Search:before

It's been 40 years since Michal Turtle released his seminal, ground-breaking album "Music From The Living Room" into the world and promptly disappeared back into the aether.

An extremely obscure cult classic known only to deep diggers and aficionados of the finest order, it wasn't until Music From Memory reissued some of the tracks from it via retrospective compilations of Turtle's unreleased music almost 30 years later that his name become more widely known and a new generation were able to discover the artist's unique and pioneering style of experimental electronic music production, the majority of it very much ahead of its time, and to this day, still timeless.

Invisible Inc contacted Turtle in the summer of 2023 about releasing something else by him and it was during this exchange of emails that ideas were expressed about releasing not simply a straightforward reissue of "Music From The Living Room" to mark its 40th anniversary (the album has never been reissued in full) but rather a re-imagined/re-constructed take on the album bringing contemporary techniques, styles and newly recorded vocal and instrument parts into the mix and breathing new life into these wonderful compositions.

Collaborators old and new were brought into the studio and the songs re-created from the ground up. Familiar songs like "Are You Psychic?" and "Village Voice" get overhauled and echo remnants of their original counterparts but simultaneously sound like completely new tracks. The always mesmerising "Phantoms of Dreamland" is represented through a live recording at Café Oto featuring original album vocalist Lucianne Lasalle and regular collaborator HOVE on electronics. The remaining tracks, however, will be completely new to the ears of most people, never having been reissued or heard in these new forms ever before.

Regardless, whether in some way familiar or not, these hypnotic and repetitive pieces of beautiful sound art, all very different in style from one another, have an entirely new identity that even diehard devotees of the originals will fall in love with.

“Holy shit. This record is amazing. 'Are You Psychic?' is really something” dj_2button Dummy Hand / Weirdos Inc.

“What a record!” Cosmo Vitelli I'm A Cliché

“Amazing release. Probably your best release yet! Does everything an amazing record should and more...” Alexis Le-Tan Oddity Radio / Full Circle / Offen Music

Fate is a funny old thing. One day in 2011, DJ/producer Tom Trago found himself sharing a train journey with Steven Van Lummel, a DIY musician, artist and co-founder of PIP, an underground nightclub and cultural hub in The Hague. Over the course of a rambling, open-ended conversation, the idea of making music together came up; a few weeks later, Trago travelled to van Lummel’s place – a former industrial unit that was now home to a rotating cast of artists and musicians – and didn’t leave for a month.

Cossetted away from the outside world in van Lummel’s loft, with multi-instrumentalists Janneke Nijhuijs and Wieger Hoogendorp joining them to create a musical four-piece, MEGA WEGA was born. Over the course of four weeks, the quartet embarked on an almost continuous creative session punctuated only by impromptu parties and mixing sessions. Life-long bonds were made and over 70 tracks recorded before the mundanity of day-to-day life came calling.

For one reason or another, the project never saw the light of day, with tracks sat gathering dust on hard drives for the best part of a decade. During the madness and loneliness of the COVID-19 pandemic, Trago rediscovered the tracks. Delighted by what he heard, a collective decision was made to add finishing touches and release the resultant album on van Lummel’s PIP Records imprint. Further instruments and vocals were added over two days at Hoogendorp’s studio, before mutual friend Tom Ruig got on board to mix the album.

So, what can you expect from Haunted, Mega Wega’s debut album? First and foremost, it’s the sound of pure creative expression – the distillation of a freewheeling, no-holds-barred, spontaneous musical journey variously inspired by the do-it-yourself ethos of musical counterculture, shared inspirations and influences, epic jam sessions, distant stars (Wega, sometimes known as Fidis or ‘the harp star’, is one of the brightest in the night sky), imaginary journeys across dusty deserts, and the comradeship of four new friends.

Enchanting and alluring, it’s an album that gleefully denies lazy categorization and ploughs its own eclectic, atmospheric musical furrow in vivid sonic detail. It’s a collective exploration of heady musical eclecticism unified by saucer-eyed vocals, low-slung bass, loose-limbed beats, sweaty percussion workouts and hazy electric piano motifs.

Haunted begins with the woozy and hallucinatory slow-burn soundscape of ‘Get Things Done’ – an effects laden shuffle akin to lying flat on your back tripping under an intense desert sun – and ends with the creepy, mind-mangling post-punk funk of ‘Brain Carpaccio’; in between, you’ll find spaced-out, low-tempo lo-fi soul (‘Move Around’, ‘Haunted’), tactile synth-powered boogie revivalism (‘Make Me Work’), deep and off-kilter opioid jazz (‘Copenhagen’), intoxicating psychedelia (‘Last Night on Earth’), piano-laden dream-pop epics (‘Shake Or Fall’), and Latin-infused, percussion-powered hedonism (‘Chopping Heads’).

Born out of spontaneous collaboration and immersive, almost endless recording sessions, Haunted is an album shot through with imagination and boundless energy, captured for posterity by four friends and collaborators at the top of their game.

Born and raised in Kanagawa, Japan, Iu Takahashi is a sound artist based in Tokyo. She produces her own musical worldview mainly using synthesizers, ambient sounds, and voices.

Iu Takahashi used to do her artist activities as a vocalist before, and now she has created mainly ambient music since 2018, provided her tracks to background music such as exhibitions and introduction videos.

Inspired by Japanese ambient music such as Hiroshi Yoshimura and Satoshi Ashikawa, Iu Takahashi, too, creates beautiful works based on Japanese ambient music.

And under the concept of soundscape, she always keeps in mind to deliver music that is considerate of the listener's thoughts and feelings, or music that is conscious of the unconscious mind.

microCastle's final offering of 2023 welcomes Colossio and Luke Garcia to the label for their debut EP. Colossio has been a rising force across the Indie Dance spectrum for the better part of a decade. Based in Mexico and taking inspiration from krautrock, psychedelia and the golden age of Mexican cinema, the Monterrey resident has continued to open up endless creative avenues and furthered his boundless appeal with releases via Borders of Light, Calypso Records, Duro and Exit Strategy. Meanwhile, Spanish artist Luke Garcia has enjoyed similar success across his decade-long career. The Madrid resident has been praised for his borderless approach to production, in turn landing standout projects for Diynamic, Innervisions, Sum Over Histories and TAU. As occasional studio partners since the beginning of 2023, Colossio and Luke made their collaborative debut via Engrave Ltd with ‘Let Go’, a release which would precede a recent contribution to Innervisions ‘Secret Weapons’ Part 16. Now, continuing to build on their creative partnership, Colossio and Luke end the year with their microCastle debut ‘Amen / Ryen’.

Played by Ame during the summer season, EP opener 'Amen' finds Colossio operating in solo capacity and taking square aim at the dancefloor. Full of rejuvenating energies, the Monterrey resident cleverly blends robust kick drums and electric grooves with swerving chord stabs and chanting vocals. Colossio’s creative attitude reveals itself further across the main break; with a hyperventilating build dropping out into a rush of main room alchemy, all laid out over a bed of percolating acid. Selection two ‘Ryen’ finds Luke Garcia crafting a feel-good indie-dance excursion that’s nicely suited for those uplifting club moments. Booming yet dreamy, its colourfully cruising hypnotism instantly commands your attention, through snatches of vocal fragments and siren-like synth flares, eventually culminating in a finale of rave-inspired euphoria.

The EP’s halfway point is marked by the behemoth sized vibes of ‘Situation’. Here, Luke and Colossio masterfully synthesize their talents while breaking down boundaries to serve up a melting pot of hard-edged dance. Its pneumatic energy turns over quickly, flowing through a brutalist maze of mutated vocal gates and fiery rhythmic fractures, before reaching a hyperspeed collision of sonics for the ultimate high-octane drop. Rounding out the release is ‘My Body’ which once again finds Colossio and Luke combining their extensive forces. The cross-continental duo drive each other forward beyond their individual comfort zones for a mature club-effective record; one where thunderous beats, weighted rhythms and looping vocals prelude a collection-closing melodic finale. Artwork: Mauricio Seidel.

Here's the first vinyl record release by Alien Rave. We still can't explain the strange circumstances surrounding this record, which came to our attention in a mysterious and unexpected way. A coded message through Ableton Live led us to a strange place where we found the recordings. The instructions were very clear - all we had to was follow them You'll find the results on this interstellar '94 electro-break track. Alien Rave sets out to get inside your head, introducing evocative and epic mental moments that give way to energetic tunnels built on a solid rhythmic foundation carefully designed to withstand elegant ultrasonic bass frequencies. For electro-break fans, this record could be seen as a journey which originated in the German-inspired Florida scene before eventually finding its way back to Spain. It's funny how Florida, home to some of the most robotic and extraterrestrial electro-break music, is also one of the hot spots of the global UFO phenomenon. Coincidence? Maybe, but we're looking forward to the next contact: we know it's coming.

SY Rockers is the new project from Ryan Aitchison aka Mella Dee and KALLIDA Festival bossman Reuben G. Their story goes all the way back to 2009, when Reuben invited Ryan to be a resident for his party LSS at Hi-Fi Club in Leeds.

The pair went on to bond over their shared love of bass-led music in the UK underground, a sound that was especially important to their native South Yorkshire. Fourteen years on, Ryan and Reuben revisit those early inspirations as SY Rockers. Their debut EP is a slickly produced expression of bleep, UK techno, bassline and dub, redrawing lines between the sound legacies of cities like Sheffield, Bradford and Leeds across three tracks.

True to those roots, the result is a hypnotic blend of raw drums and subsonic impact. ‘Windy Dub’ introduces the record with a hazy, heads-down bass, occasionally shivering into a cavernous space echo before it locks back into a haunting synth hook. ‘Modem’ does what it says on the tin: gameboy tones bounce around a warm sub, calling back the ‘less is more’ aesthetic of the original bleep era. Finally, ‘Rhythm Resonate’ zooms in on where it all started—the drum machine. 909s, lasers and a touch of perc combine to create the ultimate techno tool.

Official reissue from the catalog of legendary UMM Records. Sub Authority Records is back with a true anthem of all House music lovers: ""Desafinado"" from Rhythm 3 Request.

This project draws on their unwavering knowledge of dancefloor culture and the quality of individual sounds. An ode to the legendary imprint of old school and house music, that builds infectious arrangements with ease before falling into an irresistible four-on-the-floor club sensation.

OOO002 - second, vinyl-only release debuts dark, galactic grooves featuring heavy bass lines and experimental elements from artists Chad Andrew and Len Lewis.

A1: “Battle 303”
Inspired by the soundscape of the 90’s techno scene, Battle 303’s punchy bass drums hold you captive as its sine wave bounce lures you into hypnosis with a progressive rhythmic beat. The track’s rolling 303, pyramid’s a myriad of elements before awakening you to the crisp subliminal vocal, just shy of the midway point. Battle 303’s multidimensional fury of movement refuses to slow its pace, inducing pure cardio for both the mind and body, inspiring peak dance performance.

A2: “Area 15”
Area 15 intros the swirling ambiance of dark, atmospheric, easy listening as it gradually accelerates into a journey of the unknown. Utilizing distortion effects, eerie drones and chimes, coupled with the rhythmic pattern of arpeggiated synths brings about a sense of intrigue that lends the listener the flexibility to determine their personal musical trajectory and experience.

B1: Battle 303 (Len Lewis S!th Remix)
Battle 303 (Len Lewis S!th Remix) is an introspective, sonic journey that slings you through a brooding origin story of tribal, galactic funk that echoes iconic samplings spanning over 5 decades seamlessly merged into one futuristic bop. Maintaining it’s old school, breakbeat roots with a driven, heavy bassline, claps and snares, Lewis remains true to his S!th style, by altering path and speed with his signature, unexpected musical transitions, highlighted by timely breaks and experimental elements. Be prepared to move and groove as this track reaches hyperspeed early on, stimulating intense movement and journey from start to finish.

B2: Battle 303 (Len Lewis G.H.M. Remix)
Battle 303 (Len Lewis G.H.M. Remix) leads with traditional, minimal components and a suspenseful bassline, laced with piercing elements and garbled synth vocals, creating a sense of awareness and urgency that gradually builds in intensity before throwing you into punchy, sinister darkness.
This groove, set against the backdrop of deep space and all its musical element oddities, mimics the drive of the original 303’s rolling bass line while seamlessly exploring Lewis’ S!thstylings of metallic synth scales and spooky drone effects, keeping you captivated as you strut the dance floor

Moxie’s On Loop imprint proudly presents ‘Manifold’, the highly anticipated debut solo EP from Amaliah. The rising Londoner delivers on her burgeoning ravey promise, unleashing a remarkable trio of percussive club tracks that link UK house aesthetics with global soundsystem influences, and comes with a wonderfully knotty remix from celebrated producer Call Super.

Borne Fruits founder Amaliah has rightfully ascended through the musical ranks of her native city to emerge as one of its most exciting voices. As a DJ and producer, she intersects at the exhilarating crossroads of contemporary house sounds, soundsystem culture and UK club influences to packed dancefloors weekly across the UK and EU. The Manifold EP flexes Amaliah’s parallel trajectory as a wicked tunesmith, offering her long-awaited and most substantial musical offering to date for Moxie’s much-loved On Loop imprint.

Opening track “Helix” curls a percussive membrane around its funky core, pumping along with nocturnal rave menace punctured by sirens and grotty synths. Next up, “Me So” shimmers with bubbling assuredness, diffusing Detroit-inspired melodies atop a bumpy house stepper that spurts with synthetic glee along its way. “Spooky Dub” greets us on the flip, wasting no time in igniting its punchy dembow groove while peppering its rubbery bassline amongst some dub-drenched fx. It briefly retreats for a half-step breakdown before re-launching us straight back to dancefloor salvation. Can You Feel The Sun’s Call Super sees us out with a typically psychedelic labyrinth-like remix of “Helix”, refracting a minimalised Electro groove through a magnificent fairground ride of wide-eyed sound design and intimate melodics.

Early support from Saoirse, Call Super, Parris, Moxie, Niks, Roza Terenzi, ISAbella and featured in Pangaea’s BBC Radio 1 Essential Mix.

Paul C returns to Hot Creations as he serves up his first solo material for the label with his bumping three-track ‘Let The Bass Kik’ EP.

A mainstay within the Italian house landscape for over two decades, DJ/producer and label owner Paul C has delivered quality house records via a wealth of top-tier imprints while featuring at key clubs across Europe and beyond. Having made his debut on the label back in 2013 with his bustling collaboration ‘Get This!’, with 2015’s follow-up ‘Pinball’ also proving to be a favourite for many, he now returns to Hot Creations as he delivers three impressive tracks across his ‘Let The Bass Kik’ EP.

Opening the package is title track ‘Let The Bass Kik’, a vibrant, energy-charged effort loaded with slinking basslines, hooky samples and sweeping synths to provide a peak time cut made for bustling dancefloors. Next, ‘Can U Dance’ keeps things moving as sweeping electronics and soaring leads are guided by slick metallic drums, before ‘Red Green Yellow’ closes the show as sharp percussion arrangements meet echoed vocals and rich melodies.

On this fifth and final instalment of the Time Crystals series, Gabriel D'Or & Bordoy (GBD) takes the first turn with a fierce track, fittingly called "Saw"; its driving fundament alternated with rousing synths. Pyramidal Decode's second track provides a break from the four to the flour patterns, before handing over to old friend of the label UUN, whose "Seeking the End" is a true peak time banger.

Polish Szmer has the honor to provide not only this EP's last track but also for this entire series. He does so in the form of "SEQ3", a track that embodies what Dynamic Reflections 15-year discography stands for in the first place: artists from all corners of the world, young and old, respecting what generations before them have built up while turning it into something new.

Eye of Agamotto is part of Dynamic Reflection's 15 year anniversary celebration: Time Crystals. This is the last of the five EP's. Own all five and an all new, visual piece of art will appear.

Mary Yuzovskaya's vinyl-only Monday Off imprint delivers the sixth instalment of its various artists series, calling in a crew of talented artists to explore deep, cosmic anomalies and soothing modular soundscapes. Kicking off the compilation is Poland-via-Berlin artist Blazej Malinowski, a true wizard with sound, whose 'Ocean' sees rich textural synths crash like waves onto driving low-end. The Gods Planet, Svreca's Semantica, and 012 artist is followed by Nonplus+ and Blank Slate's Michal Wolski, who delivers 'Essence', a track boasting squelchy sequences, subtle acid and swirly psychedelia.

'Black Moss' is next, a minimalistic tripper by Xhato that expertly weaves rolling synthlines into sturdy drum work. It's a constantly evolving, deep space adventure before Milena Glowacka closes the EP with distant, foggy wastelands and dubbed-out hypnotics in 'Dystopia'. Volume 6 of Monday Off's compilation cements itself as another must-have collector's item for those venturing into the trippier side of techno.

*Repress*

An artist as imaginative and unique as Ana Mazzotti doesn’t come around often. Dubbed a “super-musician” by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti’s short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti’s premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society.

Born in Caixas, in Brazil’s Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. When rock and roll hit South America in the sixties, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with.

In 1974 Mazzotti recorded her first album Ninguem Vai Me Segurar (1974), enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami who co-wrote several of the tracks and plays organ, piano and synthesizers on the album. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it.
Kicking off with the swirling samba-jazz-dance masterpiece ‘Agora Ou Nunca Mais’, the album hosts several groove-heavy Brazilian cult-classics including ‘Roda Mundo’ and ‘Eu Sou Mais Eu’. Deeper moments come in the form of the alluring future soul synth sounds on ‘Bairro Negro’ and ‘Sou’, and Mazzotti’s tender, hallucinatory version of ‘Feel Like Making Love’ (made famous by Roberta Flack) perfectly reflecting the idiosyncratic genius Mazzotti achieved with Bertrami’s visionary arrangements, and Romildo’s impeccable production approach.

Far Out Recordings is proud to present the official reissue of this cult favourite Brazilian treasure. Remastered and pressed to 180g vinyl, Ninguem Vai Me Segurar (1974) will be available on vinyl LP, CD and digitally from 13th September.

Seoul duo Salamanda arrive on Wisdom Teeth with their latest and most focused LP yet: 'In Parallel' - a vividly textural and immersive record that brings a new level of clarity to their typically psychedelic, expansive approach. Since arriving in 2019, the pair - comprised of friends Uman Therma (aka Sala) and Yetsuby (aka Manda) - have been fast at work mapping out their elaborate, dream-state sonic world - prolifically honing their sound across four albums and over a dozen singles to date. Across their already-extensive discography the pair have established a few key calling cards. Mallet instruments and tuned drums play out playful music-box melodies. Thick washes of gaseous ambience invoke otherworldly or ancient soundscapes. And buried fragments of found sound and manipulated vocal give their otherwise synthetic compositions a warm sense of first-person narrative. Ambient and Reich-school minimalism are the music’s most obvious sonic touchstones - yet the pulse of contemporary club and pop music have never been totally out of earshot. All of these themes come in to play here - but 'In Parallel' signals a step well beyond Salamanda’s work to date. Since 2022’s 'ashbalkum' (released on Wisdom Teeth alumni Tristan Arp’s label, Human Pitch), the duo have toured extensively: at classical institutions like London’s Kings Place as well as DIY club dens like Manchester’s White Hotel, all via a series of globally renowned festivals like Mutek, Nachti and Dekmantel. Their creative set-up has grown steadily alongside to incorporate a whole suite of new machines, processes and perspectives, taking their music in bold new directions in the process. The clearest development here is in the duo’s use of vocals - a shift that has been slowly taking place over their last few records, but that comes to a head on In Parallel. The album’s lead single 'Homemade Jam' is the closest the duo have come to writing an all-out pop track: its buoyant beat and autotuned vocals sounding like something SOPHIE and Charli XCX could have written after a particularly potent batch of mushroom tea. It’s a razor-sharp slice of alt-pop that offers a mouthwatering first look at what happens when Salamanda’s sprawling, unbridled creative energy is distilled right down into something concentrated and polished. At other points their sonic explorations lead them to embrace a more upfront approach to rhythm, skirting closer than ever before to the dancefloor in the process. The meandering drums and vocal chops on 'Paper Labyrinth' are underpinned by a firm 4x4 pulse, while the dembow groove of 'Tonal, Fluid' would feel right at home in a Nick León or DJ Plead set. 'In Parallel' is a record about connection, and the warmth and nostalgic simplicity of friendship is felt vividly throughout. Its title refers to the harmony the duo have found between them as friends and collaborators - and sonic parallels are traced throughout the record as testament to this. Motifs come and go before reappearing at later points: take, for example, the melody underpinning ‘Sun Tickles’, which returns in a different key and tempo on album closer ‘Mysterious Wedding’. Parallel lines are traced between each artist and through their music, linking back to their past and pointing ahead to the future. Only Salamanda know where these will take us next.

Growing up in the 90s in rural upper Austria, Jakobin spent his time with skateboarding and listening to lots of hip hop before witnessing the halcyon days of the Vienna downbeat era and later being introduced to Austrias club culture. Pursuing his growing passion for collecting vinyl, he started spinning his first records in the region and later moved to the Austrian capitol.

There he quickly connected with likeminded people. Quickly getting immersed in the Viennese electronic music scene, he started producing and DJing with his longtime friend Domino under the moniker Jakobin & Domino and became founding members of Luv Shack Records in 2011. After a number of successful releases he started his solo career and began working on his live setup. His growing collection of analog gear helped shaping his productions. An overview of his current sound is expressed on his new record ‚Forever More‘. Heavily influenced on 90s UK house productions this 3-track EP will activate your senses and move your body with its groovy basslines and drums, creating an irresistible rhythm.

On his new single "Pacifico Waves", Joel Sarakula takes the scenic route down a pacific coastline, searching for peace, enlightenment and the perfect sunset.

Travelling and searching is nothing new to Sarakula: it's almost his default way of being. Born and raised in Sydney, Australia before swapping oceans to live in the UK and more recently onwards to Gran Canaria: "I've been busy making my islands smaller" he jokes. But the music on "Pacifico Waves" sounds like none of these places: with its easy drum shuffle, soulful guitar hooks and smooth vocal harmonies it distinctly evokes Southern California. It's such a potent portrait of the West Coast that if not for the contemporary lyrics and some modern production techniques, it could be a long lost hit from an early 80s LA studio band.

"Pacifico Waves" is ultimately about memory, fantasy and the powerful emotion of reminiscing when Sarakula sings 'The sound of the ocean gets me so high, helps me remember what I left behind'.

The Amsterdam-based duo of LYMA and Rebiere aka LIKEMINDS follow up their debut album On My Way with versions from its predecessor.

Sometimes life throws you a curveball and you still gotta make it to first base. That’s what happened when Rebiere’s laptop was stolen, along with all the recordings of their original debut album. The pair made a brand new album from scratch, but they kept coming back to the demos from the lost recordings. They started to rework the sound as a whole, adding finishing touches, including additions from Bo Floor and Gino Groeneveld from Jungle By Night. The demos weren’t the same as the stolen tracks, but they learned to love the imperfections all the same.

The Lost Tape takes you on a journey - through low-slung beats, party jams, soulful. melodies and woozy synths, all masterfully woven together with samples and field recordings from Amsterdam’s watery canalways. It’s also the story of how the duo met, at a time when LYMA felt lost at sea with his collection of unreleased tracks, before Rebiere threw him a lifeline and brought some focus and clarity. Sometimes finding a like-minded
friend can make all the difference.

Having featured on the Diamonds in the Night series with the epic “Midnight Opera”, it was only a matter of time before Lukas Zeringis, better known as Zakmina, had his own 12” on Bordello A Parigi. Following appearances on Correspondant, Future Boogie and XXX, the Lithuanian born musician arrives with two tracks that break the mould. A speeding rhythm sees “For U” race out of the stocks. Bright strings arc before a generous break and this old-school rave anthem reveals itself in all of its brazen glory. Glowsticks at the ready for this seven minute romp into sweaty ecstasy. The flip is inhabited by a completely different animal. “Take Me Back” comes to life with blissful notes before rasping rhythms give way to a rumbling arpeggiator. Sailing strings are countered by squalid acid undercurrents as Zeringis finds a sweet spot between braindance bleep and soulful electronics. A seriously strong debut.

Rees landed on Bordello A Parigi with a bang. His “Three Eyes” track left dancefloors slippy and listeners wanting more. Thankfully, the Middlesborough musician only too glad to comply. Dream Wave collects three tracks that are emblematic of Rees’ enviable ability. A serial cross pollinator, genre lines are blurred before being rewritten. “A Dream Wave” melts rich basslines and muscled percussion with a daringly upbeat counter melody. Kick drums usher in “The New Beat”. Flourishes float above the thump before Rees lets loose. Acid barbs, rave shouts and Eastern echoes coalesce in this unique work. Keeping bodies moving until the very end, Rees delivers “Electric Body”. Guitar strings and incising snares collide with a hypnotic synthline that adopts elements of synth pop and full bodied techno. A record that perfectly illustrates the versatility of this style shifting artist.

"Welcome To My World" is a collection of some of Daniel's most-beloved songs and is now available on vinyl for the very first time. These are the songs that built the legend...a must-have for the legion of devoted Daniel Johnston Fans as well as the perfect introduction for new listeners.

Welcome To My World serves as an introduction to Daniel Johnston, housing a number of his most acclaimed works. Johnston's music captivated fellow artists and fans with its childlike elements and lo-fi elements. The singer-songwriter and artist earned a cult following in the early '80s, sharing homemade cassette tapes of his music, and his prominence was established after Kurt Cobain was publicly seen wearing a shirt with Johnston's illustration.

Aphrose reveals her sophomore album, 'Roses,' a captivating amalgamation of Neo-Soul and R&B, delving into the wellspring of ancestral strength and love.

Hailing from Toronto, Canada, Aphrose, also known as Joanna Mohammed, unveils her sophomore album, establishing her as one of Toronto's best-kept musical treasures. Known for her commanding vocal prowess within her hometown, this gifted songwriter and vocalist is rapidly garnering global acclaim and accolades from both fans and music critics alike. Signed to independent Soul label LRK Records, 'Roses' remains firmly rooted in Aphrose's signature style characterized by resounding R&B vocals. However, it also embraces a softer, more introspective aura that brilliantly showcases her remarkable versatility in navigating diverse genres, moods, and musical approaches with remarkable finesse.

This album offers a little something for everyone, catering to enthusiasts of Neo-soul, traditional Soul, Hip Hop, and R&B. Produced by her longtime friends/collaborators at SafeSpaceship Music (Scott McCannell, Chino De Villa, Ben Macdonald), the album serves as a compelling testament to the collective creativity of Aphrose and this exceptional production trio, delivering a kaleidoscope of soundscapes, textures, rhythms, and grooves. 'Roses' weaves together both lighthearted and profound elements as Aphrose explores her life journey, delving into her familial past and present, grappling with the challenges of new motherhood, and contemplating her relationships with herself, her partner, and her friends. Across the 35-minute LP, Aphrose draws inspiration from Neo-soul icons like Jill Scott and Erykah Badu, pays homage to Soul legends such as Aretha Franklin and MJ, and infuses contemporary R&B influences from artists like Frank Ocean, SiR, and SZA. The result is a sound that distinctly bears the 'Aphrose sound,' reflecting her deep admiration for her inspirations while imparting a refreshing twist to familiar genres.

The album commences with its title track, 'Roses,' which was released as a single on August 25th. This song sets the stage, invoking the strength of Aphrose's ancestors, particularly her late Grandmother Rose. Following suit is 'YaYa,' also released as a single on July 7th. This buoyant dance track whisks listeners back to the disco era of the late 70s and early 80s. The album's third track, 'Heavenly Father,' offers a brief interlude featuring a recording of Aphrose's Grandmother Rose engaged in prayer, setting the tone for the subsequent track, 'In The Time Of Sorrow.' This contemplative, chill piece captures Aphrose's musings on navigating a world often shrouded in fakery, while craving authenticity. 'Honey (Don't) Come Back' seamlessly transitions between two distinct musical personalities, commencing with a deep, almost Trap-like bass/drum beat before transforming into a spirited Funk/Soul jam—an anthem of empowerment encouraging the listener to leave a situationship that is no longer working. 'What You Don't See' strips the production down to its core, as Aphrose and guitarist/co-writer Heather Crawford craft an intimate ode to a friendship's sad ending.

The B-side opens with the evocative 'Weapons,' featuring a five-person choir including LRK label-mate Claire Davis, Nevon Sinclair (Daniel Caesar and LOONY), Kyla Charter (Aysanabee and Alessia Cara), Lydia Persaud, and Marla Walters. The track is adorned with a stirring string arrangement courtesy of Jessica Deutsch. 'Chop The Cake' acts as a breather, interlude-style, easing the intensity. 'Soft Nuclear' channels the spirit of the early 2000s R&B movement, bearing traces of influence from Lucy Pearl. 'Good Love,' released as the first single off this body of work on May 19th, transports listeners to the 70s with its soulful resonance, drawing inspiration from the likes of Michael Jackson and Teddy Pendergrass. 'Higher' stands as Aphrose's tribute to Prince, capturing the essence of his music within its hook and production. The album's culmination arrives with 'ZAG,' an acronym derived from Aphrose's daughter's name, commencing with the sound of her daughter's heartbeat in-utero from a sonogram taken when Aphrose was pregnant. This heartfelt composition serves as a dedication to her daughter and all parents navigating the rollercoaster of parenthood, emphasizing the imperative of nurturing love to shape the future.

'Roses' stands as Aphrose's homage to her history—her Grandma Rose and the ancestral trailblazers who paved her path to the present life she enjoys; her current experiences—her self-discovery, her relationships with her partner and friends; and her aspirations for the future—her daughter and the generations to come. This album crystallizes these temporal dimensions, prompting introspection, celebration, laughter, and tears. 'Roses' is a musical odyssey that scrutinizes the multifaceted beauty of existence, inviting listeners to partake in this thing called life.

The radio world has taken notice of Aphrose's talent, with national Radio Capital's Italy Massimo Oldani spinning her latest single "YaYa" for the entire month of July on his show "Vibe." And both singles getting to number 10 in the UK soul chart.Additionally, Aphrose has received national radio play on renowned stations such as BBC in the UK, RTVE in Spain, and Radio France FIP.

Aphrose has also made CBC's Top 100 finalist list for their Searchlight competition.

Huey Morgan played "YaYa" the second track off the album on his BBC radio six show

Drumcode welcomes another debutant to the fold, as one of techno’s most exciting new artists, Space 92, shares his thrilling two-tracker ‘Time’.

Stepping up for his maiden Drumcode release, ‘Time’ is stirring statement of intent. Staying true to its name, the title track was a slow burner, produced over a number of months between touring commitments. Space 92’s talent for crafting tracks that are tailor-made for big dancefloor moments is seen here in full flight, as tight drum programming leads into a stirring pad sequence before a boshing bass-laden breakdown arrives with crushing effect.

“Maledetta Quella Notte” is the first EP by Il Mago del Gelato, a new band from Milan (IT) with a strong Mediterranean imprint.

This first release runs through funk, afrobeat and jazz, where all the different souls that make up the project converge and blend in a perfect balance.

The EP ranges between more energetic moments, strongly characterized by Afro-beat and Funk influences to introspective atmospheres, where the reminiscence of a warm, sensual jazz rings out loud.

All held together by a full sound, the unique and recognizable mark of the Il Mago del Gelato: vocoder, percussion, 80's synthesizers, roots guitars and a rhythmic section of drum and bass which drags you in a wild and sweaty dance.

Before being a record product, Maledetta Quella Notte is a project human, in which the concept of union, exchange, positive vibes is summarized in six tracks with taste of your favorite ice cream.

Black Rainbows is a musical project inspired by the objects and artworks collected by Theaster Gates at the Stoney Island Arts Bank in Chicago. Situated at the Great Grand Crossing neighborhoods of Chicago's South Side, Stoney Island Arts Bank is a cathedral to Black Art, a curated collection of Black archives comprising books, sculpture, records, furniture and problematic objects from America's past. As well as being a site for archive, the Arts bank is also a place for convening. Bailey Rae attended The Black Artists Retreat there in 2017 and performed in the space. Wide ranging in it's themes, Black Rainbows' subjects are drawn from encounters with objects in the Arts Bank. Taking us from the rock hewn churces of Ethiopia, to the journeys of Black Pioneers Westward, from Miss New York Transit Queen 1957, to how the sunset appears from Harriet Jacobs' loophole. Black Rainbows explores Black femininity, Spell Work, Inner Space/Outer Space, time collapse and ancestors, the erasure Black childhood and music as a vessel for transcendence. The project will be released in various iterations - live performances, books, visuals, lectures, exhibitions, and more. Sonically, the album is a multi-genre mix of the progressive R&B, neo soul sound that will be familiar to fans but it also contains rock, jazz and electronic elements. The album was produced by S.J. Brown and Corinne Bailey Rae.

Following a standout contribution to the ‘Elevate’ compilation, Mha Iri steps up for her Drumcode EP debut. Continuing Scotland’s grand techno tradition, the Edinburgh-based DJ/producer is one of 2023 breakout artists.

‘Never Go Back to Sleep’ marked her exhilarating maiden offering on Adam Beyer’s label back in March, with the cut spending a mighty two months in Beatport’s techno chart after peaking at no.4, putting her square on the radar of the Drumcode faithful in the process.

Her debut EP on the label, is a tantalising prospect. ‘The Unexpected’ plays with her trademark light and dark motifs, mixing up sharp percussive elements with ethereal melodies, before a ripping bass drop takes the energy up a notch. ‘Let the Good Times Roll’ is a slick accompaniment, as atmospheric techno gets supercharged via a punchy rap vocal and laser-kissed chords. Both tracks were highlights of Mha Iri’s memorable set at Rave The Planet, attended by 300K people in Berlin.

LOCUS unveils the lineup for the fourth instalment of its ‘LOCUS Trax’ VA series, Danny Snowden, Job de Jong, ADR and OURMINDZ delivering label debuts across the package.

Blossoming as a label with its own identity, FUSE’s sister imprint LOCUS is continuing to serve up dancefloor heat at an impressive level, with 2023’s releases featuring material from Lauren Lo Sung, Youandewan, Nolga, Okain, Garrett David and more. Returning with another edition of its ongoing ‘LOCUS Trax’ VA, shining a spotlight on emerging talent of note, late October welcomes four new names to the label as UK trio Danny Snowden, ADR, and OURMINDZ join Dutchman Job de Jong.

Danny Snowden kicks things off with the euphoric tones of ‘Essence’ as he combines glossy synths with skippy percussion and a snaking groove, while Job de Jong draws for rumbling low-ends and playful, bouncy electronics Across ‘OOC’. Heading up the b-side, ADR’s ‘Bungee Gum’ brings hazy chords, snaking drums subtle acid-dipped melodies, before OURMINDZ merges resonant organ stabs and elastic synths on the lively ‘Dusty’.

LOCUS Trax Volume 4 drops on 27th October 2023 via digital and physical formats.

ZentaSkai unveils stunning, high-concept house album on Mask Records.


ZentaSkai undertook a period of research into the underlying structure and organisation of the human brain before writing ‘The Architecture Of The Mind’. The Berlin-based artist then took what had been learned and kept it in mind when writing the music that marks Mask's first album release. It comes with extensive background notes on each track, and an operational manual of sorts - notes from the artists as to the effects each piece will have on those who hear them.
"The message conveyed by this album is that life itself is filled with music, but our egos often prevent us from being in harmony with this symphony. Inner chaos and silence can be challenging to bear, leading us to seek solace in external noise. We have constructed a barrier between our inner and outer worlds, causing us to lose touch with the rhythm of harmony. However, by embracing the illusion of separation and dancing to good music, we can rediscover harmony with ourselves and our environment. To fully experience the essence of the album, it should be played loudly on a proper sound system or high-quality headphones. By immersing themselves in the music, individuals can engage with its transformative power and potentially find a deeper connection with their own minds and surroundings." - ZentaSkai.

The gorgeous 'Mind Mapping' opens up with deep and dubby drums and lush harmonies that soothe you to your core, '030' then has more raw, heavy drums with many layers of glowing synths, glassy melodies and organic found sounds. 'Fügung' keeps the deep and introspective moods coming before the crisp tech of 'Flow Dreaming' ups the ante with more drive and layers of vocal whispers, hi-hats and smeared dub chords.


Elsewhere the likes of 'Quiet Reflection' lean into the groove with swirling pads and one-word vocal sounds drifting through the air over propulsive drum loops, and 'Boiling Range' suspends you in deft synth loops amongst the stars over a prickly house beat.
The superb synth craft and well-designed grooves continue through the dusty deep house of 'Karl-Marx-Allee' and minimal dub of 'Dynamic System' before the elegant melodic techno of 'Apeiron' and dreamy synthscapes of 'Parallel 30' close the album in a reflective fashion.


This is a deeply evocative album with a fully realised concept that is as thought-provoking as it is immersive.

A lavish four chapter chronicle that imagines an alternative evolution of mankind through sound, VIS (Latin for energy or force) is the result of a lengthy process of self-discovery, collaboration and research for Italian-German composer David August. The son of a classical pianist, August slipped from the academic music world into an early career as a dance music producer and DJ before he felt his artistic outlook shifting considerably. He established the adventurous 99CHANTS label in 2018, and has since used it as an output for his most progressive notions, collaborating most recently with jazz-noise vocalist Cansu Tanrikulu and Carnatic singer Sushma Soma on last year"s acclaimed "Imaginary Landscapes" compilation. VIS then is a chance for August to reconcile his personal narrative, leveling it with concepts that touch on history, transformation and metaphysics. He wrote the album"s 13 pieces to play like a linear storyline, tracking the development of culture from its illusory beginnings in Plato"s cave into the wider world and observing its progression and adaptation.

August represents these themes with levitational orchestral drones, choirs and bells that slowly bend to long-forgotten ancestral rhythms, inevitably colliding with the digitized chaos of the information age. Motion guides everything, whether it"s shadows on a wall projected by dancing flames, or dramatic, overlayed rhythms that vibrate the air and excite the feet. VIS is a dynamic attempt to show the movement of time on a macro scale, looking backwards in order to move forwards. It charts mankind"s journey from its cosmic beginnings through the awe-inspiring world of flora and fauna, grounding the experience in rhythmic expression and dance before we"re returned to the stars in transcended form. Crucially, it"s a hopeful articulation of ideas and concepts that continue to echo throughout history, inviting us to imagine greater and cherish the teeming landscape that surrounds us.

Ed Sheeran’s brand-new album Autumn Variations will be available for pre-order on the 24th August at 5pm before a worldwide release on the 29th September. It will be available to stream on all platforms as well as purchase physically as a CD or various limited Vinyl editions.

Ed Sheeran is an era-defining artist who has sold over 52 million albums and 150 million singles across the world. Through his fusion of thought-provoking songwriting, universal pop and multi-genre influence, his rich tapestry is not only perfectly suited to his audience but it’s something that transcends generations.

Since surfacing on the UK circuit in 2010 with his ‘No.5 Collaborations Project’ – an eight-track EP featuring his favourite grime artists of the time – the Suffolk-raised recording artist has resonated with fans across the world through his peerless songcraft and versatility. And now, with six consecutive UK No.1 albums to his name – ‘+’ (2011), ‘x’ (2014), ‘÷’ (2017), ‘No.6 Collaborations Project’ (2019), ‘=’ (2021) and ‘-‘ (2023) – Sheeran continues to reaffirm his status as one of the most in-demand pop stars on the planet.

Prior to the release of ‘=’ (October 2021) – an album that’s now surpassed five million global sales - Sheeran secured two UK No.1 singles in the UK with ‘Bad Habits’ and ‘Shivers’, which sat atop the UK’s Official Singles Chart for a combined total of 15 weeks. Moreover, the LP saw him take home 2 x EMA’s for ‘Best Artist’ and ‘Best Song’; an American Music Award for ‘Favourite Male Pop Artist’; British GQ’s ‘Solo Artist of the Year’; 4 x Los40 Awards; a BRIT Award for ‘Songwriter of the Year’ alongside a nomination for ‘Song of the Year’ at the 2022 GRAMMY’s.

Sheeran’s most recent album, Subtract, secured Ed his sixth No.1 album. Produced by Aaron Dessner, the album was anchored in his love of singer/songwriter compositions and written against a backdrop of personal grief and hope. Ed’s most critically-acclaimed album to date, it housed the heart wrenching UK No.1 single ‘Eyes Closed’ – a song about his late friend, Jamal Edwards.

But it’s not just his recorded music that’s seen the former Glastonbury headliner become one of the sought-after artists of the 21st century. Possessing a mystical ability to turn 90,000 capacity venues into the pub back-rooms that he first started playing in, Ed made history in 2015 after becoming the first-ever artist to play Wembley Stadium solo - without a band, just with his guitar and loop pedal - over three, consecutive sold out nights. Move forward to the summer of 2019 and Ed would re-enter history books after the completion of his mammoth two-year Divide tour, officially becoming the most-attended tour of all time after it culminated with special homecoming shows in Ipswich, Suffolk. Beginning last summer, Ed is currently travelling the world on his ‘+ - = ÷ x Tour’ (pronounced ‘The Mathematics Tour’), which saw him return to Wembley Stadium for a five-night run last June.

Ed Sheeran, who was awarded an MBE for his services to music and charity in 2017, is the proud recipient of 1 x IFPI Award (best-selling global artist of 2017); 4 x Grammys; 4 x Ivor Novello’s; 7 x BRIT Awards (including two consecutive wins for ‘Global Success’ in 2018 and 2019); 7 x Billboard Awards + more. Moreover, to this day, his blockbusting third studio album ‘÷’ remains the fastest-selling album, ever, by a male artist in the UK, while the LP’s lead single, ‘Shape of You’, maintains its status as the most-streamed song in Spotify’s history.

At the end of 2019, Sheeran was presented with the Official Chart Company’s first-ever ‘No.1 Artist of the Decade’ award following a host of accomplishments in his native UK including the most No.1’s across the UK’s Official Singles and Albums chart from the years 2010-2019. Most recently, Ed scored two more feats with the OCC after becoming the first British Solo Artist to claim 52 weeks – an entire year – at No.1 on the Official UK Singles Chart, with only Elvis Presley and The Beatles achieving more overall weeks at the top, as well as becoming the first-ever artist with four albums spending an entire year or more in the UK Top 10.

Banoffee Pies White Label Series is back with a debut EP on the mother imprint from Bristol based Artist, DJ & Talent, No Nation. A deeply attuned junglist delivers a love sick transmission with four gripping, jazzy and skeletal rave compositions following their recent single “Gad Damn”.

Rooted in the sounds of Jazz, Progressive Rock and Fusion, No Nation quickly cemented themselves within Soul, RnB & Old School Hip Hop scenes early on before finding space to express these inspirations through their passion for high tempo hybrids. Now an established Bristol artist and label main stay with international bookings worldwide.

As a producer their music is something to be savoured. Drawing inspiration from music from output on Inperspective and Scientific Wax labels while combining a dynamic and diverse fusion of soulful sounds. Chopped breaks and samples sure to leave a lasting impression. No Nation has featured on labels Club Paint edit series, Bristol-based outfit Slippery Sounds, London leftfield label Diffrent Music and most recently Sherelle's new imprint BEAUTIFUL music.

Seriously sought after, classic rare groove 2 stepper from Maxi, ‘Lover To Lover’ gets its first ever official reissue on vinyl with this also being the first 7 inch pressing of this oasis of joy, courtesy of South Street Soul.

Previously only ever available on Maxi’s self-titled 1977 LP, released on Blue Note. With originals of the album selling for over £160+, South Street give these glorious grooves space to breathe with a 7 inch reissue of two choice cuts. Soaring vocals, top drawer production, sumptuous instrumentation, with a string section to melt any heart out there – all arranged to perfection. The sort of track that will sweep you off your feet before you even know what’s hit you. Famously sampled by Tom & Jerry aka 4 Hero for their ridiculously rare Jungle anthem ‘Maximum Style’.

To complete the package, another hand-picked hit from Maxi’s one and only LP with a cover of the Van McCoy penned soulful serenity ‘Walk Softly’.

Amine Edge & DANCE bring their soulful sound to Hot Creations with their uplifting new release ‘It Was’ featuring Pershard Owens backed by a remix from Shermanology. Maintaining a constant presence at the top of the charts, with an impressive catalogue boasting releases on esteemed labels such as Defected, Nervous Records and their very own CUFF imprint, French duo Amine Edge & DANCE have solidified themselves as frontrunners when it comes to the modern house landscape. Up next, their partnership takes them to Jamie Jones and Lee Foss' Hot Creations imprint for the first time with their latest single 'It Was' featuring Pershard Owens, with brother-sister duo Shermanology on hand on remix duties to bring the heat.

‘It Was’ opens with rich piano chords, led by luscious melodies, Pershard’s tender vocals and bright keys crafting a delightful serving of summer house grooves before Shermanology flips the track shifting the focus onto pulsing drum hits and playful rhythms full of energy, perfectly crafted for open-air dance floors.

It’s been a few years since Captain Mustache took a ride with Kompakt – 2021, to be exact, when he released the “Everything” single, and subsequently made an appearance on that year’s entry in the Total series. But this visionary French producer has been busy, indeed fiercely productive, ever since, appearing on Helena Hauff’s Return To Disorder and John Digweed’s Bedrock, collaborating with Dave Clarke, Popof, The Advent, Paris The Black Fu, Keith Tucker from AUX88... and two beautifully eloquent albums, Tourbillon Nocturne and Indigo Memories. But with The Super Album, Captain Mustache returns to Kompakt with his most sublime collection yet. On The Super Album, the Captain soundtracks an imagined “whole day for party people.” He welcomes friends old and new on board: opening with the poetic club banger of “About Love”, with guest appearance from Speakwave (aka dynArec), The Super Album shifts gears into the lush, sunny “Shifting Basslines”, where Captain Mustache’s pulsing electro-disco is the perfect fit for a third collaboration with electroclash pioneers Chicks on Speed. After the deep techno pulsations of “Laser Me” and the glitzy pop shine of “Gimme Ya Mustache”, more guests arrive: Arnaud Rebotini of Black Strobe on the slinky “I Love Watching U”, and then a spoken cameo from the truly legendary French disco diva Amanda Lear on “Mustache Of The Universe”, a glitzy glitterball of a song that’s shrouded in ghostly synths. All those tracks appear on the 12” version of The Super Album – download the digital version and you get six more slices of Mustache magic. Here, the narrative turns more insular, more dancefloor focused – the party people have moved through the daytime and they’re in their element, diving deep into the night-time economy. The album spirals, beautifully, into stark electro, driving techno, with great moments of beauty and melancholy – see the pointillist arpeggios of “Everything” (which features Play Paul), the disco stomp of “Acapulco Citron”, and a breath-taking double-bill of stripped back psychedelic electro on “Pulsions Organiques”, and the layered, luscious, swooning “Clair-Obscur”. From there, it’s an astral glide into the Dopplereffekt-ish “Galaxian Symbiosis” before Foremost Poets join Captain Mustache to wave the night goodbye with the brittle, brilliant “Floorwax”. It’s a day in the life, but all in service to the pleasures of nightlife; the dancefloor is The Super Album’s beacon, your body the pliable material moulded into evocative new shapes by this dense, hypnotic, brilliantly pop album.

repressed !

Jasper Byrne Aka Sonic (sonic & Silver / Accidental Heroes) Spent The Late 90s & 00s Dropping Releases On Pretty Much Every Legendary D&b Label Going (reinforced, Metalheadz, Renegade Hardware, Formation, Virus, Soul:r And His Own Space Recordings), Before Mysteriously Disap-pearing To The Far East & Re-emerging Years Later As A Hit Indy Computer Games Developer (lone Survivor) & Soundtrack Artist (hotline Miami).

After A Chance Encounter With Dead Man's Chest At A Gig In La (where Jasper Had Been Working On A Game And Wholeheartedly Soaking Up The Local Low End Theory Music Scene), It Quickly Emerged The Two Had Shared Similar Musical Stories, Straying From Previous D&b Careers And Into The Musical Wilderness, Only To Drift Back Toward The Tempo With A New Found 'outsider' Approach And Eerily Familiar Conclusions..

After Teasing Us With 2018's 110174 Mixtape (ltd Edition Cassette Only Release) And His Appear- Ances On Blunted Breaks Vol.1, 2019 Sees Sonic Mark His Return To The World Of Dance Music Proper With This Two Part, Heavyweight Ep For Western Lore.

Blending Techno, Footwork, La Bass, Hardcore, Synthwave And D&b Under A Loose Jungle Tekno Framework, 110174 Sees Sonic Crafting Beats, Breaks & Bass With An Artisanal Deftness Rarely Seen.

Heavenly Recordings release the next two volumes in their series of remixed classics and unreleased versions. ‘Heavenly Remixes 7 & 8’ sees the label going back into the archive, as well as picking off some more recent remixes, and both albums primarily feature either previously unreleased versions or re-workings available for the first time on vinyl and CD.

Heavenly have always seen immense value in the remix, a value way beyond what it might bring commercially. Since their first release in 1990 (where Andrew Weatherall overhauled a one-off single by club kids Sly and Lovechild) Heavenly remixes have been carefully curated and treated as a key part of the A&R process. It’s an opportunity to view an artist through a different prism, to play out a musical ‘what if’ scenario. It’s the kind of exploration that’s happened consistently through the thirty plus years the label has released music.



The ‘Heavenly remixes’ series continues to showcase the very best remixes, versions, meditations, re-rubs and dubs from all around the world of artists right across the roster of the country’s most exciting record label. In most cases, the albums offer the first physical release for a remix, elevating them from streaming playlists to their rightful, spiritual home on super heavy vinyl (or shiny, super-packed compact disc).



‘Heavenly remixes 7’ heads to Belfast, where David Holmes - a producer who first appeared on Heavenly in 1994 amping up the acid on Saint Etienne’s ‘Like A Motorway’ - appears as solo artist and as one third of Unloved, who get a lift right to the heart of a Vauxhall sweatbox by Horse Meat Disco. It draws a line between Amsterdam and Frankfurt as Ludwig A.F. amps up the electronics on Pip Blom’s ‘Keep It Together’. It stops off in a south London studio where super producer Dan Carey plays the desk with Toy, then relocates LA psych rock band Fever The Ghost to an Ibizan shoreline as the sun sets on the horizon. It cements Sheffield’s reputation as the home of modern British techno with the return of true originators Forgemasters. And it pitches up in front of a renegade soundsystem late night at Glastonbury as Erol Alkan’s mighty rework of Con Man gets its third rewind of the night.



‘Heavenly remixes 8’ opens with Space Afrika’s lush, ambient reimagining of the Orielles’ ‘BEAM/S’ before Justin Robertson stretches Amber Arcades’ ‘Turning Light’ into eight minutes of electronic dub. Elsewhere, Baxter Dury’s peerless ‘Miami’ becomes a string-laden electro skank in the hands of French producer Pilooski; Edinburgh’s bedroom techno genius Eyes of Others’ ‘Safehouse’ turns into an East End bathhouse courtesy of disco deviants Decius; Ashley Beedle’s Black Science Orchestra turns Unloved’s heartworn torch song into seven minutes of glimmering dreamlike percussive house and Katy J. Pearson’s freak flag is flown high thanks to The Umlauts’ throbbing filtered electro mix. It ends similarly to how it began as TONE takes

Fran Lobo’s ‘All I Want’ on a gorgeous slow motion spacewalk.

Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. Tragically passing away in March 2023 at the too young age of 71, it still feels as if Bobby's true artistry is profoundly under-appreciated. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Yes, it's perfect, yet it's been out of press on vinyl for years. We're deeply honoured to present the long-awaited reissue this summer.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

String-swept opener "Special To Me" immediately sets the tone with its lush instrumentation, rich harmonies, and Caldwell's velvety-smooth vocals. Next up, a huge one. The infectious, mid-tempo bounce of "My Flame" showcases Caldwell's ability to effortlessly blend catchy pop hooks with soulful arrangements. It's an exquisite, emotive ballad that, at the same time, absolutely SLAPS. Game recognise game, and all that, so, accordingly, Notorious B.I.G. memorably ran with “My Flame” for his 1997 single “Sky’s The Limit”. The rolling, disco-very "Love Won't Wait" is a slick, uptempo track containing heartfelt lyrics intertwined with elegant strings and a horn section to die for. Aching - and achingly cool - single "Can't Say Goodbye" is a real fan favourite, and it's no surprise. It's a laconic, slow-mo jazz-funk stepper, with fantastic, very deliberate playing that closes out the A Side quite exceptionally. "Come To Me" slows proceedings down elegantly to open Side B before the universally agreed-upon masterpiece enters proceedings.

"What You Won't Do for Love," the standout hit that became a classic in its own right, perfectly captured Bobby's ability to infuse a contagious groove with introspective and relatable lyrics. With its instantly recognisable horn riff and Caldwell's soulful delivery, this timeless, chiller anthem continues to captivate audiences and define his musical legacy. He scored huge with the track, taking over the pop and R&B airways with this mellow soul stepper. It has remained a perennial favourite and has been heavily sampled, such is its unique allure; Aaliyah sang over snatches of it on "Age Ain’t Nothing But A Number" and you can hear Caldwell’s vocal sample used for the hook on Tupac’s posthumously released “Do For Love”.

Upon submitting the finished album to his label, they requested more material in hope of a big single. As Bobby remembered to Wax Poetics a few years ago: “Now at this point, I’m mentally exhausted...and bear in mind that I got so close to all the songs I’d written. I gave each song a profound amount of thought, and maybe too much. So, in haste, I went in and cut this song, "What You Won’t Do For Love". Wrote it in a day, cut the rhythm track, overdubbed the horns, I sang the song, and literally turned it in three days after. And lo and behold, the one song I gave the least thought to,” Bobby laughed, “ended up being a national anthem.”

The mysterious, magical "Kalimba Song" is a cosmic, kalimba-driven melodic-funk instrumental - short but oh, so sweet. It's followed by the supreme tear-jerker "Take Me Back To Then", Bobby's otherworldly voice deeply longing for a simpler time, "when life was mellow". I think we can all get behind this sentiment. The final cut is arguably its deepest, its low-key finest moment. For us, it is, anyway. The glorious, driving, effortlessly funky guitar-soul jam "Down For The Third Time" is a huge melancholic Be With favourite and has been played by discerning genre-hopping DJs with significant glee for years. Hypnotic, melodic, beautiful. Like the album it elegantly rounds out.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his wonderful eponymous album will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

Borka's new 7" is a double single which features two tracks, taken from his new Places EP.

The A side features Todra, a track that builds up slowly, but before one knows it, it becomes a full-on neck breaker. The samples transport us to rocky Moroccan gorges, but do so with a killer hip-hop mood that bring to mind early Dimlite stuff.

On the B side we have Svetac, a track that swirls around a distinctively engaging folk sample, which immediately drops us on an island in the middle of the Adriatic sea. But Borka and his collaborator nikson manage to build a space portal around it that constantly flips between images of careless summer evenings and interstellar voyages.

"Memories in the corner of my mind
Flashbacks, I was laughin' all the time"

The package includes a download code for the full 8-track Places EP.


b 02: Svetac (dva tovara) feat. Nikson

Red hot Italian DJ and production collective Aura Safari is back with a second full-length album, Island Dreams. It lands on Hell Yeah Recordings on September 15th and is another live and sun-kissed odyssey through balmy Mediterranean evenings, gorgeous sundown sessions and funky analogue grooves.

Andrea Moretti, Lorenzo Lavoratori, Daniele Melloni, Nicholas Iammatteo, Lorenzo Francioli, Ruggero Bonucci and Nicola Pitassio are Aura Safari, and between them they play drums, percussion, bass, keys, and guitar. They contributed to the first volume of the Buena Onda compilation in 2020 on this label, a year after serving up a debut album on London's Church Records. Since then they have become ever more entrenched in their local scene in Perugia, playing summer sets at the Umbria Jazz Festival, winter warmers at the legendary Red Zone Club and host their own Tropical Climax parties each month in the town centre.

Aura Safari are also deep-digging music collectors who have extensive and far-reaching tastes. When cooking up their sounds they draw on everything from Afro to Italo, house to disco, 80s boogie to world music, jazz and Balearic beats. This new album shows that once more across four sides of vinyl that sweep you up and transport you to somewhere idyllic.

The title track kicks off with steamy Mediterranean grooves embellished with lush Rhodes chords and sprinkles of cosmic magic. 'Sur Mon Balconnet' then slips into dubbed-out disco territory with 80s synths and leggy drums while 'Riserva Naturale' is a new-age jazz house sound with majestic lead synths and heart-melting chords that speak of a sunset dance on the beach. 'Onda' has squelchy boogie bass with hip-swinging drums, 'Wave Riding' is a lo-fi funk excursion with hints of West Coast Californian swagger and 'Magic Malbe' is loose-limbed Balearica with clear blue skies and blissed-out chords.

'Dancing in the Moonlight' feat. Zeke Manyika has all the vibrant feelings of bubblegum pop with Afro vocals and steel drum sounds next to rich xylophone sounds. There is plenty of heat and exotic charm to the proto-Afro house of 'Tropical Climax' and as well as dub versions of 'Sur Mon Balconnet' and 'Dancing in the Moonlight' come the scuffed-up Dam-Funk style beats and boogie of 'Disco Mantra' before closer 'Patagonia' shuts down with elastic drums and bass and playful synth leads that send you home wanting more.

Island Dreams is a tropical escape to a rich world of fusion sounds that look back to go forwards. It's a feel-good record to accompany hot nights and lazy afternoons, cocktails at dusk and dancing till dawn.

Three certified anthems get brand new drum and bass reimaginations as Aussie superstar Luude teams up with Bru-C, Mattafix and Issey Cross respectively to give fresh flavour to these mega hits.

Up first, Kevin Lyttle’s early 2000’s, R&B singalong heater ‘Turn Me On’ gets an explosive, sub heavy DnB remake complete with slick new bars from Nottingham rapper Bru-C. Hot property Borai and Denham then stamp their signature sound on the track as they step up on remix duties.

On the flip, Mattafix’s infectious 2005 classic ‘Big City Life’ gets a trademark Luude reworking before Moby’s ‘Porcelain’ is weaved into an amen-infused, drum and bass banger ‘Oh My’ with UK singer Issey Cross providing the vocals.

Boss Priester makes his LOCUS debut with his bustling four-track ‘Hotel Dijon’ EP.

Working hard in the studio to develop his own take on minimal-leaning house and techno, The Hague-based DJ/ producer Boss Priester is starting to reap the rewards and emerge as another hotshot from the country’s hotbed of electronic talent. Racking up support from the likes of Dungeon Meat, East End Dubs, Michel de Hey, Dr. Banana and Alec Falconer, his releases on What NxT and Dark Side Of The Sun have accompanied appearances at the likes of Thuishaven, Colorado Charlie and Lovelee. Another fan of the young Dutchman is FUSE and LOCUS boss Enzo Siragusa, and late September brings a first appearance on the latter imprint as he makes his label debut with his four-track ‘Hotel Dijon’ EP.

Title track ‘Hotel Dijon’ comes loaded with raw drum licks, cosmic synths and menacing, swirling low-ends for a heavy-hitting opener set to cause serious dance floor damage, while the slinking ‘ROF66’ mixes eerie stabs with shuffling drums and bouncy baselines for another heavyweight anthem. Next, ‘SUP01’ keeps things ticking nicely on a similar tip with yet more punchy percussion arrangements linking with playful sound design peppered with zippy FX, before closing the show with the hopped-up, bass-driven sonics of final effort ‘Wek’.

Boss Priester ‘Hotel Dijon’ EP drops via LOCUS on 22nd September 2023.

The bright new duo, Marcel Vogel & LYMA, triumphantly returns to Boogie Angst with their sizzling new EP offering, No Time.

Following the recent release of their lead single, Free Time, we're proud to introduce four new, unique tracks to their burgeoning collection of juicy tunes.

Funkiness and abstraction take center stage on this EP. Opening up with the previously released Free Time, featuring filtered vocals and an unconventional structure that blends rich synths with dusty analog stabs and 1990s rave plucks.

The tempo slows down on Easy, a gorgeous song that sounds like a lost Sade demo, featuring subtle beatbox textures, tiny synth plucks, all ending up in a delightful culmination of delayed textures.

Broken Wings begins with a captivating vocal performance, leading to a sturdy Roland bass drum, sustained chords, and resonant arp sequences, with hints of Freestyle.

Flame On creates an almost tropical atmosphere with looping, scattered vocals and an abundance of cowbells. All before the EP closer, You're A Star, rounds things off with clunky basslines, a steady groove and hypnotic pitched vocals.

No Time follows the duo's debut Boogie Angst EP, Games Change, and is a powerful step forward in their young, yet promising catalogue.

A special vinyl edition of No Time will also grace our stores soon.

The hugely influential British DJ and producer Bushwacka bursts onto Nu Groove with a four-track EP, ‘House Sound Vol. 1’, that demonstrates the touch of an expert. A member of the legendary Rat Pack rave outfit, Bushwacka’s impact on the underground scene of the ‘90s was felt worldwide; together with fellow Brit Layo Paskin, the pair created spellbinding compositions that defined the sound of house and techno, blending the two genres approaching the new millennium.

For this fresh outing on the pioneering NYC label Nu Groove, Bushwacka taps into his unwavering knowledge of dancefloor culture. The opening, an ode to the legendary imprint ‘Strictly Nu’, builds infectious loops with ease before dropping into an arresting four-on-the-floor club feel.

The subsequent tracks follow suit, with ‘Love Can You’ and ‘Right Now’ showcasing the producer’s unique club-led sound in full flow, while ‘True For You’ has a more minimalistic approach. With this new delivery of originals, Bushwacka further cements his status as a genre-defining electronic innovator.

warehouse find !

4th Wave appeared on the Techno scene in the mid-90’s and like a comet shone blindingly before quickly passing rarely to be seen again.

Fortunately 2 glorious EP’s were left in its trailblazing wake; the Touched EP for Carl Craig’s Planet E label in 1995 and Attention Please for Kirk Degiorgio’s Op-Art offshoot label in 1996.

This release has been approved by Steve Paton - the producer behind 4th Wave - who wasn’t easy to track down. Lovingly remastered from the original first generation DAT masters, this EP adds a bonus track “Lounge Music” previously released on the Objet’s D’Art III Compilation and never before available on vinyl.

The music is classic golden-age UK Techno. Detroit influenced with a European twist - the original copies are scarce and only available for collectors prices on the used market. This re-issue makes all four 4th Wave Op-Art tracks available to a new generation and collectors alike.

Most Excellent Unlimited is happy to announce the next release in its series of collaborations with master DJ and editor "Mr. K". Two exceptional deep classic album gems skillfully cut down to a maximum 7" 45rpm format, Luther’s “Funky Music (Is a Part of Me)” and Zulema’s “Giving Up.”

Long before “Never Too Much” and his other solo hits, Luther Vandross was an in-demand backup singer and vocal arranger, working with luminaries like Carly Simon, Bette Midler, and Donna Summer, along with his stand out performances in Change, Bionic Boogie, & so many more. Perhaps his most significant role, however, was backing David Bowie on the 1975 Young Americans album. It was during these sessions that Bowie heard Luther’s song “Funky Music (Is a Part of Me)” and re-tooled it to become the Bowie/Vandross joint composition “Fascination,” which went on to become a successful Bowie single.

For the latest edition of Most Excellent Unlimited’s series of edits, Mr. K has gone back to the original source, credited to the group (not the solo artist) Luther (which also features Christine Wiltshire). Mr. K's technique on this edit is cleverly subtle, in the process giving us the first opportunity to get almost the entire full-length song on compact 7-inch wax, keeping that irresistible building energy that places the track firmly on dancefloor-friendly territory.

“Giving Up” was the opening track on Zulema’s second LP, and given the drama of the intro, with its rolling piano, string ensemble, and piercing guitar, it’s not hard to hear why it was effective in that role. Mr. K’s edit benefits from a crystal clear remastering in which each element of the band is distinct in the soundfield, led by Zulema’s gutsy vocals upfront. Originally a 1964 Gladys Knight tearjerker that crept along at a tango’s pace, Zulema’s 1973 cover gives the song a new, powerfully soulful arrangement, championed by such disparate eras and tastemakers as Nicky Siano at the Gallery in the ’70s and breakbeat hunters the Beatnuts in the ’90s that has easily found favor with a wide variety of listeners and DJs, and this new issue should solidify that position. Never before available on 7-inch, “Giving Up” is a bonafide funk and proto-disco classic —

Long Beach legend Scotty Coats links the West Coast eclecticism of Stones Throw to the NYC cool of DFA and Rong to the Balearic gods of DJ Harvey et al. He personally introduced Be With to Ned Doheny 10 years ago and he was immortalised on Smith & Mudd's last LP. And he's the main man behind the mysteriously titled duo Todd Russell & The Dangerous Coats, alongside Erick "Todd" Coomes (Lettuce founder/bassist).

In very real danger of being lost forever, we unearthed two of their private recordings and present them as a double A-Side 12", adorned with S-T-U-N-N-I-N-G artwork, courtesy of Arizona artist Frank Gonzales.

"Playa Larga" is a melodic, mellow masterpiece and is quintessentially Balearic. It's stretched out, low slung, guitar-soaked drum-machine soul music. It's multi-layered and contains multitudes: it builds and builds and builds and mesmerises as it does so. On the flip, "1900 Ocean Avenue" is a super slo-mo, sunbaked drug-chug which is already blowing minds thanks to early leaks of this cosmic, psychedelic detonation.

On first listen back, Erick said to Scotty: “So wait, nothing really happens, I mean nothing bad happens but nothing really happens”. Apparently these tracks were a bit foreign for Erick, musically, because of the lack of structure in the songs.

One morning, years later, Erick called Scotty and excitedly declared: “dude, I get it now!”. He was listening to random music with a lady friend while watching the sunrise in his 1900 Ocean Ave apartment and "Playa Larga" came on randomly. He'd forgotten all about it and said he had to get up and see what song it was because "it was the perfect soundtrack for a psychedelic sunrise over the ocean."

And that's exactly how we came across it, circa 2018, randomly popping up on a playlist while we were busy doing other things. It stopped us in our tracks but, when trying to find any info on iTunes, we were out of luck. It was only years later that we worked out Scotty had sent it to us. Ever since, we've been working on getting this out to you all. It's finally time.

We've only 500 pressed for the world, with many of them spoken for by those lucky enough to be already ITK, so these are gonna fly: be warned!

Scotty is a world class raconteur so we'll hand over to him to explain how these songs came about and why they mean so much to him in the context of his wider raison d'être:

"These were made 13 years ago when I was a new dad and left my job at Ubiquity Records to provide security for my newborn son, Nolan Liam Chai Coats. I became miserable working a job outside of music for the first time in my life and I was laid off 4 months into it. I was left wondering how the fuck am I going to provide for my family?

I lived in Long Beach and Erick lived a few blocks away. I would walk to his house when Jen finally got Nolan to sleep so I could escape my panic, drink some beers (is it beerlearic?) and make some music. He lived overlooking the ocean with the Queen Mary on the horizon, so I guess mellow Long Beach nights unintentionally inspired the music. These songs were the first two songs we ever made and they embody the desperation and hope I really needed at that time. 12 years later, when Rob at Be With expressed an interest in releasing it, we had Erick's brother Tyler Tycoon Coomes play drums on it at Jazzcats Studio in LBC, with Jonny Bell.

Shortly after I was laid off, I discovered The Stepkids. I was blown away by "Shadows On Behalf" and sent it on to Gilles Peterson. He played it on Worldwide the next day. The Stepkids pulled me back into music and made me realize I wasn't prepared to do anything but be involved with music. After I heard their unreleased album, I knew there was something there so I sent it to my good friend Jamie Strong who was at Stones Throw at the time. Jamie passed it along to Peanut Butter Wolf and the band asked me to be their manager. I didn't think I was the right guy for the job but wanted to see them do well so I told them I would help shop their album. Jamie suggested I take his place at Stones Throw, just as he did when he left Ubiquity Records. I always joke that Jamie can call me Scotty Coat Tails because I had been riding his for years.

Wolf told him that "Scotty is a nice guy but has horrible taste in music", which was ironic because he was literally trying to sign the band that I brought him. The Stepkids signed with Stones Throw and found a real manager. 6 or so months later Jamie sent me a note saying "Stones Throw is hiring and you should apply lol". I told him I was going to send my resume and the subject of the email was to read I HAVE GREAT FUCKING TASTE IN MUSIC. I did just that and got a call the next day from their new GM asking me to come in for an interview. When I walked in I was in Wolf's office where I had been 6 months before, signing The Stepkids
deal. Wolf and Jason McGuire were asking me some questions and wanted to introduce me to Jeff Jank. Jank walked in and said "Isn't this the guy that Jamie wanted to bring on 6 months ago?" They confirmed and he threw his hands up and walked out saying "I've seen enough". I got the job. I worked there for 2 or 3 years until I left to join forces with Jamie Strong at his label and stayed there for almost 7 years."

Scotty wanted to use a painting by his good friend, Frank Gonzales, for the front cover image. Frank was incredibly generous in letting us use this one, and Scotty was completely honoured. We think you'll agree, it's pretty striking. Simon Francis carefully mastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this double A-side 12" sounds appropriately outstanding. The immaculate Record Industry pressing will ensure these previously unheard, recently discovered recordings finally get a chance to shine.

Layton Giordani continues his inspiring studio form with ‘Phantom’.

The new two-tracker comes off the back of his collaboration with HI-LO ‘Rabbit Hole’ that nears 3M streams, and his most recent Drumcode EP ‘Life Moves Fast’, which was an early 2023 highlight.

The title track is a vibrant dancefloor trip, sometimes feeling more like a widescreen film soundtrack, such is Giordani’s skill for crafting a thrilling dramaturgy, while always having a strong ear for strong, driving rhythms.

Stepping away from techno, ‘Thrillseeker’ shows a side to the young New Yorker we’ve never seen before. He draws from hip hop, trap and pop, reinforcing his breadth as a producer and talent for sound design.

“I wanted to evoke the vibe of an exciting city at night and channel that unique energy into Phantom. Thrillseeker is pretty much the idea behind the name. I wanted to experiment and make something out side of my ordinary sound. Expand my horizon and welcome some new sound and energy in the studio.”

The album opener, “Fainted Fog,” reintroduces this fuller, panoramic version of Helios. Woozy synths give way to a propulsive drum pattern as the track’s characteristics populate in the haze. A piano plays between the beat, and another synth solos overtop, ascending towards the peak with an exhale of live kicks and looping guitar. For every bold moment on Espera, there are more muted, counter-balancing stretches; “Intertwine” offers one of the most meditative. Strums mingle with keys in the front half before the beat returns to deliver a hypnotic nod.

Kenniff sees each song as integral to the whole — “if you took one out, it would be like tearing a page from a book,” he says — but still functional independently, like a series of self-contained epics. “All The While” best represents this intention; a song in three equal parts constructed on a resonant drum sequence. Shimmering synth notes surface first, then pastoral guitar and piano flutters, converging at the end to evaporate into the ether.

Introducing the highly anticipated second part of remixes for Kiko Navarro's hit track, "Soñando Contigo," featuring the mesmerizing vocals of Concha Buika.

This vinyl release is packed with thrilling remixes by Manoo and an exclusive, never-before-heard remix by the talented duo Momo Khani & Meindel.

And the icing on the cake? It comes on a stunning translucent lilac vinyl, adding a touch of elegance to your collection.

Get ready to embark on a musical journey that will leave you enchanted. Don't miss out on this must-have release that will captivate your senses and elevate your love for music.

The dynamic duo of Komponente & Kurilo from the Ukrainian label Trance Pandemic are preparing for their next sold-out record. This “Defenders” EP is made from tracks, that were made before the full-scale Russian invasion in Ukraine and also it is the continuation of “For A Brave” EP.

The main track of the release, also called “Defenders” is a signature piece for their duo. Moderately slow and calm, that evolves into something bigger around the third minute. The mayhem of sounds with that hell’s bells also. And there’s a little Easter egg at 1:29. If you know the sample – you’ll smile for a bit.

The record starts with “Victory”. Bold, a bit broken at the beginning piece, that is also evolving. This time we’re talking about the structure. The straight one comes after that broken start. “Kharkiv Mnemonic” also has some bells inside, paired with a nice, bubbling acid and a heavenly melody a bit closer to the end. The calmest track on the release.

Last, but definitely not least (the choice for the pick was between these two from the B-side) is “Broken Dreams”. Still can’t get enough of that break that we know lately from Alec Falconer’s release on Art Of Dark (not that lately, to be honest) and a dozen of other tracks. Here it’s hidden a bit in the back, so we can hear another kinda trancey and melancholic melody in full.

Water Machine is an office romance between Hando Morice (they/them), Flore de Hoog (she/her), Jimmy Gage (he/him) and Goda Ilgauskaitė (she/her). An unassuming supergroup formed out of Glasgow institutions including Goth GF, Passion Pusher, Brenda and Soursob, their sound careens between punk, country and alt-rock underpinned by the unique quality they call “Raw Liquid Power”.
Following last year’s self-titled demo tape on Gold Mold Records, and fresh off of shows with the likes of Holiday Ghosts, The Cool Greenhouse and The Orielles, as well as a rollicking Viagra Boys afterparty, the four-piece will release their highly-anticipated first studio effort ‘Raw Liquid Power’ on Upset The Rhythm on August 4th.
The EP opens with a menacing, modulating synth melody. Gage’s guitar enters with a mighty bend before breaking into the chugging rhythm of ‘Water Machine Pt. 2’. This timely reminder to refill your water bottle - “don’t be late, hydrate!” less a wellness mantra than a threat - builds to a spacey outro with flashes of the art-punk weirdness of Suburban Lawns. ‘Stilettos’ marches on indignantly with a spiky riff punctuated by Ilgauskaitė’s cowbells. Staccato talk-singing tells a playful tale of stray cats following you home, but belies a darker subtext as the breakdown gives way to paranoid duelling guitars evoking The Fire Engines.


The anti-anthem ‘At the Drive In’ skewers joyless DIY crowds, reminiscent of much-missed Glasgow punks Breakfast Muff. Water Machine’s irrepressible sincerity can’t help but shine through in the final moments though, as jibes about “late night trade potential” give way to plaintive vocal harmonies. Morice tears public transport a new one on closer ‘Bussy’, a First Bus diss track bemoaning precarious employment amidst crumbling infrastructure. “That’s why I’m not on time!” they roar over de Hoog’s frantic, pounding bass, bringing the record to a skidding, screeching halt.

Following on from the successes of their first two LPs, "Kalba" and "Small Small", Isaac Birituro & The Rail Abandon return with the "Kontonbili EP". A collection of seven tracks that trace the traditional West African roots of their sound whilst adding their unique touch, largely courtesy of Isaac's xylophone, Sonny Johns' folky embellishments and the vocal prowess of powerful Ghanaian songstress Wiyaala.

The lead single "Hado Deeli" roughly translates to "My Rival" and is a vibrant discussion between two rivals, one of whom is always making a fuss about anything and everything, even when things are all good! "Gargar", with its collaboration of xylophone, whistles, Wiyaala's effervescent vocals and relentless groove represents, quite literally, the band's "joining together" for this EP. In contrast, "I Know" sees Sonny Johns takes over lead vocal duties to lament the breakdown of a relationship accompanied by muted horns and Wiyaala's soothing backing vocals. "Nimmbalia" continues in a mellow and reassuring tone before emerging as one of the most uplifting and simultaneously fierce cuts on the EP! The traditional version of "Bawa" - the original take of which can be found on last year's "Small Small" LP - strips things back a little, before culminating in a battle of xylophone, whistles and choir. "Yeri Villa" has a wonderfully laid back, sun drenched feel with some truly beautiful vocal refrains, and finally - only available on the digital version - comes the deeply percussive and trance inducing "Darpeny", rounding off a rather stunning EP from this cross continental outfit.



All tracks feature Ghanaian singer, song-writer, model and actor, Wiyaala. With a strong fanbase in Africa and beyond, "the lioness" made her mark on Wah Wah 45s and BBC 6 Music last year when she featured on the A-listed "Senye", described as "perfection" by Annie Mac and "pure joy!" by Tash LC.





e 05: Bawa (Traditional) feat. Wiyaala

Last summer saw youANDmedelivered his “Diva 2022” mix of "PPPPP" a track that would ignite dancefloors across Ibiza and become one of the smashes of the summer in the process. The label was always certain the record was a hit and the response that followed justified their faith.

The track went on to be championed across the globe by the likes of Ame, Dixon, Matthias Tanzman and Pete Tong (Radio 1) leaving a succession of dancefloors demolished in its wake. Fast forward to 2023 and the Cult brings in a smorgasbord of house music’sfinest to breathe fresh verve into what is rapidly becoming a future house classic.First, comes the unmistakable dancefloor call of the “Diva” mix, with its fierce retro vocal and contagiously looping house sound. Its raw undeniable groove shook dancefloors for a reason the first time around and here it is to do the damage all over again. Next, house music legend Ian Pooley hops on board to serve up a delicious slab of fat analogue deepness.


A rework for the real house heads, it drenches the original vocals in reverb and creates a tough sub-laden groove bound to work deeper floors. House music’s producer of the moment Cinthie delivers a red-hot reinterpretation that ups the bpm count and zones in on the drums. The Berlin-based producer creates a colossal house-breaks crossover that is bound to tear apart dancefloors. Reese subs fill out the lows while organs deliver the original rave flavour and take the track into orbit.


Finally, Tel Aviv’s Yotam Avni turns out a remix that delivers shades of the pure old-school house with piano stabs sitting alongside deep chords before he puts his tougher-edged modern techno stamp onto it. Rhythm Cult is on a roll now returning with one of the most hyped tracks of 2022. This package delivers the goods with fresh remixes for 2023 from some of the best in the industry who are now added to the label's impressive roster.

As it celebrates its 50th anniversary, Bill Withers' Still Bill remains true to its title – and stands as the greatest male-fronted soul album not made by a singer named Marvin, Al, Sam, James, or Ray. Though the saying "keeping it real" did not exist in popular parlance when Withers released his sophomore effort on Sussex Records, no words better capture the music's approach, mindset, and value. Every facet of Still Bill radiates honesty, truth, and emotion.

These characteristics – along with Withers' strong singing, hybrid arrangements, and deceptively simple songwriting – have allowed the album to endure to the point where it sounds as fresh today as in 1972.

After rising into the Top 5 of the Billboard Album charts and attaining gold status within a year of release, Still Bill has long been evaluated not by sales – but according to its merit, spirit, and agelessness. Included by The Guardian on its "1,000 Albums to Hear Before You Die" list (2007) as well as in Tom Moon's 1,000 Recordings to Hear Before You Die book (2008), its contemporary standing as one of history's most venerated soul efforts eclipses the positive reception it enjoyed in the early ‘70s.

Still Bill walks the same hallowed ground as What's Going On, Call Me, Night Beat, and Genius + Soul = Jazz. Like those landmarks, Still Bill plays with a mix of consistency, effortlessness, and complexity that rewards repeat listening and transcends categorization.

In combining four of the era's predominant styles – Philly soul, sweaty funk, Southern-reared blues, acoustic-based folk – and melding them with standout production borrowed from both minimalist affairs and sophisticated singer-songwriter albums, Still Bill occupies a distinct universe.

Its rhythmic fare is equally laidback and invigorating; relaxing and rollicking; eloquent and muscular; soft and tough. Withers' calm, self-assured voice hovers above it all, doubling as a warm blanket that adds comfort and grace to lyrics steeped in maturity, perspective, and compassion.

Withers' balanced outlook on human desires, needs, and situations stem from his own existence as a former blue-collar employee who believed his time as a musician would soon end. That grounding forever separates Withers from other contemporary soul greats – and stamps Still Bill with a conversational nature and egoless approachability.

"I mean look, I'm really a factory worker," said Withers in 1972. "That's a real job." There's that word again: real. The songs on Still Bill are tethered to modesty and actuality, wedded to a belief in simplicity, and connected to universal truths that link us all – independent of our economic or social standing. No track better exemplifies those principles than "Lean on Me," a feel-good paean to brotherhood and community that hit No. 1 on the pop and R&B charts en route to becoming a mainstream staple.

Withers approaches the plainspoken insight on "Lonely Town, Lonely Street" and heartbreaking vulnerability of "I Don't Want You on My Mind" with similar sincerity and straightforwardness. His proclivity for authenticity extends to the record's other big hit: the sexual, funk-laden "Use Me," which reached No. 2 and reflects the singer's everyman persona. It's an identity couched in keeping it real, the very inclination that ultimately led Withers to retire in the mid-'80s rather than bend to industry pressures or risk credibility.

That commitment to truthfulness and realism helps make Still Bill feel as unaffected as the air we breathe. Looking back on "Lean on Me" years later, Withers said it seemed like "something that was there before I got here" – the kind of song that could be 100 or 10 years old, or one we encounter anew 10 years into the future. The same can be said for every note on Still Bill.

The mysterious Henk Donkers conjures up the 69th release on WOLF Music. No-one knows where the promo came from, a Dropbox link landing in the WOLF HQ inbox labelled, ‘With love, Henk Donkers x’.

Crack the vault to find some slick, sultry, steamed up window biz from this mystery entity, ranging from a soulful 2-step burner featuring Ell Murphy (we’re still trying to track Ell down to shed some much-needed light on this conundrum), to an acid-tinged melon twister on the A side.

On the B, Henk teases further with that red-light basement feeling, blending breakbeats with heartstring hitting sweetness, before closing it out with a spoken word, psychedelic trip.

Intergenerational trio Dry Speed is one of the best-kept secrets of the Belgian free jazz and improvisation scene. Formed in the early 2000’s, trumpet player Joachim Devillé and saxophonist Thomas Olbrechts were in their twenties at that time, while drummer – their teacher at the art school in Brussels - Dirk Wauters was already in his fifties. Logically, twenty years later the first one are in their forties and the third one in his seventies. They only released a couple of CDs before “Indium” but never stopped to play, for themselves and for audiences, in concerts.

'Too often we describe music using classifications; genres like “jazz,” “experimental,” “avant- garde” are an easy shorthand to relay the rough parameters of the music to another person who may not have heard it. But these words are useful because they’re so vague, and they are most often used when the impression the music makes is equally vague. But when a group makes sounds that move the listener, these terms don’t hold up.

Dry Speed has released a record that is, at turns, futuristic and organic. It feels alien and new, like plastic or titanium, but at the same time as if it is shrouded in the natural, growing like moss or amplifying the sound of a great tree’s roots. ‘Indium’ gives the listener multiple entry points into the trio’s music: from a broad soundscape to a densely knitted series of minute and exacting musical gestures.'
- Nate Wooley

Nice Coordinated Outfit is a journey through history to a time before the internet and social media and before inner city gentrification, when Fitzroy was the beating heart of Australia's avant-garde music and culture. Musically, it showcases the band's incredible range from deep minimal dub to bizarre electronica with elements of shoegaze and experimental noise.

Back then, High Pass Filter were the kings of the Fitzroy underground. Dark, weird improvisers who aimed for something new each performance. Whilst electric guitars and rock n roll dominated Australian airwaves and stages, High Pass Filter were pioneering a sonic revolution in the shadows. The band's indefinable sound saw them sharing lineups with artists from hardcore and punk luminaries like Fugazi and The Boredoms and to dub heavyweights such as Lee Scratch Perry and The Mad Professor.

Tamango Records boss Yaya heads to TRMNL Records as he unveils his latest EP on the imprint, backed by remixes from Salty Nuts head honcho Fabe and label resident Vito.

Heading up his Tamango Records imprint while serving up killer cuts and remixes on Desolat, Moan, Revival New York and more, Yaya is a man in high demand across the globe. With his take on house music bridging influences from Africa to Italy, his percussive-driven and slick sound has made him a favourite for those looking for productions leaning towards the more energetic yet minimal end of the genre. That style is on show once more as he adds a new label to his catalogue. Joining the likes of Djebali, East End Dubs, Ray Mono and Samu.l, late July brings the release of his new EP ‘Para Siempre’ on UK imprint TRMNL Records, accompanied by a slick pair of remixes from Fabe and Vito to shape up the package.

Title track ‘Para Siempre’ is a skippy and bouncy lead effort as crisp drums, a zippy bassline, and warped vocals go to work to showcase a production bursting full of vigour, while ‘Umbrella Corps’ leans towards more organic, rolling percussion arrangements, shuffling rhythms and elastic melodies guide things towards the later hours. On the flip, Fabe steps up for the first remix as he brings his signature groove-led style to proceedings for a swingfuelled slice of funk, before Vito’s crisp take on ‘Umbrella Corps’ closes the show with a final injection of early hours goodness.

Early DJ Support:
Joseph Capriati, Marco Carola & ALISHA

Wisdom Teeth co-founder K-LONE returns with his second full length project, ‘Swells’: a kaleidoscopic and expansive record that looks to deep house, synthpop, leftfield R&B and beyond for a spellbinding masterwork of melodic electronica.

His debut LP ‘Cape Cira’ became the accidental soundtrack of the long strange summer of 2020 - its lush marimbas, hazy atmos and synthesised bird calls providing the ideal soundtrack for some much needed collective escapism. The record was widely deemed one of 2020’s standout electronic LPs, gaining glowing reviews in Pitchfork, DJ Mag, Mixmag and Resident Advisor, and ranking highly in end of year lists by Crack Magazine.

Approaching its follow up, the Brighton-based producer felt a fresh perspective was needed. Originally landing on the name ‘Swells’ as a secret pen-name to write the record under, the intention was to keep the project as separate as possible from ‘Cape Cira’ to avoid settling into familiar territories - but as the record took shape it became clear that it made perfect sense amongst his already diverse discography.

Like ‘Cape Cira’, there is a distinct and intentionally limited sound palette at play on ‘Swells’. Looping vocal cuts, rich cluster chords and undulating arpeggios sit front and centre here - as does the lo-fi plonk of of the CR78 drum machine. But while the record clearly takes influence from a range of vintage sound sources, its overall aesthetic is unmistakably contemporary. Sounds are not artificially degraded nor obscured under washes of sampled tape hiss. Rather, everything is processed with a gloss, hi-fidelity sheen. The record’s rhythms are bright, dry and snappy, and its melodies are processed with a neon poppy glow.

The producer’s unabashed love of contemporary pop music is most obviously exemplified by the appearance of British singer-songwriter Eliza Rose. The pair met for a session at a North London studio back in 2021, and the now Brit Award-nominated singer’s warm, emotive vocal takes became an immediate source of inspiration early in the record’s conception. As such, Rose’s voice is heard in various states of manipulation throughout its duration - initially as reduced and looped phrases, and then finally in full form on ‘With U’: a low-lit, dubbed-out slice of leftfield R&B that beckons comparisons with Tirzah, Little Dragon and even Erykah Badu.

Elsewhere, there are references to G-Funk (‘Oddball’), Autonomic drum and bass (‘Shimmer’), hip-house (‘Love Is’) and even Metronomy-era electro pop (‘Love Me A Little’).

As always, the true magic of K-LONE’s artistry is to present complex, subtle and original ideas in ways that feel familiar and immediate. Melodies are introduced as effortless earworms, only to be twisted out of shape into strange and unusual formulations. Looping rhythms unspool into washes of hazy, dubbed-out ambience before rebuilding themselves. Refined and endlessly creative, ‘Swells’ marks a captivating next step for a producer and record label that have both reliably positioned themselves at the very forefront of contemporary electronic music.

Mahalia is set to release her brand-new, sophomore album titled ‘IRL’ on July 14th with the pre-order set to go live on May 11th.The album will feature the singles ‘Terms and Conditions’, ‘Cheat’ and ‘In My Bag’ with album features including Stormzy, JoJo, Joyce Wrice and Kojey Radical.

Aptly titled IRL, Mahalia is particularly incessant on doubling down on vulnerability, internal reflection, and a desire to feel, in the realms of love specifically as demonstrated on her last project. “I feel like there’s even more personality on IRL. I want people to see me how I see myself.” Emboldened by her inflections, insights and young adulthood, Mahalia is not only breaking the mould on IRL, but determined to live life cognizantly. “This is a real reflection of the journeys I've had, what actually happened and a celebration of everyone who got me there. There are names and family members I mention because it all helped in shaping who I am,” Mahalia rationalises. With an innocent, yet assured gleam appearing on her face, “I’m so proud of this project, and so proud of how much I challenged myself to just let those stories out.”

Christened in many Grammy, BRIT, Soul Train and MTV Push nominations over the years, as well as two MOBO-wins for Best Female Act, and Best R&B/Soul Act, Mahalia still proves that beyond the accolades, an overarching dedication to persistence is what’s driven her to look inward, grow and ultimately challenge herself with each and every release to date. Standing as one of British R&B’s most successful contemporary faces, Mahalia continues to grow and establish herself in both her tact as an artist, but in building more robust ruminations sonically. As she evolves, her success becomes even more bonafide, both on home turf, but abroad too (she’s cracked the US Adult R&B Charts three times to date).

With her legion of 3.3M monthly Spotify listeners, the penultimate Saturday slot on the West Holts stage at this year’s Glastonbury festival and an opener performance for Adele at Hyde Park last summer, as well as a stellar prime-time Commonwealth Games closing ceremony set, there’s more territory to break. “I’m almost glad Love and Compromise didn’t go completely sky high, it’s given me room to keep developing, keep growing and go higher than I’ve ever been before. I’m so ready to bridge the gap now, I feel like I’m absolutely playing the long-game.”

On June 16th momentum continues apace for Alex Paterson’s Orbscure records, with the new album by Chocolate Hills – his duo project with Paul Conboy. Purveying world class melodic ambience and plenty beyond, colours in this high-fidelity-headphone-wonderland range from languid chill, kitsch exotica, library music, space age pop, ye olde folk and even drum and bass – all seasoned with (in)appropriately random plunderphonics from Paterson’s infinite goodie bag. Loosely based around a nautical journey to the Bermuda triangle and back, this is a fantastic voyage, but seas remain calm – more ‘Life Aquatic’ than ‘Moby Dick’. Tracks gently bob and float on bass which is roomy and buoyant like the hull of a ship, whilst luxuriously fluffy clouds meander overhead, before their vessel dives deep below to marvel at aquatic delights, guided by sonar. Paul Conboy’s approach as a member of cult analogue tinkerers Metamono – who use no computers, only old pre-digital gear – has carried over into his new joint venture. Both groups write, record and perform at same time, then later edit for release. For ‘Yarns from the Chocolate Triangle’ Paul set himself and Alex up with assorted gear, including a record deck, synths and drum machines, then the pair recorded the raw version of the album on the fly. These long live jams where then then discreetly augmented, embellished and edited, with a nip and tuck in Logic. As well as releases as A.P.E. on Dorado and Far Out recordings, TV and film scores plus his ongoing membership in Metamono, Conboy recorded three albums as part of Bomb The Bass, with whom he also toured Australia jointly with The Orb. On a boat trip over to Bali, Paul made Paterson pancakes, and their friendship was sealed. Having stayed in contact, many years later the duo began an exploration of ideas with their 2019 debut ‘A Pail Of Air’ on Painted World records (who’ve also released records by Nik Turner from Hawkwind, Youth, Roger Eno and Jaz Coleman). So far the duo have performed a low key gig at Paterson’s unofficial lair The Book And Record Bar, plus a bigger stage at the Roundhouse, alongside Leftfield, GAS, Ulrich Schnauss and System 7. Clearly making a lasting impression on Alex, the duo’s name was first referenced on The Orb’s own ‘Chocolate Hills Of Bohol’ remix of their single ‘Assassin’ in 1992, which was the same year Alex got blown away when visiting the prehistoric geological formations and enchanting jungles of the Bohol province in the Philippines.

Incoming, a massive EP from Anderson.

After his recent easter eggs EP, this four tracker is a blend of trance, breaks, drum & bass and experimental electronica.

Starting off the A side with the ‘Jelly Bean (Virus Outbreak Mix)’, this monster of tune will rattle your subs (and brain) with his crunchy kicks and trancey sequencing. This track will blast you off into oblivion eventually bringing you right into A2, ‘Level Quest’, a trancey chugging progressive tune building energy from the moment the first kick ignites.

After a much needed break, the B1 puts you in an immediate trancestate lasting just a few minutes and before you know it you will be blasted into drum and bass land with ‘Tasteful Nudes’ closing out the EP.

See you on the other side..

Pink Marbled

Limited 50 copy press

Suburban Architecture continue their series of now highly collectible 4 track EP releases with their 5th offering, 'Turning Point'. Following in the footsteps of 2022's 'Exploration' EP, this new collection once again draws heavily on influences from the jazzier, atmospheric strains of mid to late 90s Drum & Bass. Putting their own spin on sounds rooted in this golden era of dance music, the Turning Point EP delivers more of the London duo's trademark warm atmospheric production and Jungle-adjacent drum programming at a variety of tempos.

Opening track 'The Drifter' pulls no punches - Jazz Fusion flutes and delicate arps float over dreamy pads before giving way to a smashing Amen track, creating a classic roller with enough punch to hold a dancefloor. Title track 'Turning Point' delves further into Jazz Fusion sonics: underpinned by lush Rhodes, intricate drum programming sets the scene for a rousing vocal refrain and an atmospheric blend of flutes and horns. 'The Believer' delivers a similar blend of instrumentation, this time adding muted horns to the mix, building to a motivating, Soulful vocal hook. Closing out the EP 'Memoriam' lowers the tempo with a slo-mo roller placing deep, atmospheric pads and unexpected subtle guitar licks over a punchy, rolling drum track.