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DJ Elephant Power (Nicolas Baudoux) based in Brussels, Les Octaves de la Musique awarded musician, is returning with his new EP ‘Blowing From Above’ on May 2024 with limited edition vinyls. The abundantly creative producer never tires of exploring the possibility of new sounds and rhythms. This time he delves deep into numerous genres from breakbeat to bass and he added more colours on each track which composed, performed and produced by himself. Mastering was done by Beau of Ten Eight Seven Mastering in UK. This new EP will be the first page of the upcoming album in June 2024.

‘Blowing From Above’ feat Eunsol

Now you entered the city where you can feel the atmosphere of heat with full of energy. Under the welcome sign of breakbeat and bass, you breathe the dopamine of electronic dance deeply. Alongside baseline skyscrapers covering the sound of this city, mysterious Korean words lead you to hyper pop buildings. Across the traffic lights with barking dog and staccato synth arpeggio on the road, you reach the futuristic bridge between jungle and grime.

‘I Got You’

Under the repeated street lights of ‘I Got You’ scratch samples, you are in the car passing through continuous cowbel 808 sounds on the techno road. In front of the funk graffiti wall, a powerful metal guitar sprays the paint with no compromise. Buildings of synth grab you to follow the new banging club anthem.

‘Shades’

Curly hair architect, who is well known for perfectionism of repeated linear, built a new Mantronix satellite laboratory. This is located on the mountain of Detroit and built on the solid ground of analogue synth signals. Filtered synth and bassline are the main columns of the building. In the main lab, the next satellite has been developing on woah woah sound mattress. Visitors can experience zero gravity in the room in the middle of kick and snare which provides perfect unbalance.

‘Infinity’

A colourful new dish is ready for you. You will feel beautifully balanced and harmonious tastes of progressive techno, trap and bass. This astonished dish was sourced the very best of heavy bass and synth melody for well balanced scent with thoughtful contacts. Geomungo, a traditional Korean string instrument, enhances and amplifies stunning ingredients and it makes a highlight with amazing pairings.

Twin Cities duo Feel Free Hi Fi return to their in-house imprint Digital Sting with their first full length entitled “I was so far in I was out.” After two prior EP's and collaborations with Equiknoxx and Duppy Gun Feel Free Hi Fi deliver 8 new tracks of their distinct but eclectic digital dub. Amalgamating many of the sounds, sonics, and aesthetics of prior releases into these eight percussive instrumentals. The industrial dub and weirdo dancehall remain but the focus is further refined while also exploring environmental and cinematic sounds to create often dark and heavy versions that are as singular as they are collective, as introverted as they are expansive.

The records come in double sided silk-screened printed custom DJ Jackets, with Obi Strip style stickers and hand stamped white labels created and printed by Digital Sting.

The package, posted from Inglewood in California, dropped through my letter box…
I was looking forward to seeing this, the VHS of the then relatively ‘unknown’ but now legendary live show at the Saenger Theatre in New Orleans by Maze featuring Frankie Beverly. But when I fed it into my VHS player, I was disappointed. I could not quite figure out why. The band were tight, each musician sounded great, the product of being on the road, year after year, club after club in the States, sometimes playing five shows a night, all propped up by one of the best soulful voices we had ever heard, the maestro Frankie Beverly.
It took a second play of the VHS to realise what was missing. It was ‘too comfortable’ an atmosphere. A few wealthy customers sat around coffee tables quaffing champagne. It seemed to me that this audience, somehow, did not fit the band.
Paul Fenn at Asgard promotions received the contract from the band to appear live in London and Manchester. I became more and more convinced that his UK fans were going to be a lot more responsive than those from New Orleans.
We put the word out with just a couple of exclusive ‘shout outs’ by Robbie Vincent on his Radio London Soul programme. Those two plugs were enough to sell out all four shows at London’s premier music venue, the Hammersmith Odeon. The ticket office was rammed and the queue six deep, stretched halfway down Queen Caroline Street.
“I have never seen anything like it” expressed the manager of the theatre as he rolled down the shutters and turned on the “Sorry, SOLD OUT” notice above the theatre box office.
I was curious, so I went up and stood in the wings of the Hammersmith stage on that first show. Frankie, introduced to the stage by his sound engineer, Greg Blockman, sauntered past me, strumming his rhythm guitar, dressed in a casual dark green towelling suit, a brown leather visor and flip flops…and then five seconds later, he suddenly stopped. He seemed suddenly to be aware of the thunderous ’Welcome to London Maze’ roar, circling around the theatre about to engulf him. He slapped every black and white hand offered up to him that night, with a huge smile as he circled the edge of that stage. We wanted to get next to him, even if it meant climbing over rows of seats in front of us to do so.
That was the beginning of our love affair with Maze and Frankie Beverly. It certainly wasn’t New Orleans comfort; it was more like a crazy, but friendly, London riot.
Five albums on from the “Live in New Orleans” LP, Frankie sauntered into the California recording studio, probably with the same swagger as in London, to cut the delightful A-side here, “Somebody Else’s Arms”, from his aptly named ‘Silky Soul’ album. Along with the B-side, ‘Love is’ (from the “Back To Basics” CD, 1993) both are so delicious you might want to relax and pour yourself that London glass of champagne, 1983 vintage. Tell your mates your Maze/Hammersmith story too. You deserve it.

Fourth release for the Pennyroyal Rec label.

For the occasion a various artists was created entitled "TEAROOM VIBES."

Imagine a Tea Room where warm electronic sounds are ready to envelop the listener.

On Side A we find Lele Franza with dark and hypnotic sounds and spanish master Ildec with a real bomb from syncopated rhythms.

On Side B The Lumens and Luca Doobie pay special attention to the
dancefloor with two tracks to play in the middle of the party!

A globally-renowned selector whose ‘Mastermix’ series and impactful, diverse DJ sets have garnered a cult following for the past decade, Numbers co-founder Jackmaster has seen his focus shifted towards his blossoming discography of late, releasing material via Seth Troxler’s Slacker 85, The Martinez Brothers’ Cuttin’ Headz and CircoLoco Records, plus his own TDSR imprint. Here, he continues to showcase his studio nouse with an impressive label debut on Damian Lazarus’ Crosstown Rebels, unveiling two new original productions across his latest EP, ‘Don’t You Want My Lovin’.

Vibrant, deep and jackin’, featuring resonant stabs, skippy drums and soulful vocals at its core, the bubbly ‘Don’t You Want My Lovin’ is a punchy slice of house crafted for bustling dancefloors, while the airy and trippy ‘Ode 2 U’ takes things into more paired back territories and journeys through vast textures to unveil a wormhole of a production.

Needing little introduction, Chicago’s finest and house music icon, Mike Dunn, steps up on remix duties as he makes his first outing on the renowned imprint. His aptly titled ‘Blackball 303’ interpretation is precisely that: a wicked, acid-laced trip harnessing the original’s infectious vocal while offering an instrumental for those looking to keep things darker.

“Songs to Make Love To” is the 10th studio album by The Dining Rooms (Stefano Ghittoni and Cesare Malfatti), extending the Milanese duo’s classic sound legacy among psychedelic folk, cinematic atmospheres and hip hop-inspired downtempo rhythms. As always divided into instrumental and vocal tracks, it is entirely played and produced by Stefano and Cesare and features guest appearances on vocals by Chiara Castello (I’m Not a Blonde), Egeeno (of the Roman collective Tropicantesimo) and labelmate Tomaz Di Cunto aka Toco. “Songs To Make Love To” talks about love and relationship dynamics in every aspect, but also explores anthropological and ethnomusicological themes by making use of field recordings. “Songs To Make Love To” talks about love and relationship dynamics in every aspect, but also explores anthropological and ethnomusicological themes by making use of field recordings. “Songs To Make Love To”, whose artwork was made with works by artist Tatjana Zonca, talks about love and the explicit act of loving each other, but also and especially about the construction of love, the dynamics of love relationships inside and outside the couple, free and liberated love, without constraints and outside the concept of possession. A further peculiarity that contributes to the uniqueness of “Songs To...” is the in-depth exploration of anthropological and ethnomusicological themes, particularly dear to Alan Lomax: the classic TDR sound therefore blends, especially in the instrumental tracks, with classic field recordings of sounds from the Genoese carruggi, the Milanese dockyard, the Spanish quarters of Naples and cities such as Istanbul and São Paulo.

T-RECS bags another winner with this furiously groovy sparkler. From the start, you have a train hurtling full speed at you in the dark. This track wastes no time at all in setting its stall out – pounding bass drums and high-hat are slowly blended with twisty looped vocals and strings building up – all for the big reveal where the rug is pulled right from under you with that super-powered bassline and heavenly chorus. Best served hot with lashings of strobe, smoke and lasers on the dancefloor. An outstanding, mind-blowing 126bpm monster of a tune.

Man Power debuts on Rekids with ‘We Trawl The Hurts’ ft Louisahhh. The duo’s first collaboration, a huge spoken vocal house cut, comes alongside three interpretations from Deetron.

DJ, producer, promoter, composer, and cultural agitator Man Power makes his debut on Radio Slave’s Rekids with ‘We Trawl The Hurts’ featuring Louisahhh on 12th April. The first fruits of a long-term friendship see Man Power (Me Me Me/Throne of Blood/Optimo) serving up a stomping, big-room cut that tips its hat to late-90s NY house and serves as a bed for the inimitable Louisahhh’s (RAAR) breathy vocal delivery of classic Prefab Sprout lyrics.

An intimate, spoken-word vocal from Louisahh weaves through a world of vibrant pads and chords. The gorgeous lyricism of their ‘We Trawl The Hurts’ is underpinned by an uplifting and emotive swirl of melody and a rock-steady beat. Man Power’s love of Murk and Tenaglia shines through.

The evergreen Deetron delivers three versions of ‘We Trawl The Hurt’s ft Louisahhh’: a remix that flips the original into a thumping deep techno cut featuring loopy synths and pixelated leads, a stripped-back and powerful dub, and his DJ tool ‘drum and bass’, built for those who like to mix.

4 years in the making, this surprise collaboration between Drop and Ashong fuses soul and psychedelia with downtempo beats.

Ashong’s continuing mission to subvert expectations manifests greatly here, but the album is full of melodic hooks, layered to infinity alongside his acoustic guitar. Meanwhile Jonny Drop quietly flips samples unrecognisable from his extensive vinyl collections and once again makes a leap forward in his production identity.

Stand out single Puzzle Dust is a perfect slice of UK soul and jazz that sets everyone up for a unique sonic experience.

Strong limited Box set contains: 3x 190g 12Inch / 1x 1000g/sqm Box with UV Spot Finish / 2x Screen printed Slipmat / 1x 24 Pages booklet / 1x A2 Poster / Stickerset / Heavy Underground Resistance and Detroit infected electro anthems! Die Gestalten! Made by a completely unknown source out of nowhere. vinyl only! No promotion, no digital, no social media, no faces, no games!

Words cannot describe how happy I am to finally return with my own music. It took me a long time to overcome my depressing state and to be able to be creative again.

I think every artist knows how it feels when you are blocked and cannot do music anymore, it is a very sad and frustrating feeling…. .

I am very relieved to be back now with two new tracks. Hope you like them.

GALACTICA MUSIC Launches for all Ravers, invaders and techno music Lovers.

After a big success, GALACTICA FESTIVAL decides to create a Record Label where can express his vision of music.

This discographic adventure starts with a V.A. Series called ''ICARIUS'' where great artists with techno cuts on many shades are brought together.

The label presents a 12-track VA (double vinyl) where you can find all the best of the techno scene, ranging from electronic to industrial, acid break and hard techno.
Not a Monothematic V.A., but a right compilation that encloses the essence of techno with all its shadows and variations.

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, it's catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. The mighty 'Roller Rink Funk' by Shift is the next reissue from the archives and never has a jam been more aptly named!

Another class act from the plethora of uptown groups that were associated with Queen Constance and her orbiting planets, Shift was possibly yet another 'studio' group put together for this one time release. The co-production nous and involvement of long-time associate Bernard Thomas lends these cuts some serious B-boy credentials. Thomas was involved in a lot of the P&P era early Rap material, as well as working with BDP and lending his skills to releases on the cult Rap label Zakia too. Needless to say, this particular release is that magic funky frisson between Disco, Funk and the earliest stirrings of Hip-Hop, an especially rich vein of music. As the title suggests this one is meant to be heard at the roller rink, the syncopated rhythms mimicking the skaters movements and repetitions. As with any good roller-skating Funk record (there are many!) it doesn't take long for you to want to hit the dance-floor, whether it's to skate or to simply get down. An often tricky record to find in it's OG state, commanding 'collectors' prices, 'Roller Rink Funk' is back on the block for all the Disco freaks for 2018. Perfect.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

Same track on both sides

Das neue Album führt Usher mit seinem Freund L.A. Reid zusammen.

Usher hat die Musik, die Kultur und unzählige Leben verändert. Der mehrfach mit dem Grammy Award ausgezeichnete internationale Megastar, Schauspieler, Tänzer, Unternehmer und Philanthrop wird auch im Jahr 2023 und darüber hinaus für Veränderungen sorgen. Er hat weltweit mehr als 80 Millionen Platten verkauft und Dutzende von Auszeichnungen erhalten. Gleichzeitig hat er auf dem kleinen Bildschirm in NBCs The Voice und auf der großen Leinwand in Blockbustern wie Hustlers brilliert. Darüber hinaus hat er sich unermüdlich als engagierter Menschenfreund hervorgetan, indem er zig Millionen Dollar für verschiedene Zwecke sammelte und mit seiner New Look Foundation die Jugend förderte. Seit 1999 bietet er jungen Menschen in unterversorgten Gemeinden Chancen und ermöglicht ihnen, sich zu entfalten und scheinbar unmögliche Träume zu verwirklichen. Als echter Ausreißer ist er auf der Bühne seiner ausverkauften My Way Las Vegas Residency ebenso zu Hause wie auf einer Kulturmission der Regierung 2016 nach Kuba als Teil des Presidential Committee for Arts and Humanities von Präsident Barack Obama. Dieses Album stellt die kreative Wiedervereinigung von Usher und L.A. Reid dar, die seit dem 2004 erschienenen Album Confessions mit Diamant-Zertifikat nicht mehr zusammen gearbeitet haben. Das Album wurde hauptsächlich in Atlanta, GA mit vielen der angesagtesten Produzenten Atlantas aufgenommen, darunter Sean Garrett, Lil John, The Avila Brothers, Mel & Mus, Tricky Stewart, Rico Love, The-Dream, Jermaine Dupri, D Mile und viele andere. Es gibt Features von Summer Walker, 21 Savage und Latto.

Sputnik is an explosive ska tune reminiscent of the greatest days of Jamaican furious dance music. Trombone and tenor saxophone solos stir your ears while the six piece horns section will blow your away. On the B side, in a completely different style, the organ drives an early and heavy reggae beat while horns section takes you on a soaring journey. Thrills guaranteed!

After several years of showcasing talent and craftsmanship through its podcast series, Forsvarlig Arkiv announces the first release of original music under their label.

Accompanied by a full-blown artwork, 'Arkiv I' presents four crisp tracks on wax by artists that left a mark on the channel in the past, while simultaneously excelling through their productions.

Trailerpark Beauty Sunset Memories

Record Kicks presents Keep It To Yourself, the new album by premier Dutch soul band The Tibbs, out next January 26th.

Dutch vintage soul combo The Tibbs are back with their highly anticipated new album Keep It to Yourself, to be released on LP, CD and digital format next January 26th on Milan-based label Record Kicks. Produced by Paul Willemsen (Michelle David) and mastered in Nashville by soul veteran Bob Olhsson, who used to cut vinyl for Motown back in the day, the new album Keep It to Yourself is the band's third Long Play. It contains 12 fresh 'n vibrant tracks that once again will take you back to the golden days of soul music. Prepare to be swept away on a groovy, soulful odyssey with one the most sensational and enchanting soul bands from the Netherlands!

From the very first note, The Tibbs' musical prowess exudes a soulful, funky energy that is nothing short of mind-blowing. Among the 12 new tracks of Keep it To Yourself, we find the first single "Ain't It Funny", a high-energy stomper that sets the tone for the entire album, the New Orleans funk inspired "Can't Teach an Old Dog New Tricks" and "Chicken Bones, "In Orbit", an emotional and heartfelt love ballad that allows the velvety vocals of singer Roxanne to take center stage or the northern soul belter "Give Me A Reason".

Lyrically, Keep It to Yourself is a poetic wonderland, delving into the depths of love, heartache, but also social issues and the need to preserve the world we're in. Roxanne's vocals, rich and velvety, take you on a euphoric journey through the peaks and valleys of human emotion. The harmonious blend of the horn section weaves an exhilarating tapestry of sound that can only be described as a symphonic supernova. The rhythm section is an unstoppable force, driving each track with a pulsating groove that is pure sonic adrenaline. Keep It to Yourself is a true tour de force, a symphony of soul that will leave you awe-inspired, foot-tapping, heart-soaring, and utterly enthralled.

Based around Amsterdam, The Tibbs is a group of seasoned musicians who draw inspiration from the timeless music of the 1960s, channeling the emotional depth and raw authenticity of that era's classics. Led by their charismatic female vocalist and backed by a powerhouse lineup of drums, guitar, bass, organ and a three-piece horn section, they have been wowing audiences with their live performances. They took off in 2012 working right from the start with producer Paul Willemsen (Beans & Fatback, Lefties Soul Connection, Michelle David & The Gospel Sessions). In 2016, their first LP Takin' Over marked their debut with Milan-based imprint Record Kicks. In late 2018, singer Elsa Bekman decided to focus on a solo career and The Tibbs duly began their search for a truly worthy successor, bringing astonishing vocalist Roxanne Hartog and the band together for the first time with their sophomore album Another Shot Fired, released in November 2020. Now, with their third album Keep It to Yourself, a testament to their dedication to keeping the soulful spirit alive, The Tibbs are once more ready for lift off.

Brownswood Recordings releases the 7th edition of their Future Bubblers Compilation. An expansion of Gilles Peterson's network supported by Arts Council England, the ongoing talent discovery and artist development scheme focuses on developing unsigned talent and building audiences for new left-field music. With support from PRS Foundation as Talent Development Partners, the professional recording, manufacturing and physical release of Future Bubblers 7.0 is made possible. Unlike any other initiatives within music, the compilation acts as a springboard for the musician's careers, with the cooperative model providing direct revenue to the artists by a share of the profits, resulting in a sustainable income to work from. Previous Future Bubblers include artists such as Yazmin Lacey, KinKai, MC Snowy, Forest Law, Victoria Jane, NeOne The Wonderer and Kayla Painter, to name a few.

The 8-track compilation is a musically diverse collection of tracks, fusing genres across Alt-R&B, Dance, Electronic, Jazz, Rap and Trip-Hop. Opening the project, ROMY NOVA flaunts her hypnotic harmonies on a tender offering, 'The Way', whilst Sheffield-born Jackie Moonbather delivers a Funk performance on 'Separate Ways'. Up next, Ney Liqa's 'Blomster' captures a blend of Trip-Hop and Swedish-Pop, fusing her earliest musical influences before Birmingham's very own Landel's cloud-Rap excellence on '2 Many'. Maintaining the ethereal sonic, Petrelli Purple's 'Brisk' is reflective of his ability to curate a "miscellaneous north" sound, followed by MARYSIA OSU's 'Stryder' that highlights her self-coined "harps, beats, and dreams" ethos. Michael Diamond showcases his ability to float between jazz and electronic landscapes on 'Aether' before COEX rounds off the project nicely with 'Reflections'.

Pomegranate Skies is a new album from Sepehr exploring sonic themes of heaven and hell, dualities, split identities, and chaos. The music in this album is a reflection of the ever-constant existential chaos in his mind, reflecting a musical journey through all the different influences and inspirations of genres and electronic music eras throughout his life but also a nod to the amorphous weight of divine weirdness that inspires his music. Music that is reflecting a split identity, music in between cultures. Music that is both good and evil, both sensical and non sensical, both angelic and hellish, secular and divine. Music to give you visions of geographic wonders that don’t really exist. The absurdism of everything from Earth but also of Heaven. Music that doesn’t follow tropes but also sounds familiar. It makes you want to laugh and cry; the in betweenness of everything. Music that makes you want to reach up and taste the pomegranates growing in the skies.

Mystic Transfers is a label focusing on experimental music and club cuts from around the world, taken from the suburbs. MYSTIC VALLEY - Mystic Valley is the new musical project by Andrea B, architect, collector and producer from Florence, Italy. His sound is best described as a melting pot of Italian psychedelic influences, from obscure downtempo to new beat, as well as English breakbeat and German EBM. After years of Tropical Animals he started with Felis Oxiana the project ‘’Galattica’’ and from 2021 is one of the founders of Mizuna. Heading coach of the post punk group Zona Utopica Garantita, he began to work with them since they started to play, and together they launched the label ‘’Mystic Transfers’’, focusing on experimental music and club cuts from around the world.
SPO - Drummer in the ’00 of the underground scene in Florence fond of the 70s Progressive Rock sounds and experimental, co-founder in 2006 of the DIY label La Statua Sommersa Produzioni.
Currently in Florence after the experiences in Rome and 5 years in Berlin with many gigs around Europe and albums with his solo project Die Lust! and the italo-german duo Bloodygrave & Die Lust! establishing itself as a producer and composer in the electronic european musical scene Minimal Wave e Synth Wave. From 2017 began a new solo project named SPO (Solo Per Oggi).

For release number 5 on vinyl-only label and blog, Bare Bones Wax enlist a couple of new artists to their roster. Valencia based Camiel Daamen offers up two original tracks, while Berlin based Johannes Ortlieb offers up a remix of both compositions. Over his active 24 years, Camiel has released on various labels such as In-house , Viva and Origins alongside many others. Last year also saw the start of his own Freeborn Records which included the release of his own Beatport top 10 smash “Ready For Love”. Johannes has releases on mainstays such as Al Bradley’s 3AM label and Fluid.

Up first on the A1 is the title track “Quintaesencia”, Camiel blends deep beats with swing fuelled hats and Garage licks alongside an uplifting vocal to create a dancefloor monster. On the A2 Johannes takes a modern Deep House feel interlacing the subbase and vocals with cracking affect. Over on the flip “Make Music” opts for a more techy feel with driving beats and a spoken vocal giving a nice pumping feel. Johannes second remix of “Make Music” finishes off the EP taking the track in a tougher Deep House direction that could have come straight from New York.

Utopia is an unimaginable alter world that is created by Mastering Black’s universe of sonic escapism.

When I have been overwhelmed with the amount of work that I've been doing in the past years, I have decided that I needed a certain get away - a certain sacred space for me to pursue the reason why I actually signed up for this in the beginning. Music composing that love is!

Earlier this year , during a trip in African island group Cabo Verde, we went to this night excursion to the Viana desert. We have taken some random photos shot some videos of the Moon thru a telescope. That didn’t struck me as an amazing experience yet I was there many distorted feelings in my mind trying to enjoy and forcing myself trying to be in the moment.

So when I have looked at these pictures back on a calmer state when I was home In NL , I've seen the vast amount of breather - a space - enough that is needed in life to let the blood flow in vein the way it’s suppose to flow. Envisioning your life from moon to create clarity - looking to life on earth - to understand what our mistakes are as human beings - or learning from 8 years old’s pure heart - that’s when my 8 year old daughter collaborated with the fist opening track to summarize the main purpose of our life - love or so called Utopia!
- Īlker (October 2023)

Soms is haat het enige waar je over hoort, maar er is in deze wereld meer liefde dan je je ooit kunt voorstellen.

This four track EP features the LA band’s single’s Blame and the EP’s title track Bloodline,

Quickly finding fans in the likes of Elton John, Celeste, Paul Weller, Benji B, and Gilles Peterson, the band should soon find plenty more on a record that could soundtrack a David Lynch epic such is its drama and suspenseful, late-night orchestral ruminations. Capped by Lusk’s voice, a weapon that swoops through the octaves breathlessly, Gabriels have that rare ability to make you re-evaluate music, and what it can do, in a heartbeat.

Whilst Lusk provides the wow factor with that ridiculous larynx, Gabriels are very much a close-knit trio. Producer, keyboardist (and full-time video director) Ryan Hope hails from Sunderland but calls LA home. Fellow producer-composer and violinist Ari Balouzian, a man with endless musical projects on the go at any one time, gives Gabriels’ songs a real ‘feel’ to them.

Sultry, soulful mood music certainly isn’t the band’s modus operandi, with debut track If Love & Hate In A Different Time having originally identified Gabriels as a loose-limbed, soul-stirring funk and gospel-flecked odyssey. But this experimental EP should paint an altogether more rounded idea of where Gabriels are at… !

Oceanvs Orientalis reveals the second single from his forthcoming album on Crosstown Rebels with ‘Heart Pieces’ feat. Idil Mese, accompanied by remixes from Mustafa Ismaeel and Nightmares On Wax.

A producer, live performer and solo act whose productions merge influences spanning Turkish, Kurdish, Armenian and Arabic sonics and beyond, Safak Oz Kutle, aka Oceanvs Orientalis, has crafted a sound that is entirely his own ever since making his debut back in 2014. Following on from his impressive debut appearance on the imprint with ‘Il Lupo’ alongside Italian talent Tooker, revealing the first single from his forthcoming album, the Istanbul-based talent is back on Crosstown Rebels with another gem taken from the project as he reunites with singer-songwriter Idil Mese for the excellent ‘Heart Pieces’ - with remixes from Crosstown and Rebellion regular Mustafa Ismaael, and legendary house talent and Warp favourite Nightmares On Wax.

Slow-blooming and resonant throughout, guided by Mese’s soulful and emotive vocals, vibrant sax melodies and trippy background samples, ‘Heart Pieces’ is a dazzling slice of laid-back, jazz-infused house music full of subtle elements. Remixing the record, Mustafa Ismaeel leans towards late-night hours with a remix drenched in rolling percussion and sweeping leads, while Nightmares On Wax takes the track in two directions - opting for loose drums, hazy tones and chugging grooves across his first take before laying the focus solely on the musical elements with his ‘Club Dub’.

This is a special cassette tape version of the recent album from zake, one of ambient's most prolific artists, alongside From Overseas on his own Past Inside The Present label. As always it is an almost impossibly deep ambient selection that once again finds him exploring fresh and always emotionally moving musical territory. Demain Des L'aube features eight tunes that convey real melancholia and have a gently persuasive sense of movement. Each one is vast in scale and sweeps you up and sinks you into the grainy lo-fi pads, wispy melodies and distant string-based sombreness.

Rudimentary Music garners worldwide high praise with their first release. A strong, fluid and very well-rounded EP with something for every electronic dance fan. The Barcelona based butItalian born artist Deiv, sets the foundation and tone with the stunning 'Paranoik Android' EP forthe fledgling label whose everyday life revolves around and embodies the synergy and spirit of dance music culture. 'Take control of your shit' is the first cut and is the ideal smooth late night electro jam. A sexy, melodic deep machine groove that is nothing short of pure class. Thishighly addictive track is sure to get many repeat plays. To complete the A-side is the technostormer 'Technology'. A body grabbing bassline that will surely get everyone's attention. Thiswicked,robotic workhorse is guaranteed to move the main room by any DJ who selects it.Inspired by the label's search for music that fits every part of life, this track encapsulates thepower of techno in the late night. The reverse side showcases the title track 'Paranoik Android'.It rides a strong balance of house and funk sentiments for the primetime slot on the dancefloor.The killer acid line, island percussion and blips and bleeps, makes this a great ying and yang of futuristic and retro sounds. The title track, it stands out from the crowd but here in this EP, it blends perfectly into the wide array of vibes blossoming here. 'Dolphins' closes out the EP inelegance. With the soothing almost aquatic melody notes it exudes the perfect vibe to drift away your cares to. Overall, this is a very versatile EP with a track for every emotion and time during a night out with dance music

This record is a collection of tracks I made from the start of 2019 to the end of 2021. They all exist completely independent of each other. My intention while working on music during this time was to create a time capsule/memory album for me to remind myself of my moments with. I had a lot of different experiences and substantially changed during this time. The early tracks were made by a completely different person than the person typing this. Of the 6 tracks on this EP, only one of them was made with the knowledge that it would be put together with the others and released as one cohesive article.

I wanted to make music again after abandoning it for 3 years. One of these tracks marks the turning point where a projected pipe dream of determined mastery was cracked through by what the speaker cone did when piano roll blocks were placed intuitively for the first time. 

2024 Repress

For Frenzy's 5th installment, we'll take the fusion of the past and the present even further. We present you a 6-track EP by Swedish DJ and producer 'The Miller', who was amongst the Nordic wave of early 2000s techno pioneers like Cari Lekebusch, Adam Beyer, and Joel Mull. Coming from an era where rave and nightlife escapism were blooming, The Miller possesses a vast backlog of old-school productions that embody the true Frenzy sound. We invited him to compile an EP with old and new material, accompanied by remixes from the up-and-coming generation to truly intertwine generations of dancefloor exquisiteness. Allow yourself to surpass the linear alignment of time within the next collision of decades on Frenzy 005. It's time to dance.

Starting out slow but steady on the A side, 'Kartong' gradually builds up the pressure with a playful mix of reversed phrases and thoughtful alignment of pitch levels. Tension transforms into motion as 'Apex' kicks in with big airy basslines and exotic drum elements that keep the early-day spirit alive. To complete the A-side, Stuttgart-based Rove Ranger presents a dub-influenced remix of Apex, accelerating the 00s story straight into the next decade. On the flip side, we go back to the old days as 'Complied' grabs hold of hips and minds with catchy repetition and a straightforward bassline. The Miller got us spellbound as 'Gate' follows up with a stripped-down steamy groover. To end the journey in full force, a powerful remix of Gate by the Greek-based ANNE is delivered, converting stripped down into the contrary for those big-room dancefloor moments.

“Apaga La Luz” has proven itself to be a bonified club hit with the Tony Touchand Pablo Fierro mixes released last summer 2022. A new buzz has beencreated with the brand new 2023 remixes by Two Soul Fusion AKA Louie Vega & Josh Milan, David Morales, Mike Dunn, and David Guetta. Yes you heard correct, these all star super talents have lent their expertise and made it work once again on dance floors worldwide in a big way. Just click on play and let the remixes take control.

Dancefloors at festival and clubs have been blowing up all summer to this sureshot fire choon championed by David Guetta, David Morales, Mike Dunn, Louie Vega, Anané Vega, Seth Troxler, Marco Corola, Paco Osuna, The Martinez Brothers, Pablo Fierro, and many more. Stream it, or load it in digital form, coming soon September 29, 2023 on Vega Records and what a true honor it is to have these leaders in thegame contribute their craft to these incredible remixes. Double Pack 12” Vinyl mastered by the DON of mastering Herb “Pump” Powers and Original cover art by artist RULER conceptualized by Pucci. Get the decks ready !!!

Sonic Transmutations is an extended compilation album celebrating over three decades of Clone Records. Marking the 31 years - which is coincidentally the national Dutch telephone code - the 8x12 inch box set draws together veteran talent and emerging iconoclasts, transmitting a frequency rooted the imprint's signature blend of essential dance music while journeying off into territories unknown. In a constant state of unfolding, morphing across phases of matter, Sonic Transmutations purveys an elemental energy that stands in testament to Clone's enduring legacy and explorations of sounds and structures.

Glasgow's finest Austin Ato is first out of the blocks off this mysterious new series “I Love Your Edits” with a 4 track EP of Disco Edits & Reworks following on from his work on Classic Music Company, Percolate, Phonica White, Defected, Me Me Me, Futureboogie, Delusions Of Grandeur and our very own Pantai People.

Two tracks on the funkier edge, whilst two are full on face-melters, both will tear the floors up.

L+P-2 is Rivet's second album following his acclaimed debut, On Feather and Wire, released on Editions Mego in 2020. The wheels were already in motion for a subsequent album on the same label, but tragedy struck. Peter "Pita" Rehberg, the legendary owner of Editions Mego, suddenly passed away at only 53 years old, leaving the experimental electronic music community in a state of pitch-black grief. Rivet was among the many deeply affected by this loss. The inspiration and support from Rehberg had propelled Rivet to create at a level he himself was uncertain he had mastered. For Rivet, Rehberg's death felt like the death of music.

However, that brooding sentiment was abruptly shattered when Rivet's beloved dog and companion, Lilo, was diagnosed with incurable cancer just a couple of months later. They were inseparable, and now they would be separated nonetheless. The only way Rivet could cope with this double blow was to compose—for Lilo, for Pita, for his own sanity. L+P-2 is the result.

While the album naturally emerges from a place of despair, it's remarkably comforting. Partly, this stems from Rivet's singular ability to make machines not only sound human but also act human—sincere and warm, yet flawed. In more than one track on L+P-2, you'll encounter a distinctive melody and a gnarly bassline dancing hand in hand with Rivet's eccentric and captivating drum patterns. Then, seemingly on a whim, the melody takes off on its own, leaving the faithful bassline behind—much like a dear friend that suddenly vanishes from your life without warning. Yet life goes on, and so does the music. But never unchanged. Never.

L+P-2 is an album of lamentation, yet also of resolve—a dedication to those who go through life losing more than their share because they always carry too much.

Prozpektiva reaches its fifth release so far, and on this special occasion, we are proud to present the rising talent from Ukraine - Aliana.

With a remarkable debut on Variable Records in 2021, swiftly followed by a standout LP (an album for only her second release) for Finest Hour, and a series of co-produced tracks under the alias Midibasics, Aliana now brings us her latest four-track solo EP. Get ready for dubby grooves, plenty of swing, and some serious heads-down action.

Talla 2XLC is always at the top of beatport sales trance charts with his inventive originals and mouthwatering reworks. His next release Welcome To The Future on That’s Trance is an excellent update of the Schiller’s side project Nova released in 1999. Get ready for a magnificent uplifting euphoric trancer with infectious main melody to blow your mind and uplift your senses. Welcome To The Future employs psy trance sharp basslines, punchy booming kicks and classic trance percussion to create its intense drive while on top piano chords, gated trancy voices and nice synthy hooks are added to create a starling infectious result.

The breakdown is a magnificent cinematic journey with warm strings, airy pads, spacey sound effects and beautiful spoken female vocals describing a better future without the ugly side of our society. The finest highlight of the track is the incredible euphoric synthy riff that has the darkness and melodramatic tones that we all adore in our trance. When the beat strikes back this unforgettable melody is supported from additional melodic layers, piano chords and energetic acid over tones to toughen the proceedings. It’s one of those tracks that will easily crawl under your skin and become part of your trance DNA recalling the great epic Frankfurt trance sound with its industrial and high tech feel to it.

Welcome To The Future is Talla’s outstanding track out now on his own imprint That’s Trance.

PWL, gegründet von Pete Waterman, ist ein legendäres und einflussreiches britisches Plattenlabel, das die Musikindustrie nachhaltig geprägt hat. PWL ist bekannt für seine entscheidende Rolle bei der Gestaltung der Popmusiklandschaft der 1980er und 1990er Jahre und war Wegbereiter für einen unverwechselbaren Sound, der sich durch eingängige Melodien, lebendige Synthies und ansteckende Beats auszeichnete. Das Label katapultierte nicht nur zahlreiche Künstler wie Kylie Minogue, Jason Donovan und Rick Astley in die Weltspitze, sondern führte auch eine neue Welle von tanzbarem Pop ein, die weltweit Anklang fand.

PWL Extended ist eine Sammlung von 12"- und Extended-Mixes, die die Tiefe und Breite des PW-Outputs perfekt widerspiegelt. Sie enthält große Welthits wie "I Should Be So Lucky" und "Never Gonna Give You Up", neben tieferen Stücken, schwer zu findenden und neu
erschienenen Mixen von Künstlern wie Princess, Blow Monkeys und Paul Varney.

Following much love for his EPs, remixes and club sets, the virtuosic DJ/producer Simo Cell’s debut album 'Cuspide des Sirènes' doesn’t disappoint. In fact, it takes things to a whole new level.

With a fantastical menagerie of anthropomorphism, sounds create characters and tools; the mermaid-like Sirens, the mind controlling Octopus and the Magic Conch Shell:

“Have you heard of the legend of 'Cuspide des Sirènes'? This is not a simple tale, but an incredible tapestry woven over many years and through countless wondrous adventures. I will recount the legend as it was recorded in the ancient scrolls.

The album’s story explores the themes of magic, enchantment, charm, and allure, but also personal fears. The protagonist (me) embarks on a quest to find the hidden lake and confront his own demons, in order to understand and master his own power.

The protagonist is armed with a powerful conch shell. As he embarks on his journey, he will encounter Sirens who will teach him various chants. These melodies hold unique powers and grant the main character the strength to confront and overcome any danger that may arise.” Simo Cell

Musically, the LP is a continuation of Simo’s journey that began with the ‘YES.DJ’ EP, with a synthesized/modernized take on noughties hip hop, bass music, trap, ghetto house and ghetto tech – but here he broadens the scope, massively.

Exploring new pathways through magical landscapes, via infused melodies, emo and pop, the sensations are bright and addictive, like a sugar and endorphin cocktail. There’s a screen sheen and video game quality too, sounding like the high-octane score to an action flick from the year 3000, with unimaginably wild SFX.

'Cuspide des Sirènes' is the kind of record to stop someone in their tracks, to ask “what IS this?”, provoking bass face, perplexion, fascination and manic glee, all at once. Not so much organised chaos as intricately-crafted-borderline-unhingement, the album is slightly bonkers, in a very good way. There’s a boundless sense of childlike, unencumbered imagination at play, and an abundance of fun, but there are moments of serious-deep-beat-science for the heads, and introspective passages too.

There’s a lot going on, with detail, layers, flourishes, arrangement, melodies and myriad fresh sounds – but it’s never too much; just a really engrossing listen – the kind that that ruins ones appetite for prosaic, vanilla dance music, rendering such 2D pursuits boring and obsolete.

Ideally, the album is meant to be experienced as a seamless narrative from start to finish, so leave any inhibitions or preconceptions at the door, and let the pied piper of electronic futurism lead you way down the rabbit hole.

'Tema di Susie' is one of the main themes from the soundtrack composed by Alessandro Alessandroni for the 1976 Italian noir Sangue di sbirro, known in English as Blood and Bullets, as well as Knell, Bloody Avenger (the Susie in the original title refers to the female love interest of the film's hero, who is on a mission to seek revenge for the gangland murder of his policeman father).

At once sweet and sentimental, haunting and melancholic, 'Tema di Susie' stands out from the other tracks in the film, which are more action oriented. Like the rest of the score, however, it exemplifies the way in which, during the '70s, Italian film composers created their own version of the sound of American blaxploitation cinema, with its groovy blend of funk, jazz, and soul. It is no coincidence that the film's director, B-movie specialist Alfonso Brescia, specifically requested music in the style of Shaft, the iconic film that defined that sound in 1971.

Though seemingly simple, 'Tema di Susie' is a perfect example of Alessandroni's style – in particular his unique ability to effortlessly blend groove and melody, funk and feeling, into one musical piece. So, we invited different artists with different backgrounds, influences and approaches to bring their individual take on this elegant and now timeless tune.

Neapolitan duo Fratelli Malibu have taken Alessandroni's melodic theme and woven it into a mesmerizing tapestry of rhythmic beats, world percussion and ethereal atmospheres. Drawing inspiration from funk/Afrobeat, synth-pop and Italo-disco, they've conjured a psychedelic-tinged, afro-cosmic groove that's bound to transport you to another dimension.

As the music unfolds, you'll feel like you've stepped into a vibrant, fantasy world. The breaks, outro, and intro are woven with a psychedelic thread that leaves you yearning to return once the final note fades away. And that's not all – they've injected an irresistible pop sensibility into the track with the use of drum machines and synths. The result? A rework that not only amplifies the dreaminess of the original but also seamlessly marries the past with the future.

We love the track so much that we decided to double the fun with a vocal retouch version, courtesy of the Italian funk/soul collective Banda Maje. Their vocalists, Chiara Della Monica and Cristina Cafiero, elegantly infuse cinematic and Balearic vibes into the mix, paying a wonderful homage to Fratelli Malibu's exquisite arrangement.

K S R introduces this pulsating collection features Lee Holman's EP, showcasing his mastery of the genre. Don't miss the mind-blowing remix by "Kaiser", the label owner. Brace yourself for an exceptional auditory adventure. #KSR011

Having been re-discovered as a groundbreaking slice of proto-grime from 1994, Dylan Beale’s legendary soundtrack for the SNES game Wolverine: Adamantium Rage finally gets the reissue treatment it deserves via Sneaker Social Club.

When the game came out in 1994, Beale’s soundtrack for the SNES edition stood out from the pack for its gritty beats, deceptively weighty low end and edgy orchestra stabs, but few would have guessed how certain tracks would predict the shape of music to come. Around 2016, the ‘Tri-fusion’ track in particular was picked up on by London-based producer Sir Pixalot as a mind-blowing slice of Eski beat coldness. To prove his point, Pixalot ran an acapella from J-Wing over the track and the results spoke for themselves.

While ‘Tri-Fusion’ is a straight-up accidental grime sheller, there’s scores more heat packed away in Beale’s soundtrack for Adamantium Rage. The limitations of the space on the game cart meant Beale had to get creative with the most limited samples. Fortunately his background producing UK hardcore and jungle in Rude & Deadly and Stuck To Your Lips meant he knew his way around the restrictions of an Akai s950. Fuelled by the inspiration of jungle and West Coast rap, he worked on the game soundtrack with a similar spartan attitude, limited to 200kb with which to load up the music engine for the game, samples and all.

Given the importance of minimalism in the effectiveness of soundsystem music, it’s not surprising tracks like ‘Cyber’ and ‘Dark Queen’ pack a punch which could absolutely set a dance off. Watch out for ‘Weapon X Lab’ too - another stand out bomb creating a deadly machine funk out of the tightly clipped bass samples and weird animal groan loops. Alongside the full, original soundtrack, this first issue of Wolverine: Adamantium Rage OST comes with additional tracks never used in the original game which widen out the styles Beale was exploring within the shockingly limited means at his disposal.

“I vividly remember when we first played the soundtrack on a bigger set of speakers to the boss,” Beale recalls, “his initial reaction was one of amazement that we had created something so ‘real’and different in comparison to everything else out there in terms of video game music, which I remember with great pride and fondness. Comparing to everything out there, it was totally unique- a moment in time.”

Gingerblack is a dynamic House Music DJ duo better known as Lilly & Kazan. With classic Chicago House beats Gingerblack are bringing sexy grooves back to the dancefloor while their original Lilly & Kazan moniker stands for trippy dj-sets & productions pushing Cosmic Disco and Indie Techno.

The duo has been enchanting dancefloors at renowned clubs and festivals across Europe while co-founding clubs like “Kasette” in Istanbul, “Christa Kupfer” in Berlin and the beach festival “Bloom” on the Mediterranean Sea.

Lilly's promoter expertise and Kazan's two decades of experience in the electronic music scene as a DJ, producer, and promoter make them a multi-discipline force to be reckoned with. The duo is known for spreading unique joy and passion on stage.

Through one of their club nights Lilly & Kazan made friends with „All That Jelly“ label boss Mr. Fonk who became a resident at their club. In „Christa Kupfer“ they also hosted House music legend Robert Owens, playing unforgettable nights with them. It was a match made in heaven!

Now all four of them have collaborated for this 12“ of the purest oldschool House Music, brought to perfection by the flamboyant prince of Vocal House and remixed by Wareika member Jakob Seidensticker and his producing partner MELINA.

Dead Fader is the alter ego of John Cohen - former Brighton resident, now based in Berlin - who has worked relentlessly since 2007 to realise his vision of electronic music. His tracks are characterised by pioneering sound explorations, which on one hand oscillate between sonic extremities and on the other hand carefully craft cinemascope sound worlds. The album became a very personal exploration for Cohen, as the themes are inquiring emotional states, and the writing process was predominantly influenced by falling in love whilst making the album. Furthermore, the film Interstellar visually influenced the album, mapped as an image for Cohen's tracks to exist in. I have watched his talent, his confidence in his ability and his output just grow and grow beyond what most humans are capable of imagining, never mind making. I think that comes from a place of wonder and exploration, a place where emotion, energy and experience are important, the long and narrow, the deaf arena, the blood forest and the glass cathedrals. Dead Fader rips you backwards through the portal as existence explodes around you, but you don't perish in the fire. It's just a ride.' - Barry Pendergast, former partner in Dead Fader T

Undoubtedly one of the finest disco songs ever created, “Dance Reaction” emerged as a sensation from Holland, representing a true ‘one-hit wonder.’ The distinguished ‘Siamese’ label in the US and Carrere in Europe both recognized its potential and took it under their wings. This track, clearly inspired by dan Hartman’s “Vertigo”, swiftly climbed the charts across the continent in the spring of 1982.

On the A-Side, listeners are treated to the captivating and sensuous sounds of the Martin Boer version. This interpretation unequivocally showcases Martin’s innate connection with disco, evident in his captivating electro-disco masterpiece. Notably, Martin Boer holds the distinction of being a founding member of “2 Brothers on the 4th Floor,” a Eurodance phenomenon that dominated the 90s, amassing millions of record sales globally. Intriguingly, this release marks his return to remixing records, after a 15-year hiatus; incidentally, Martin embarked on his journey with High Fashion Music in 1990.

Flipping over to the AA-side, Croatian legendary DJ Pucko presents a remix that encapsulates the unique essence of the former Eastern bloc sound. This rendition exudes a raw and forceful energy, characteristic of that regional style. At the behest of High Fashion, the components of his mix were extracted and meticulously reworked and refined through the mastering process. The objective was to preserve the core while polishing the rough edges, culminating in an essential vinyl record that retro and disco DJs alike must acquire to elevate their dance floors.

Phoenix is Coco Bryce's third full length album in a single year and was made solely on a Teenage Engineering PO33 pocket sized mini sampler.

Recorded between 2018 and 2022 it features 11 tracks ranging from bleep techno junglism to crusty rap beats, via toned down minimalist juke to the wavvy house vibes of its title tune.

South London Soul Band Trambeat, influenced by the floor shaking sound of 1960's Motor City. With brand new single, "Don't Hold Back"

Trambeat were formed in 2012 by guitarist Graham Potter and drummer Des" Jammy" James. Graham and Des had played together in several bands previously and already had a good musical understanding. Trambeat's manifesto; to write original songs influenced by a love of Northern Soul, Motown, Rocksteady and RnB. But also to look forward and include elements of more contemporary genres. Bass player Nipper Smith, Saxophonists Robin Ogleby and Nadia Barbosa, and organist Emer O'Hanlon were recruited to form the core band and Trambeat set about recording and gigging with various vocalists until, in 2016, Aimee Grinter became Trambeat's permanent lead singer.

Written by Graham Potter and Des James, "Don't Hold Back" is in some ways a comeback single for Trambeat. The pandemic years took their toll on many bands and Trambeat in particular, with the loss of founding member Robin Ogleby being a very hard blow. Following a tribute single in 2021 to raise money for Robin's charities, and a couple of festival gigs in the summer of 2022, theyndidn't have much appetite for writing new material, and were unsure whether to continue as a band without Robin. It was during a jam between Graham and Des in late 2022 that the bones of "Don't Hold Back" came together. The drums and rhythm guitar clicked into an infectious dance groove with echoes of vintage Motown. The band members came together in the studio with renewed enthusiasm and laid down the track in just a day. The band, who remained close,even during this hiatus, realised how great it was to be back in the studio together again. Graham's lyrics, as well as the euphoric feel of the track, reflected this new optimism within the band. "Don't Hold Back" is a celebration of life, of deep friendships and most of all, of love!

Plays on Gary Crowley's show on BBC London.

Regularly played by Button Down Radio, Heavy Soul (Cambridge), The Influential Factor show on Solid Front Radio (album of the week for TTN), Mod Radio UK (various shows), The Edward B'stard Radio Show, several stations in Germany and Edge Radio and couple of others in Australia

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.

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.

Compiling the follow-up to a very successful first album is always a tricky task, but just 12 months since the release of volume one in the 'With Love' series, miche has excelled himself once again with another glorious, deep dive into the world of rare soul. 15 tracks of independently released music, created by magnificent artists with stories to tell and primed for rediscovery.

The ambition to celebrate under-the-radar artists has remained, but instead of a facsimile of volume one, what we have here is a selection shaped by life changes. Volume two is for the dancers; still soulful, still ultra-rare and slept-on records from the USA, Chile, Brazil and beyond, but the dynamics of the collection have shifted slightly. It represents a move from being immersed in a week in week out environment of beautiful, soulful music in a cosy, dimly lit hi-fi bar to playing livelier, more energetic, dancefloor-focused music in nightclubs. This volume will get you on your feet, make you move and unleash whatever it is that makes you get down.

One of the jewels in the crown of this compilation is a joyous, anthemic gospel version of Stevie Wonder's 'As' by The Family Tree (a project produced by the fantastic Julius Brockington). We are also treated to a rare and sought-after Pennsylvanian funk / AOR bomb by Maxwell, a stunning modern soul tune 'High On You' by Freedom, and self-released Brazilian 45s by Banda 22 and Zé Da Lata. P.J. City's 'Straight Forward (Non-Stop)' is gospel-disco perfection, and we also have 'Dame Solamente Amor’, a sublime, soul beauty from Chile by Rogers Mitchell. Many of these artists featured in this compilation aren't household names, but they deserve their moment to shine, to be heard, loved and appreciated for their artistry.

As Miche says it, “I hope this compilation helps in some way to keep this glorious music alive and play a part in connecting generations of music lovers from the worldwide soul family. As always, it has been made ‘With Love’.”

Life might be a predominantly linear affair, but when lived right, it’s nevertheless a turbulent experience. It’s a system of trial and error, ebb and flow, order and chaos, action and reaction. And paradoxically, this system somehow still feels balanced amid all this turmoil. In fact, the same can be said about Keope’s second longplayer for Bigamo. Easily.

Keope might be a duo consisting of Marcus Rossknecht and Toni Bruna, but they actually sound like a collective of rather nomadic - and heavily gifted - musicians on their ever-present quest to reach different musical spheres. Everything is in motion, everything is in constant flux. Everything, everywhere, all at once. Their previous record “Triangulo“ already provided the audience an idea of their elaborate rhythmic vocabulary, but it’s the cryptically titled “Flikka Flokka“, which sees their multilayered compositions bloom into a fully-formed, new musical Esperanto.

You can immediately sense that Keope must be a phenomenal live act because the twelve tracks on “Flikka Flokka“ sound as if they were born from endless jam sessions fueled by a whole variety of influences. As a result, the work of Rossknecht and Bruna presents itself as a prime example of sound in motion that responds solely to its very own pulse by taking the aforementioned influences and making them completely their own. Now, let’s dance!

'Imagination Is A Weapon' lautet der Slogan des neuen GUNSHIP Albums. Diese Aussage fasst das Kernthema ihrer dritten Platte zusammen. GUNSHIP lädt seine Zuhörer ein, die Macht der Vorstellungskraft zu feiern und sich auf die Suche nach dem Einhorn in ihrem eigenen Leben zu begeben. Taucht schwelgend ein in die Fantasie – findet Euer Einhorn. Die entschlossenen Träumer werden die Welt verändern, wenn ihre Visionen in die Realität umgesetzt werden. Mit ihrem dritten Album UNICORN sprengen GUNSHIP weiterhin die Grenzen des Synthwave-Genres. Zu den besonderen Gästen zählen: John Carpenter, Gavin Rossdale (Bush), Dave Lombardo (Slayer), Carpenter Brut, Timmy Cappello (Lost Boys), Health, Tyler Bates (John Wick, Guardians Of The Galaxy), Lights, Power Glove, Charlie Simpson, Britta Phillips (Jem) und Milkie Way (Wargasm).

What comprises a dream?

An astral plane of our own making where thoughts, love, and desires of the inner mind abound with irreverence - ripe with connection & perspective beyond constraints of time, set, and setting.

Azu Tiwaline exists within the wonders of these interstitial worlds, diving deeper towards inner sanctums of mystic imagination, sublime intrigue, & profound understanding on her second full length LP “The Fifth Dream”.

Released again through her beloved partnership with I.O.T Records, “The Fifth Dream” finds Azu painting an expansive vision towards unified multitudes, mercurial realities, & abundant inner sanctums.

Where her first album “Draw Me a Silence” was a loving ode to her family & upbringing in the form of an elegant diptych, “The Fifth Dream" is the enactment of actualizing her roots into new routes, taking her multifaceted identity into new means of communication towards herself, the world, & the cosmic unknowns that surround her.

Throughout The Fifth Dream’s 54-minute runtime, we hear all elements of the uniquely transcendental sound that Azu is beloved for worldwide. “Antennae Opening”, “Blowing Flow”, & “Amen Dub” embody her talents for tectonic, dubwise soundscapes that channel the innately maternal elements of bassweight into bold & abstracted pulsations, indebted to the most psychedelic & body activating ends of dubstep.

Still attuned to the spatial awareness of dub sonics but giving way to the hypnotic syncopation & synaptic frequencies of techno, “Reptilian Waves”, “Long Hypnosis”, & “Mei Long” bring forth her spectacular expertise for entheogenic rave rhythms - guiding us warmly towards trance-inducing hyper states of dance & delight. Fluctuating between an adventurous velocity and enveloping stasis, the expansive abyssal planes of “Golden Dawn”, “Night in Palm Tree”, & “Canope Imaginaire” conjures a wondrously invigorating rhythmic enlightenment & celestial comprehension - simultaneously moving us forward, inwards, & outwards through Azu’s uniquely omnidirectional & kaleidoscopic musical visions.

Adorned with sampled field recordings of her deeply inspiring home in the desert of El Djerid in South Tunisia, Azu opens a portal into the synergistic inner sanctums of being, self, and the world around us that’s essential to her work as an artist - from the macro levels of humanity’s naturally intimate connection to the Earth we share, down to each of our own micro levels of culture, ancestry, and belonging. All of this is alchemized through a combination of timeless Saharan knowledge & modern cybernetic tools, creating new dimensions of bewitching, euphonious sonic energy. This is music that gives back as much as the listener wants to give themselves unto it - detailed and layered, orbiting a steady core as ethereal swirls and intonations of the natural world embrace us warmly within a spellbinding journey.

8 of the album’s 9 tracks feature a deep level of collaboration from innovative Franco-Iranian percussionist Cinna Peyghamy. Cinna’s use of Tombak, the principle drum of Iranian music throughout time, is beautifully sonorous - channeling the passion of centuries of Southwest Asian rhythm & expression into his own personalized flourishes, with Azu adding her own electrifying frequencies & undiluted artistic freedom to their shared interplay. This profoundly communicative diasporic essence is transmuted between Azu & Cinna, their expression, & the listener. Both are music lovers, intimately connected to their respected Iranian and Tunisian cultures - concurrently acknowledging the wisdom of their resonant pasts, while proudly bringing the sounds of their heritage into the present & future.

“The Fifth Dream” embodies a cosmic anodyne for those feeling caught in between life’s abyssal inbetweens, whilst aiming for a consonant awareness of where our home truly lies in the swells of life’s spiritual maelstrom. This dream belongs at once to none & to many, that of a common language unified in concentric depth - finding beauty in all aspects of our world, and ultimately, within oneself.

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.

This album starts the journey of Unruly Records by featuring some of the early tracks and artists who helped shape the sound of "Club Music".

These songs were originally released between 1991 & 1995 and took dance-floors in Baltimore by storm. There is also a full color insert which paints a picture of that moment in time. In support of Baltimore City's Inaugural "Baltimore Club Music Day" on June 17th, we put together this anthology to kick off our "Anthology" collection/series which will initially start with 3 installments.

Be on the lookout for "Anthology 1996 double album next year!

Adinda Dwimadasari and Dea Barandana take you on another dancefloor oriented voyage (to the Moon?) of originally written and produced contemporary disco wellness. Precious Bloom continues to carve out a sound of their own with 4 beautifully executed tracks. A selection of hand picked instrumentalists in addition to Dea's multi-instrumental studio prowess, the scene is set for Adinda's vocals to unravel in dreamy cosmic nuances from mysterious soft spoken word style voices to romantically sung lyrics in astrophysics. Truly refreshing in today's dance floor sound dominated by synthetic/digital convenience. Recorded in Jakarta and mastered in Berlin.

Chansons for the replicates. Hymns for the algorythmed. Operatic minimal wave. Spoken words. Otherworldly electronica. Oh pop, Oh techno. Oh Pose Dia. Now on R.i.O. simulating herself on an album full of weeping synthlines, melding melodies, unreeling theatre between the notes, camouflaging in fashion and rhyme. Impulsive, destructive, yet so perceptive, gently repetitive. “Simulate Yourself” is her second album since “Front View,” released in 2020 on Bureau B.

Now the Hamburg-based filmmaker, DJ and musician Helena Ratka, aka Pose Dia, brings a notion of digital archeology. Nine otherworldly chanting cold blooded Lieder and tracks, manic, longing for the real in the un- real. The matter of her poetic-abstract lyrics is rhizomatic, linking psychological “Suspiria” fantasy with sociology, media theory and all that never obsolete post-structuralism. Hyperreality for the hyped. Fully illusionistic. Wrapped in touching airs, drilling into cold waving Risiko spheres. X-mal rotating towards novel corners, shading light on old ones. Track make-up transforms into lacquered songs. Fog and fire. Night and light. Hairspray and cigarettes. Pose Dia transfers fine-tuned dissatisfaction to all those fully satisfied. Welcome to the other side of the Ocean.

After shaking up the dice across global festivals and club dancefloors last summer, Albion Collective reinvigorates Yoofee’s instant classic, Seek & Move, in a brand-new remix EP featuring Mystic State, Molokai and K-lone.

Mystic State fires up the engine with his remix of Seek & Move, alchemising Yoofee’s rapid kinetic energy into pure steamrolling pressure. The intro mischievously echoes the original, imbuing the drop with a strike of surprise when Mystic State’s stripped back, sub-loaded weapon fires in place of the classic.

Molokai keeps the motor revving with powerful, in-your-face sound design built for the heavy steppers. Zapping, buzzing, and fizzing robotic delights spark and pop throughout Molokai’s grungy yet groovy retwist of Yoofee’s Seek & Move.

K-lone serves up a signature sweet ‘n’ tasty edit of Make You Believe, realigning the original B-side’s focus from its organic soulful keys to its endlessly elevating electronic arpeggiation. What was once bathed in reverb, serving as a glimmering skyline to the gorgeous memory palace of Make You Believe, becomes the unblurred protagonist bleeping and blooping its way through a high-rise city of slick trap rhythmics.

Albion Collective is proud to welcome these fantastic artists to the label and present their brand-new viewpoints on Yoofee’s Seek & Move Remixes EP.

repress !

Since ancient times tribes commanded by shamans were experimenting with rituals in order to inherit higher states of consciousness.

We as descendants from those cultures disrupted their traditions by recording those sounds and reproduce it through a speaker. Although the principle remains intact.

AIROD and P.E.A.R.L. Are two contemporary artists well aware of that culture, as you can here through the 6 tracks of this EP that in good hands can catalice the ecstasy through repetitive drums, deep vocals and grinding melodies.

Every science starts as philosophy and ends as art.
Tribal science, for disc-jockeys and collectors.

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.

‘The Nature of Nature’ is the debut LP by Hanegi Koen, the Japan-based creative duo composed of British ¦lmmaker Sam King and Canadian label head Sean Mallion (ADSR Collective). Picking up where they left off with their 2021 EP ‘Well Worth A Visit’, this album continues the legacy of spaced-out ambient guitars and driving analog beats the band nicely cued up for us. It has continuity from their previous work, going even deeper this time, further de¦ning the contours of their sound. As the title suggests, Nature was a big influence on the record. Many of the track titles are from the season they were recorded in – for example, ‘Hanafubuki’, when the cherry blossoms fall, ‘Tsuyu’, the rainy season, or ‘Kaminari’ which was written during a crazy thunderstorm. The sights and sounds of those times are reflected in the tracks, with ¦eld recordings helping to supplement the atmosphere. Hanegi’s founding ethos of only using analog instruments and drum machines to compose and perform, minimizing the need for the computer as an interface, is alive and well in this album. The tracks got tested in front of an audience and improved on, based on feedback from playing them live, leading to a psychedelic, synth-rich, analog journey. “We like all things analog. We both use computers and digital screens a fair amount in our day job, so it’s nice to give our eyes a rest from that and allow the music to be created from everything we have on the table.
Similarly vinyl records, ¦lm photography, and simply walking around outside in the forest – all these things are a way of slowing down and escaping the digital world.”

Greatly influenced by the wild contrasting outdoors of their home in Japan, the mountains, forests, and ocean, ‘The Nature of Nature’ is an open invitation to unplug to reconnect, a feeling that Hanegi Koen want to share with you. Released on August 18th, on vinyl and digital via Subtempo. Credits: Written and composed by Sean Mallion and Sam King Mixed by Aoki Takamasa Mastering by Manmade Mastering Album art by Laine Butler Design by Rocco Tyndale

Carved out from between the cracks of life over a 2 year period, Low Flung presents his eighth full length album ‘The Wheel’. Together, the 11 tracks provide a space to process and sit with difficult change. This takes the form of microscopic minimalist landscapes. Presented in both audio and physical form as micro grooves on a 12” vinyl.

At times the sound wanders and walks, other times it remains still, clear and precise. The omni-present artifacts found in ‘The Wheel’ are left to breathe a different life during each listen. Drones act like familiar trails losing their path as space transforms like a breeze over a table of sand. Hyper focused spores evolve around blurred waves of time. Electronic tones are captured flowing to the rhythm of a decaying natural world.

‘The Wheel’ is a patchwork of sonic experiments made using modular synthesis, fixed architecture synthesis, Buchla Music Easel (replica), outboard effects, cassette manipulation techniques, samplers and field recordings taken along the texturally rich and historically questionable eastern coastline of Australia.

The tracks have been composed with a materiality that embraces the acoustics of different listening environments. Much like mood, this means each listening experience is unique due to the natural acoustics of your listening space. The sounds on this album embrace this phenomena, creating a rich, visceral listening experience that slowly scratches away at discrete moments of time

Rather than attempting to traverse new sonic fields of experimentation in ‘The Wheel’, the album touches on the various spaces Danny has explored over the past ten years as an Audio Visual artist. Although technically eighth, it would be more fitting to say this album draws a clear line from ‘Blow Waves (2018)’ to ‘Outside The Circle (2020)’ to become the third and final chapter in the expanded non linear, unintentional landscape series. Serendipitous that each was conceived over 2 year periods of time.

While the key focus is sitting with difficult change, this album is also a celebration of any moment you might find yourself in. Good, bad, easy or hard, this album is an attempt to help with feeling content wherever you are along your path. With each cycle a new context.

Samosa Records reaches its 30th release in style, and who better to mark the occasion than label boss De Gama with the superb ‘Tropical Gangster’ - a three tracker slice of vinyl heaven that’ll blow you face first into your summer paddling pool.

Opening this super-tropical affair on the A-side is afro beat stomper ‘Karibu Funk’ - and it wastes no time at all in introducing us to its tribal rhythmic awesomeness. The beats, the vocals, the outrageously funky bass and horns are a musical representation of an African sunset. A serious groove.

A2. brings us ‘Lucky Fellow’; a twisting, turning bouncy bass-bomb of a tune with a flute riff that would charm the clothes off you. De Gama is very much in Pied Piper mode here - you’re powerless to resist the sexy overtures of the drums, the haunting synth lead and solid bass line. Sizzling hot.

On the B-side De Gama offers a cool ‘Piña Colada’ after all the heat of the A-side. This Piña Colada, however, offers an oasis of many delights and flavours. What starts as a furious latino drum call breaks to a tropical bassline and hypnotic keys. The vocals are the cherry on the cake of an amazing arrangement of layered sound. Goosebumps.

The Tropical Gangster is an exceptionally special Samosa release befitting the occasion of reaching the 30 milestone, and another example of the consistently brilliant output from Samosa Records. Expect this one to sell out fast.