens up the adventure with a combo of warm basslines and solid drum-programming. This initial track feeds us these cardinal elements as the bread and butter they are: subtle variations and fine spices do appear here and there as the track goes along, but the key, beating pulse in 'Garden of Lust' brings massive hits stable as a sledgehammer in the hands of a blacksmith.

'Feed The Beats' elevates the game to cinematic territories: its majestic string-like central melody makes me alert and ablaze, making me feel like I'm in a late 80s L.A. setting facing malevolent zombie-aliens in my Wayfarer shades. Blasting beats and Carpenterian coolness all over the place, while the spooky bassline just keeps sneaking up on me endlessly.

If you are wondering when's the best time of the year to bring out your boombox at last, then this is your lucky day: with 'BOB', the first bonus track on the vinyl, we can experience some roarin' bassdrums, snappy snares, MCs with the speed of light and all that jazz. The low-bit sampling and vinyl scratching come and kick you right in the face so hard that it becomes pretty obvious you'll can't help but start some serious beatbox battles in your bathtub with your rubber duck.

A feverish groove in the prime time of a funky bash, in the haze of a sensual rave-up: that's all one really wants when going for a Saturday night out. We definitely get this and much more from 'Room 714', another vinyl-only bonus track. A berserk voice and ethereal chords guide us through this mysterious track, but while we are busy trying to impress our crushes on the dance floor, things around us are slowly getting very, very freaky, maybe a bit way too freaky.

As wobbly and jolly as it gets, our Dutch friend ends his session with 'Ðr ¡v€ M€ ¢r@z¥', a vocoder-heavy disco banger, full of merry vocal FX and smart rhythmic glitches as he completes his flight. To close the EP, our local hero, J. Mono delivers an insane remix of 'Ðr ¡v€ M€ ¢r@z¥': one can clearly imagine how he grabs and turns the BPM knob all the way up, fires up some arpeggios on his mighty synths and casts a complete reimagination of the original track.

O-Wells is back on Die Orakel with his fourth transmission, called "Moldoom". This 4-track séance is mainly made of uplifiting, spaced out electro tracks, some rolling along with subtle or acid basslines, lush pads and gently subdued detroitish chords. Die Orakel leave it at your sonic discretion, whether the catalogue number references the year 1996.

Cocoon Recordings presents: Cocoon Compilation T

Limited Vinyl Box Set including 6x blue vinyl & download code

Another year, another expertly curated compilation touches down courtesy of Cocoon Recordings. Somehow, the world keeps turning and with it the Cocoon universe keeps expanding, causing subtle yet persuasive shifts in the sonic soundscape that continue to
capture and captivate the imagination. In time-honored tradition the old guard and the new combine with devastating effect, to define the current state of play…
Veteran Techno producer Stephen Brown makes it clear the compilation series is back with a bang, opening things up in epic fashion with the lucid dreamscape ‘Level Steps’ - a true work of art. Another heavy-weight hitter steps straight up in the form of Claude von Stroke, who adds his own unique swagger to proceedings with those trademark shuffling beats and freaky, hypnotic bleeps scuffling for dominance on ‘Moody Fuse’. Denis Horvat then slows things down on ‘Monomono’, with post-raveNew Release Information
abstractions and disobedient synth-patches causing mayhem before the track finally unfolds in all its terrifying beauty.
Motoring on, the collection wastes no time reaching that familiar tipping point as we enter the techno phase of the journey. A very special appearance from Daniel Avery makes it all the more worthwhile amid a dense forest of chiming melodies and blistering electrical surges on ‘Your Future Looks Different In The Light’, before Jeroen Search’s aptly titled ‘Subversive Elements’ lead us deeper and
deeper, into the matrix.
Marco Bailey then kicks off a triptych of trance with some massive filtered piano action on ‘Kanai’ that’s destined to trigger a serotonin smile with everyone it touches. Revisiting the huge,
ever-growing pulsating brain of planet Orb, Damiano van Erckert continues the loved-up vibe on the gorgeously titled ‘500 People 500 Hearts 1 Love’, expertly complimenting the classic ambience with
some slick 909 snare and cymbal interplay. The melodic pull of ‘Vision99’ then signifies that the party is peaking at just the right moment as YOKTO concocts a glistening, psychedelic groove. The
emotional resonance climbs ever higher with brittle melodies endlessly circling a lush, throbbing bass drone to create the sense of something stirring out of reach.
Just when you think the acid sound is done and dusted, up pops a track like Jonathan Kaspar’s ‘CCC’ that somehow manages to offer an entirely new perspective. Riding in on a wave of expectant
arpeggios, the squelching bass and noise filter go toe to toe before Kaspar gets busy with a freaky tempo excursion that’ll be destroying dance floors all year long. ‘The Art of Electronics’ is, as the title
suggests, another superlative example of pure analogue fire, served up by UK legend, Andrew Meecham aka The Emperor Machine. The funk starts to flow as the bass drops, the machines cut loose and a swarm of cascading bleeps ride the trans-europa express to oblivion.
Electro overlord Carl Finlow, has come to define the UK take on the genre over the last couple of decades. Here, he makes his long overdue label debut, taking us into the closing straight with a
nervous sliver of dystopian futurism, complete with molten basslines and a fuzzy logic that underpins the tight, laser-guided groove on ‘Surface Control’. DeFeKT then draws this great adventure to a close
with the deliciously dark robo-disco overtones of ‘Terraform’ creating a dusky landscape that skillfully seduces the listener before the tension finally breaks in a wash of ecstatic chords.
All in all, it’s a supremely ambitious collection of tracks, generously featuring some of the most inspirational and durable artists of their respective generations. In fact, is this perhaps the best Cocoon
Compilation to date

Of the many great talents of the classic Nigerian highlife scene, none contained the existential depth, transcendence and grace of Celestine Ukwu. During his brief time in this world, he pursued education, music, and philosophy; first as a school teacher, then ultimately a singer, lyricist and musician, first as a member of Gentleman Mike Ejeagha's Premier Dance Band, and eventually fronting his own groups, The Music Royals and The Philosophers National. Beginning in the early 1970s, The Philosophers National established a radical shift in the possibilities of Nigerian highlife by moving away from the typical mid-century style and cutting a new path with a distinctly hypnotic and cerebral atmosphere. This sense of depth was apparent in the lilting, multi-layered and pulsing music of The Philosophers National, as well as the concise and clear-eyed lyrics sung so beautifully by Celestine Ukwu. The arrangements establish a living, breathing environment for each song; muted trumpet solos, hypnotic guitar runs, driving percussion; every instrument gracefully following a tide of patience, tranquility, wonder, climax, knowing and unknowing. "Celestine ditched the jaunty dance rhythms and relatively facile lyrics typical of the reigning highlife tunes, and ignoring the soul music tropes most of the highlife bandleaders were appropriating in an effort to inject new life to their ailing format. Instead Celestine concocted a new highlife style that was more contemplative and lumbering; with the layering of Afro-Cuban ostinato basslines and repetitive rhythm patterns that interlocked to create an effect that was hypnotic, virtually transcendental. Meanwhile, Celestine himself sang as he stood coolly onstage in a black turtleneck and a sportscoat, looking like a university professor. The message was clear: this was not necessarily music for dancing_even though the rhythms were compelling enough. This was music for the thinkers." - Uchenna Ikonne This LP compiles some of Celestine Ukwu's deepest and most affecting songs from the 1970s, which have been gorgeously restored and remastered by Tim Stollenwerk to highlight the brilliant details of Celestine and the entire Philosopher's National. Pressed on 160 gram black vinyl at Smashed Plastic in Chicago, and comes in heavy 3 spot-color jacket, with fold-over insert with bilingual lyrics and notes by Uchenna Ikonne (Comb & Razor Sound).

Concept Of Man is Martin Knorz - Berlin based keyboarder, producer and DJ.

A studied jazz pianist, Knorz is known for playing keys in the highly acclaimed, german experimental pop band Hope, with whom he’s been touring around Europe and UK over the past couple of years, as well as forming the sound of Austrian pop icon Teresa Rotschopf‘s solo debut „Messiah“.

In 2019 he started devoting himself to modular sound-synthesis, playing live shows and remixing acts as Hellotrip (Mutant Rebuilds) and Hara Crash (Bali).

His debut “Regularities” will be released on Patrick Pulsinger’s Big Beak Recordings in 2022. It’s a modular infused tape majestically crafted by a sound surgeon. Drawing inspiration from Robag Wruhme, James Holden and Patrick Pulsinger (with whom he has collaborated on his album Impassive Skies and the EP Nocturnal Cat), „Regularities“ consists of four minimal tracks and a durational modularsynth-only-performance, both of which feed the realm of sound caviar. Tribal rhythms join the darkness of modular sounds, regular beats oscillate on irregular impulses, while intriguing basslines and uplifting chords remind us that Knorz is first and foremost a pianist, a master of melody.

Wooden but soft percussive chords create a tribal rhythm that carries through the song, interrupted by a contrapuntal rhythm. Another drum group provocatively steps in the arena, together they build a rolling total. Then a „squelching“, juicy, nearly acid melody grounds the track, to be drummed out by the two groups when approaching the end.

Tape

On her second album (first one on Umor Rex), the Minsk born / Paris based artist Lina Filipovich continues her experiments on deconstruction and re-appropriation of classical pieces. BFHC includes seven electronic interpretations of the works of Baroque composers such as Bach, Handel, Frescobaldi, Carleton and Couperin. Inspired by memories of her experience of interpreting Bach's pieces in early childhood, Filipovich explores the desire to push the limits of performing classical music in the traditional way. Her baroque compositions are manipulated, modified, transformed into loops, cut, slowed down and recycled like any content could be, becoming a raw material for new compositions accompanied by electronic sequences, rhythms and basslines. Through the recycling, sampling and reassembly, Lina creates new listening experiences. And if BFHC can be interpreted as a tribute to baroque music, it can also be understood as a call to action to the work of contemporary artists like Oval, and to all the boom of clicks and cuts at the beginning of this millennium.

Mastered by Rafael Anton Irisarri
Artwork by Daniel Castrejón

Pressing Info: 180g black vinyl, standard sleeve, printed inner sleeve. In dark, troubling times, maybe the most instantly gratifying solace one can seek is a wittily barbed diagnosis of the situation. “The fox has his den. The bee has his hive. The stoat … his stoat-hole,” Stewart Lee once remarked: “But only man chooses to make his nest in an investment opportunity.” Caustic retorts like this are what fuel the debut EP by dance-punk outfit Regressive Left, ‘On The Wrong Side of History’. For pervading through their dynamic and glitching music is a duty to report unflinchingly society’s ills. They are a staunchly political group, but far from your average po-faced by-numbers punk band. There is a gristly social commentary at the band’s core, but the songs themselves are characterised by a need to have fun, to find some kind of solace and escapism from the inevitable rapture. Recorded over an intense 5-day spell with in-demand producer Ross Orton (Arctic Monkeys, MIA, Amyl and The Sniffers) in Sheffield, Regressive Left’s debut EP ‘On The Wrong Side of History’ was immortalised over a handful of 11am-1am sessions in his studio. In many ways it is a time capsule of the maelstrom of ideas that got the group to this point in the first place – the infuriating, bleak political climate, and the urge to find escapism from it – consigned to vinyl in one herculean effort. Taking influence from the booming post-punk, funk and disco scenes of New York, Regressive Left’s sound is stark and danceable. Angular guitar scratches meet dirty synth basslines, whilst Simon Tyrie’s Edwyn Collins croon is chased around by effervescent drums. The banal horror of life in Tory Britain expressed with sharp and dry wit, and then set to truly barnstorming and infectious dance music Due out July 15th on Bad Vibrations Records, the new EP arrives following a trio of acclaimed singles (‘Eternal Returns’, ‘Take the Hit’, ‘Cream Militia’), tours with the likes of Bodega and Folly Group, festival appearances at End of the Road, Latitude, Great Escape and Wide Awake, and a sold out headline at The Windmill.

Roy Mills readies a whirlwind trio of bass-bin-rattling tracks for his Local Knowledge label.

This is the third full solo release for Roy, who turns in a set of genre-spanning, sound design heavy cuts - channelling his twisted, thrilling take on dance music.

Leading the A1 is ‘Chinchilla’, a weighty tripped out stepper with mind-bending basslines, bubbling synths, and sharp stuttering drums taking charge.

Following is the low slung mutant ‘My Safeword is Dolphin’, a tongue in cheek break up song that serves up wonky percussion, vocal chops, and uneasy bleeps, fragmenting between dance floor tension and prog-matic might.

The 10 inch release settles it’s vibrations below the surface, ending with ‘Aquatiqué’. Gentle, reverberated drums work in tandem with spacious, considered sound design for a comparatively calm but no less club relevant closer to the EP.

The record comes complete with an AR interactive 70 x 48cm Offset printed poster, printed inserts, stickers + special treats.

Keep The Peace™ 2022


Includes AR Interactive 70 x 48cm Offset printed poster

Includes Printed Inserts

Includes Roy Mills ‘Mascot Sticker’ + special treats

Includes Poly-lined Paper Sleeve for Safe Storage

House Of Lucy is a special project by three friends and music producers from Warsaw, Poland (TAMTEN, Ivan Bayor & FOPA) who also happen to organize a mysterious event called “Lucyna” on Half Year’s Eve (sunny New Year’s Eve in summer). It is a local thing with lineups consisting of DJ’s and bands with very different musical backgrounds. This genre bending and melting situation, together with an utterly open-minded audience, creates some of the most unexpected encounters. This is the place where dub meets new wave, post punk meets house, electro meets jazz… This is the place where House Of Lucy comes from. Following the lyrics on the opening track:

“…welcome to house of Lucy
you can do anything at house of Lucy
anything at all
the only limit is yourself…”

Dark 80-ish synths, guitar riffs, dubby basslines, aggressive percussion, haunting vocals, and some soft cozy spots seem a bit much for one record? This is House Of Lucy after all, the only limit is yourself.

Much deserved, remastered reissue of ‘We Are I.E.’ by Lennie De Ice, arguably the first proto jungle tune, now coming correct with fresh remixes from Solo & Blades alongside Borai, as well as the sought-after Horsepower Productions remix.

Released in 1991 on I.E. Records, an imprint based out of De Underground Records, a store in London’s Forest Gate run by Mike De Underground alongside Uncle 22 and Randall, it famously featured elements that paved the way for the Jungle sound. Centered around the Amen break, ragga style basslines, vinyl spinbacks and gun shot samples, it stood out as something different back in ’91, A certified classic, rinsed on dancefloors everywhere and anywhere, from back in the day to the present.

Solo & Blades are the first of the new versions, hitting hard with a heavyweight jungle remix, as Borai steps up with a beefy bassline rework. Horsepower Productions killer and sought after remix rounds off the package.


DJ Feedback:

Foul Play
Moving Shadow
"All the remixes totally land, great package, respectfully done. gonna hear a lot of these over the summer I think."

Jerome Hill
Super Rhythm Trax, Don't, Kool FM
"Was a little sceptical seeing these were remixes as its such an iconic track - BUT fair play ! Borai and Ed Solo & Blades both knocked it out of the park and i'll be playing both these, plus replacing my personal (slightly. crusty) vinyl rip of the original ! Bigups !!"

Om Unit
"Untouchable until now tbh"

jd Twitch
optimo
"even though I have probably heard it ten thousand times you can't beat the original. remixes are cool though."

Louise Chen
"this hits so hard it's tough choosing a fave mix!"

Emerald
BBC 1xtra/ Rinse FM
"Yeeeeeh found the dubstep remix vinyl of this in barcelona recently"

Werdna (Circular Jaw)
"Classic, lovely to see Hooj bringing in the big guns for the remixes. These are going off!"

Cortese
"Sick breaks on this one"

Truss/ MPIA3/ Overmono
"wicked"

Oli Warwick
Crack/ RA/ International Orange/ JunoJuno Plus
"Absolutely seminal bomb drop here, and the remixes are no joke either!"

Chris Farrell
"Always good to see this come round again, original and borai mix for me"

Smolny
"CLASICK !"

Doc Martin
Sublevel USA/Fabric UK.
"Complete Rave Warehouse Flashbacks!!!!"

Lil Mofo
The Trilogy Tapes / Tokyo
"wow!"

Moody Boyz
all over the worldstudio rockers records
"classic tune feeling the Filter Dread Remix"

Ciel
Rinse FM / Refuge Worldwide
"really nice collection of tunes!"

dop
"love the original"

Yellow Vinyl

Parisian producer DJ Atlance follows up an appearance on Happiness Energy’s various artist compilation late last year with five sun-soaked house cuts on Running Out Of Steam, just in time for January coming to an end.

‘Le Club, La Nuit’ gets things underway with a sample-heavy slice of early evening house music; funk-driven basslines, radiant atmospherics and a distinctive Atlance, hip-house bounce hold the door for the listener as they venture further into the dimly lit room. ‘When I Hear Your Voice’ throws it back to the 00’s with its MTV-pop-dance blend of catchy vocals and murder-on-the-dancefloor energy.

‘Eternal Sunshine’ is as radiant as the title would suggest; a bright sequence ofsaxophones, jazz-keys and feel-good warmth that we wish would never come to an end, before Atlance shows what he would ‘Do For Love’ on a synth-bending, playful cut of coastal house music.

‘After The Storm’ maintains its housey aesthetic, but this time on an electro-tipped 2-step; instantly recognisable vocal samples, dreamscape aesthetics and meditative breaks uniting on a blissed-out trip.

Midwest techno titan DJ Speedsick debuts on TITDM with five monstrous cuts, permeating with grunge flavored grooves and hypnotic rhythms - including a bonus digi track on 'Midwest Death Trance EP'.

Opener 'Spun 21' sets the tone for the record, wasting no time in getting started. The track's rolling basslines stretch out underneath deep, weighty percussion, in a pumping club track with both warm and driving qualities. The US based artist continues his quest of making the most relentless and uncompromising techno in 'Low Places' before 'Tital Therapy' enters the frame with its louring kick drums, interwoven amongst a backdrop of industrial, dystopian unrest.

B side opener 'Exact Change' is minimal in its approach, but no less effective; proving that sometimes all we need is a hammering kick drum, killer rides and understated bass notes to make people lose their minds. The record comes to a close with the heads down grooves of 'Your Turn To Fall' a seductive piece, teasing and taunting; before the digi only 'Glad To Get Away' keeps bodies moving as the club shuts and the after party begins.

Samantha Togni makes her TITDM debut with five uncompromising cuts, exploring the darkest corners of techno and channeling her artistic expression in a flurry of controlled yet innovative directions. This compulsion to work without boundaries isn't new to Samantha, having always leaned toward a 'do it your own way' attitude, leading to Samantha founding Boudica in 2017; a collective aiming to give visibility to women and non binary artists through their events, conference, radio show and podcast.

'Trust The Heat' rattles through the speakers with its bone twitching bass, spilling out from its kickdrums and marching forward at an unnerving pace. The accompanying grooves give way to primal movements and an added layer of welcomed spice. There's no sing-songy samples here, just a vocal phrase with the energy of a megaphone edging through a busy club; guiding dancers to keep moving. 'No Pressure to Fit In' follows up with its spiraling basslines opening and closing, providing the movement against a backdrop of percussive power. Togni brings back the vocal snippets. this time to greater hypnotic effect.

'Sensible Social Lies' sounds like the type of techno you'd expect to hear on a planet from Dune; shapeshifting its way through sand with a heavy onslaught of newly discovered sounds. 'Cockroaches' scales back, remaining functional and still packing a serious punch, before the record comes to a pupil dilating close with 'In Vivo' a melodic, left-leaning piece honoring what makes techno so great, while remaining fiercely contemporary and unique to the artist who created it.

Twelve years since Brendon Moeller first appeared on Delsin's Ann Aimee offshoot it's time for a welcome return to Delsin Records. The prolific producer, also active as Echologist and Beat Pharmacy, hereby presents one of his most deep going, spaced out and experimental modular works to date. Crispy noodling electronics diluted with Moeller's trademark minimalist dub scapes, reaching from the mesmerizing the rubbery basslines of 'Route' to the energizing fast paced rhythms of 'Motor'.

‘Self Oscillation’ is made up of 5 club-ready psychedelic workouts swaying with natural momentum, from
Ecuadorian superstar Nicola Cruz, who makes his 2nd appearance on London’s Rhythm Section INTL.

The internationally renowned producer, Nicola Cruz, has been instrumental in pioneering the sound of Andean music over the last decade. Born and raised in Ecuador, Nicola has found his own unique way to tap into Latin America’s illustrious musical past to create something utterly contemporary. His previous projects have had the 4 elements running through as major themes: Fire and lava erupted during his sophomore album, Siku, with an Ecuadorian volcano doubling up as a recording space. And now, with his second Rhythm Section release, we are met with sounds of flowing water that Nicola describes as “aqueous explorations”. On this EP, ‘Self Oscillation’, Nicola Cruz fuses experimental production techniques with underwater, bass-heavy constructions. Moods change like the tides; from euphoric highs with acid riffs and latin drum patterns, the music quickly dives to moody submarine basslines and dark, frenetic rhythms.

‘Self Oscillation’ sees Nicola’s production move to new heights as he expertly bridges the gap between natural and mechanical sounds. With the help of iconic 80s and 90s synths and the retro colours of a Roland Space Echo, his newest work is a hybrid of electronic dance music and a synaesthetic image of nature. In the spirit of his previous EP on Rhythm Section INTL, ‘Self Oscillation’ showcases the synergy - or rather ongoing battle between the organic and inorganic, the analog and digital, civilisation confronted and confounded by nature. It’s within this dichotomy that Cruz revels, and manages to say so much, without words.

Rising star Amy Dabbs delivers us another huge house EP, dropping as the debut release on her brand new label Dabbs Traxx. The modern take on classic house that she's become renowned for in her recent
highly acclaimed releases permeates every track on Four Track Mind EP, serving up Amy's trademark pacey rhythmic percussion, emotive melodies, and fat subby basslines.
Ghosts kicks things off with ticking clocks and haunting melodies woven throughout, creating a deeply atmospheric track. It surrounds you with thick layers of pads and strings, underpinned with tear-jerking chords and vocals, sprinkled with touches of Amy’s beloved Juno 106. This track relays a moving tale of facing the ghosts of your past which, alongside Ghosts’ powerful percussive drops, is guaranteed to give the dancefloor goosebumps in more ways than one.
Til You See takes us in an uplifting direction, with a powerful bassline blazing against a backdrop of soaring pads and delicately placed arpeggiators, leading towards a spine-tingling yet subtle vocal as the track reaches its peak. Bringing Amy's desire to create music that moves you to life, this stunning track is brimming with jubilance and optimism from beginning to end.
Last but by no means least comes the EP's title track, Four Track Mind, its nostalgic organ sounds, bouncy percussive chops and big basslines ensuring it will be a huge dancefloor moment when played out. This energetic track takes you into the heavens with its relentlessly uplifting transitions throughout, Amy's intention clearly to place you firmly in the centre of the dancefloor with a massive smile on your face.
Having recently been named as one of BBC Radio 1's Future Stars 2022, and with a string of solo EPs coming out over the next 6 months, it's quickly becoming clear that Amy Dabbs is going to be a name we'll be hearing a lot more of this year

Limited edition of a great pre-80s Italian disco production with massive funky basslines and great vocals produced by Marty Celay and Robert Drake (they previously collaborated and wrote some succesfully songs in USA for Roundtree and Chic projects) finally get an official remastered reissue from Best Record Italy. This time we can find here the full extended 11 minute disco version on the side A and the previously unavailable U.S.A. Version on the flip.

Stefan Schwanders Repeat Orchestra presents “Infamous Lost Tracks”, an album appearing out of the blue, coming from spheres where time, space and Zeitgeist are nothing more than words.
With the Repeat Orchestra Schwander (who of course also is Harmonious Thelonious, A Rocket In Dub, Antonelli and a lot more) found a unique way of channeling deep House Music, a minimalistic setup and an idea of creating enjoyable music into amazing tracks that sound so effortless and natural. From first track "Call And Response" on it’s obvious that the main thing that this album is about is the groove, sometimes euphoric, sometimes quite unobtrusive but always irresistible, build from massive basslines, complex rhythms and the masterfully performed interplay of repetition and modulation. Warm harmonies, multilayered (at times quite unusual ("Nightdubbing")) melodies and subtle arrangements complete these Infamous Lost Tracks and their very own formular between Düsseldorf, Chicago and Lagos. There’s nothing harsh in this music, no aggression, still it’s far from being tame or tranquil: The pumping energy of "A Means To An End" or the sublime liquid shuffle of "Less Sensational" show the swing and kick inside these works that are made for delight but not to please.

And “Monks In A Club” is the most brilliant example of dancefloor understatement that you’ll ever hear in your life. Reduction, elegance and the right kind of mania concentrated into some minutes of pure club heaven. Handclaps, nonchalance & madness. An essential singularity and the swan song to the Repeat Orchestra, there will be no more of it. Get It And Smile.

As Motorist, LA native Joe Rihn makes music which points in the direction of the soulful, jazz inflections of artists like Wax Doctor and Peshay. Time Is Now White Vol.20 pays testament to his dexterity in creating fully-immersive atmospheres, as well as his penchant for rhythmic experimentation.

The EP's smooth-as-silk opener 'Drip' typifies this, luring you in with the psychedelic-funk tones of wah-pedalled guitar plucks, and the instrumental quality of percussion which cruises along at half-time before Amen breaks pick up the pace. 'Balamb Garden' captures D'n'B's meditative potential, driven by a dynamic syncopation which swings beneath airy pads and piano tinkles before the harder-hitting raw club track 'Caldoria' brings the A-side to a storming close.

'Blast Route' picks things right back up again, together with 'Prism', which nod more to the hardcore proclivities of the likes of DJ Die with distorted drum breaks and warped basslines. 'Rover' strips things back once more, boasting Motorist's capacity for teasing out the slower, more mellow side of 160.

40-plus years since its original release, the pop-punk-new wave inventions of Anthony
Moore’s ‘Flying Doesn’t Help’ are freshly remastered, blasting the sparkling, angular
sounds into today with perfect vitality.
 After spending the early years of the 1970s making experimental music first as a solo
artist, then with Slapp Happy and Henry Cow, 1976’s ‘OUT’ sessions had reinvigorated
Anthony’s youthful love of the naive pop melodies of pop radio, the undeniable excitement
of songs. While ‘OUT’ ultimately went unreleased at the time, the iconoclasm clouding the
late ’70s air was addictive and transformative for Anthony. England seemed to be roiled
as violently as it had been in counter-cultural days a decade earlier; the UK pop charts
breathlessly reflected the changing spectrum with equal parts aging hippie and prog
delicacies alongside new ascendant sounds: rough-hewn pub and punk rock, plus dub
reggae and disco and ska and Stiff and Krautrock. This proved to be an ideal environment
for Anthony to make records by exploring, as he puts it, the “deep connection between
minimalism, repetition, working with tape and celluloid and forming the modules of a
three-minute pop song.”
 Caught up in a no-holds-barred era, Anthony was more than happy to play the out-of-hishead madman, raving through outrageous exchanges with the press, while ‘Judy Get
Down’ received Single Of The Week honours from the NME (with review penned by Brian
Eno). Represented by Blackhill Enterprises, Anthony did production work throughout
1978-1979, on Kevin Ayers’ ‘Rainbow Takeaway’, Manfred Mann’s Earth Band’s ‘Angel
Station’ and the first This Heat album, meanwhile cutting his own songs on a dead time
deal at Workhouse Studio with engineer / producer Laurie Latham. Through the wee
hours of countless nights, the two pieced together ‘Flying Doesn’t Help’, with a little help
from friends (an inspired bunch, including Bob Shilling, Charles Hayward, Chris Slade,
Robert Vogel, Festus, Matt Irving, Sam Harley, Bernie Clark, Edwin Cross and Martine
Moore on the telephone).
 Building upon the axis of pop and experimental impulses that distinguished ‘OUT’, and
informed further by the raw sensibilities exploding everywhere, ‘Flying Doesn’t Help’
blasts out of the speakers with its own unique blend of sophistication and aggression,
Anthony’s keyboard flashes between arpeggiations and outright stabs among the noise of
slicing guitars, funk basslines and the reverbed blare of the drumkit. Opening with
Anthony’s greatest hit, ‘Judy Get Down’, and containing a noise-laden remake of the
Slapp Happy/Henry Cow number, ‘War’, among other delightful sweet-and-salty
confections, ‘Flying Doesn’t Help’ never stops moving, fuelled with raw outrage and dark
satirical intent, churning with the energy of next-gen types like Tubeway Army and DEVO,
while shimmering with the elegance of the still-challenging old guard types, like Cale and
Bowie.
 Clearly, ‘Flying Doesn’t Help’ was steeped in the time, and the original release reflected a
deep mistrust of the corporation mindset. Information was a dubious concept, and
connections to any recognizable organization were seen as untrustworthy, so facts like
musician credits were left out of the package, and even Anthony’s name was altered (he
was credited as A. More on the album and Tony More on a single release). The label
name QUANGO was conceptual as well, standing for ‘Quasi Autonomous NonGovernmental Organization’; each record was sealed with red tape that the listener was
required to cut through in order to get to the music. Rather than recreate the conditions of
the original release of ‘Flying Doesn’t Help’, this reissue instead embraces the changed
environment of the current time and place: instead of no credits, now they are complete,
with Anthony’s full name restored and even the artwork subtly ‘relocated’ to reflect a new
set of relationships. All of which brings the forward-looking sounds of ‘Flying Doesn’t Help’
into the more independent-minded 21st Century syntax where it belongs.

Label favourites Balearic Ensemble return to the fore following last summer's spectacular 'Cachonda' EP, this time with a 12" treasury of wonderful, eclectic dancing music of the highest balearic order. They're joined by Das Komplex, notable for recent excursions on DJ Harvey's Mercury Rising, to round out their five-track excursion for the label: this is the Mediterráneo EP.

Opener 'Pitiusas First' sets the tone with dizzy, downbeat percussions as a bass guitar skates and glissades underfoot; soaring, starry-eyed synth work and Latin organ stabs in concerto. This homage to the islands and islets of Ibiza comes with a note of melancholy, or nostalgia: waking up to find that your best years might have evaded you - and celebrating the fact. It's a maturing of the Residentes sound in a way we haven't heard before; a gorgeous moonlight serenade, the last tango on Formentera, and a tip for orange-tinted sunsets all summer long.

Second track 'Almendros y Drones' takes us deeper into the throes of that distinctive Mediterranean sound with dizzying arpeggios and analogue bass over teetering hihats and fizzing synths; it's an eruptive, volcanic beast of a track that will take liberties with your dancefloor. Over-the-top filter action and driving piano perforations, crashing snares and resonant howls, Almendros, Drones.

The third offering is 'Mojada', taking cues from classic deep house with its deep-set bassline and modular squeaks. It's a slow burner, an aquaplane on Eivissa, cueing 303 squelches and 90s drum machine riffing before its eventual, explosive peak.

After Mojada we enter the chugging, gritty realm of Das Komplex's remixes. He refashions the heady throes of 'Mojada' into a driving, churning unit; percussions, distorted into infinity; basslines bent and buckled into submission; slabs of piano lathered with space echo delay. Wonky late-nite dancing music at its very best.

Extra treat: Das Komplex also left us his 'Pineapple Bonus Mix' of Mojada, which is a more sunset-suited affair altogether. This special mix lasers in on that exuberant piano part, then plays with percussions and dynamics to create a full-on dub version of the original track.

SOUR records is a label based in Paris whose aim is to put underground talents on wax. This second release brings back deep house in the limelight. It contains dope and dirty oldschool grooves with a fresh twist made by parisian producer Ernesto.

The two groovy & jazzy tracks on the A-side are full of club energy. And the beautiful 8-min long electronic journey on the B-side is perfect for stirring up the crowds under a rising sun next summer. Warm samples, groovy analog basslines, bouncing beats and lush ambiances : this E.P. is the kind of cocktail you just can't stop sipping...

Cheers !

A brand new multi genre label. Releasing Jungle, Hardcore and Jungle Techno that pay's tribute to the orginal 90's vibe but presents it with a modern take. TufStuf focuses on the harder and faster side of rave, with rough layered breakbeats, deep sub bass, and emotive and catchy melodies.

With already some very experienced, talented and create producers signed to the label there is many exciting things to come. The second EP focuses hard and heavy amen Jungle with deep soundscapes, melodic vibes and emotive vocals with plenty of heavy basslines as well.

EP comes with a 12 x 12 inch full colour double sided artwork insert.

Detroit mainstay Andres returns to MotorCity Wine Recordings with an anthemic 4 tracker entitled Sunday Kinda Love. For those that know, MotorCity Wine is the spot for Sunday parties, so we only thought it appropriate to have one of Detroit's most seminal producers highlight the vibe with this EP. On the A side is Andres's dusty house sound that we've all come to love, complete with bouncing basslines, slick vocal chops, and drums to turn out any dance floor. On the flip side Andres slows the tempo just a touch to highlight his chunky midtempo beatdown sounds, with "Rubin Samba" bringing a Latin flair and "Sunday Kinda Love" driving it all home. Essential Detroit music manufactured in Detroit and housed in a gorgeous vinyl package, TIP!

Legendary A&O 90's album reissued in 2 volumes incl previously unreleased tracks! The vintage UK Dub sound: roots, spirituality and heavy basslines. Bass-music, play LOUD! Incl "Jerusalem", "Stepping Up", "Promised Land", "Great Tribulations", ….

Alien Imprints is back with their second release which includes some well-respected artists along with rising talents showcasing their skills.

False prophets - Relpek A.K.A. Kepler is a DJ/producer who hails from the North of England. His offering is a crisp electro track that generates a calculated bass, analogue stabs and phrases with sweeping synths.
Spider Ink - Ollie Drummond, a respected DJ from London gives us a proper tech house number solid 4:4 beats, crafted basslines and pad effects that follow with acid riffs.

Thibo - Bronxy and ETRE from the Ukraine collaborate on this deep house affair, with soulful grooves, smooth deep bassline and "spacey vibe" pads create a cool hypnotic flow.

This man is unstoppable, Retromigration with all the hits and more - lining up another juicy slice of genius from the depths of Dam for wewillalwaysbealovesong. Showcasing his clear love cross genres, ‘Secret Of A Pimp’ has it all, from dusty jazz samples to R&B licks and delectable basslines, all MPC crunched for good measure. Jimpster then steps up with a darker, club focused, heads down remix.

On the B, ‘Flying Lotus’ hits, an endorphin inducing jazzed up, summertime house heater, before Franc Spangler takes things down slow, with sultry hazed out downtempo trip.

This is the 4th release on Zimp Recordings, an independent techno label based in Scotland.

Edinburgh based DJ and producer Filthy Rich, label boss at Zimp Recordings, is a deliciously slippery artist with an engorged techno sack who’s always at the ready to spurt his computer generated juicy tit bits all over your proverbial techno flaps.

There’s five tracks full of sub-bass madness, as well as a plethora of dizzying scratch samples, on this release of intense experiences where beauty meets anger. Pulling influences from dubstep, roots and disciples, the tracks on this next instalment from Zimp Recordings dive deep into ska based warehouse techno, swelling basslines and utterly focused dance floor mayhem, all with the added bonus of feeling like you’ve been punched in the face by a massive bag of skunk. Along-with the three original tracks there’s a destructive hi-energy dancefloor banger of a remix by Edinburgh legend Morphamish and an industrially relentless, experimental, neuro-bass tonal pounder of a remix from Tokyo’s Yu Ikemoto.

Matthieu Faubourg is a kid from the 90s. That's also where most of his musical influences come from: New Jersey House, 90s Vocal House, Analogue Synths, Basement style productions.
After his first EP on „smile for a while“ he returns on clubby sublabel „All that jelly“, mixing up the best three decades of House Music have to offer. Bouncing basslines, jazzy impros, dreamy synth stabs and bouncing beatzzzz....

Mit ihrem neuen Album „3“ öffnen die belgischen Krautrocker MOTOR!K ein neues Kapitel ihrer musikalischen Bandgeschichte. Während die Schlüsselelemente ihrer vorherigen Alben „MOTOR!K“ und „2“ (hypnotisierende Basslines, hämmernde Drums und sich repetetiven Gitarrenlinien) auch im neuen Album wiederzukennen sind, unterscheidet sich dieses Album dennoch von seinen Vorgängern.

Von Tracks mit minimalen Techno-Grooves, ambientartiger Gitarren- und Elektronik-Tracks, "Vintage" MOTOR!K Songs bis hin zu Post-Rock Feelings und psychedelischen Gitarren & Synthesizern. Delay-Gitarrenspiel und spacige Elektronik bauen hier neue Horizonte auf und zollen damit den Klängen der späten 70er Jahre ihren Respekt.
Motor!k 3 - ein Album dass geradezu danach schreit, in einer schweißtreibenden Konzertumgebung live gehört zu werden.
Das Belgische Trio bestehend aus Gitarrist/Synthesist & Motor!k Songkomponist Joeri Dobbeleir, Dirk Ivens - Guitar / FX (The Klinik/ Dive) und Drummer Dries D'Hollander, hält den instrumentalen Krautrock Vibe aufrecht & lebendig, sowohl auf Platte als auch live auf der Bühne.

A Sagittarium returns to Rekids this May with ‘Strange Brew EP’

Following his ‘Mazes & Monoliths’ EP on Rekids in 2021, as well as releases on Running Back, Hypercolour, Idle Hands, and Craigie Knowes, the Elastic Dreams boss returns to Radio Slave’s label for another standout three-track EP of colourful and psychedelic cuts.

Leading the release is ‘The Mind Blanks At The Glare’, which sees the Bristolian utilise low-slung breakbeats, bouncing basslines, and fluttering synths for a chugging start to the EP. ‘Don’t Look In The Freezer’ follows with dubbed-out FX and stomping low end, before ‘Cosmic Trigger’ brings hypnotic bass together with trippy, twinkling arps and dreamy pads for a gentle final.

A fantastic compilation of the great Salum Abdallah and Cuban Marimba Band. 12 perfect songs from the stars of the early 60s "muziki wa dansi" (dance music) scene in Tanzania, mixing local music styles with Cuban son, cha cha, and twist. One of the greatest music scenes anywhere, ever, which has been criminally underrepresented in this era of apparently inexhaustable reissues - finally a stellar compilation dedicated to it! Shimmering guitars and driving rumba basslines, horns weaving counterpoint harmonies through the air, irresistible percussion locking it all in, and the heartwarming voice of Salum Abdallah. Music that just feels GOOD. The LP comes in an old style tip-on jacket, with a printed inner sleeve featuring lyrics in Swahili and English.

Storming into 2022 with a flurry of high-octane remixed from a stellar array of artists, Anfisa Letyago continues to solidify her position as one of techno's most talked about names. An intrepid selector with a positive attitude regarding all things art and dancefloor related, she's been making seismic waves within the industry for a few years. Letyago launched her own imprint - N:S:DA last year, originally a celebration of her own dark-brooding style of techno, the label has entered a metamorphosis of sorts, welcoming in a host of established producers to remix the labels first two remix EP's.

Kompakt head-honcho and German techno extraordinaire Michael Mayer opens up the floodgates of this remix project with an alluring interpretation of "Nisida". Decades of industry experience have finely tuned Mayer's taste making to an impeccable standard, his extensive knowledge of dancefloors and deep cuts serves as an excellent explanation for his undeniable ability in the studio. Ethereal vocal snapshots from the original mix are weaved intricately amongst the machine-orchestra of arpeggiated synths and stalwart drum loops. "My aim for this remix was to crystallize this yearning sentiment in Anfisa's whispers by adding more warmth and drama to the track" adds Michael.

The Italian-born, multi-faceted DJ Tennis steps into the arena with his unique take on the original mix of "Nisida". Elegant pads flourish through the mix, carrying listeners weightlessly into warping basslines and razor-sharp drum work. The droning synths seem to induce hypnosis, circling and swaying around the driving kick and scattered hi-hats. A production powerhouse since the early nineties, DJ Tennis continues to juggle event promotion, running a label and booking agency. A hugely talented all-rounder.

1979 draws the EP to a close with a swirling techno edit of "Orizzonte", tastefully minimal and precisely crafted with compelling sound design from the analog synth wizard. Classically trained with a deep penchant for attending illegal raves in his youth, 1979 has been making waves with a flurry of breakout hits in recent years. The arrangement climbs through cycles of high-pitched tones and rolling mid-range bass, taking listeners on a sonic journey steeped in warmth with classic drum machine hits. "'Orizzonte' caught me in many ways, and I decided to use the beautiful space-arpeggios and the shoegaze pads made by Anfisa to create my own version of the track" he adds. The perfect track for highway driving and rocking dancefloors.

Spun Out Agency is honoured to present ‘More of that Frightful Oompty Boompty Music’, a compilation dedicated to the Guv’nor himself Mr Andrew Weatherall who should need no introduction on these pages. Released on vinyl in two beautiful parts, the first drops on April 15th with the second following two weeks after.

‘More of that Frightful Oompty Boompty Music’ (yes we are going to write that out every time we talk about it in this communique) showcases a selection of the shining greatness from the agency’s roster. Paranoid London, Fantastic Twins, Mehmet Aslan, Autarkic, Ruf Dug, Sean Johnston, and Manfredas gift exclusive tracks which highlight the sublime acid, techno and house sound that Weatherall would have described as “oopmty-boompty” music.

Spun Out is a London-based artist booking agency which has been run by Caroline Hayes for over 20 splendid years, that looked after the life and times of Andrew Weatherall alongside his partnership with Sean Johnston under their A Love From Outer Space moniker, and the likes of Optimo (Espacio), Ivan Smagghe, Josh Caffe, Man Power, Body Hammer, Kiara Scuro and many more artists, doing it differently.

Kicking off the A-side of the first record is Hardway Bros’ (aka Sean Johnston) previously unreleased remix of We Are The Axis by The Asphodells, the duo consisting of the Andrew Weatherall and former Battant member and Spun Out talent Timothy J. Fairplay. An energetic techno stomper with percussive rhythms, this exclusive remix offers the ideal tantalising dose to tease any dancefloor. The vocals and synth layers give it a punk rock approach, referencing the multi-genre essence of Weatherall’s taste in music.

Tel-Aviv-based Autarkic’s Sleepover closes the A-side with a chuggy lullaby, one that is certainly unsuitable for putting a baby to bed, given its intricate acid lines of total hypnosis. Following on the B-side is Manctalo Banger, a house bop by the Manchester-via-Ibiza computer game nerd and vinyl digger Ruf Dug, and Shizowaves, Turkish-born Basel-based Mehmet Aslan’s soulful touch to the compilation, bringing Middle-Eastern percussive melodies and catchy basslines.

The second record is introduced by Paranoid London, with a Spun Out dedicated acid techno banger appropriately titled Spinning Out and Fantastic Twins’ EBM track Kali’s Tongue Was A Weapon. On the B-side is Lithuanian chug legend Manfredas’ Hfuhruhurr, and Naum Gabo, who closes the compilation with the chaotic analogue-synth frenzy, Cold Sold. The name Naum Gabo may evoke the pioneer of Russian constructivism, who rose to fame thanks to his crazy kinetic sculptures. However, here it manifests as one half of Spun Out’s Optimo duo Jonnie Wilkes (JG Wikes) and James Savage. The duo’s impeccable manipulation of electronic hardware couldn’t give a better homage to him.

Some highlights for Spun Out artists this summer include 9 acts from the roster playing at Houghton Festival, Paranoid London’s show at Sonar Festival, Love International Festival and Ransom Note’s festival with Optimo Watching Trees.