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Apparel Tronic comes back after the heat of summer introducing the first V/A on the catalogue as well as its 10th release overall (Varioustronic 1). This 3 tracks V/A is an ambitious project that unites 3 great artists with diverse approaches to music production, 3 different minds and visions, 3 declination of the same verb brought together under the same roof, our roof. We always like to experiment, to try and push our boundaries over again in everything we do and surely this is an organic evolution to the so-called "Bliss-Beat": the identificative concept behind our ideas. The 3 producers we chose, Anton Kubikov, Artizhan & Tommy Vicari Jr. need no introduction so we're simply grateful to them for their availability to huddle up and create some great music for one cause and it's surprising how the three tracks, colliding, offer different but likeminded perspectives, like fragmenting planets creating new ones. This release is the result of 2 years of research, ending up choosing Anton's "Freak Out Little Bit", Artizhan's "Birthday" and Tommy's "Conceal" amongst many others. APLTRONIC010 V/A is clear for the take-off, on vinyl and digital versions, and we hope you'll like it!

A double header from A Colourful Storm delivering Recept's sublime ode to Detroit, 'Quisite' alongside a previously unheard number by Tom Churchill, head of Headspace Recordings and Emoticon (home to Q Project, Russ Gabriel and Scape One). Our pick is 'Quisite': emotive, introspective dancefloor bomb which hasn't lost any charm since its 1998 release. Both tracks remastered in 2019 by Mike Grinser at Manmade Mastering, Berlin. Includes liner notes by Merrick Brown and Tom Churchill.

The latest Furanum release, "Black Leash" by label regular Rafal Furst, arrives packaged with four unique compositions of brooding industrial ferocity.

Mastered by Kassian Troyer at Berlin's D&M,

lack Truffle present In Real Life, the latest in a flurry of releases from Berlin-based guitarist and composer Julia Reidy. Having drawn acclaim for solo performances on 12-string acoustic guitar that bridge microtonality, ‘American primitive’ stylings and classic minimalism, Reidy’s recent releases have utilised an increasingly broad sonic palette, fleshing out guitar-based composition with electronics, field recordings, and – most strikingly – heavily auto-tuned vocals. On In Real Life, Reidy pushes one step further, crafting an epic LP-length suite that moves from abstracted song to lush electronics and explorations in contemporary musique concrète. Beginning with a passage of eerie electronics and creaking percussive interjections, Reidy’s heavily auto-tuned voice quickly takes centre stage. Surrounded by explosions of electric guitar and synthesised arpeggios, the auto-tuned voice delivers a melancholic ode, bringing together poetic images to reflect on the instability of experience and mutability of identity in a contemporary world saturated by digital technology. This concern with the unsettled relationship between the physical and digital is reflected musically by the constantly shifts in emphasis between Reidy’s physically demanding guitar-picking and the various forms of synthesis deployed. Similarly, the dynamic imagery of cutting, shattering, and ‘racing streams’ present in Reidy’s lyrics also serves to characterise the structure of In Real Life, which ceaselessly shifts between distinct episodes. The song-based opening, long sequences of frenetic 12-string guitar shadowed and eventually overtaken by synth tones, passages of delicate chiming harmonics, electro-acoustic cut-ups – each flows seamlessly into the next, often recurring throughout the record’s duration, which lingers over interstitial moments between these episodes.

Mixed and mastered by Joe Talia at Good Mixture, Tokyo. Vinyl cut at 45rpm for maximum fidelity by Rashad Becker at D&M, Berlin. Artwork by Suze Whaites. LP desgn by Lasse Marhaug.

Killer modern disco cut gets the Al-Tone edit treat. TIP!!

A1: Madness blasts through the front door, armed with obscure effects and a gnarly acidic bassline. Severe Chicago percussion massacre in the middle, followed by a soothing synth finale. Cum on, you know that’s how Dj RFR does!

A2: Munich mesmerizers Rhode & Brown at their best sonic behaviour. May we call this acid trance wave?
Sure, ‘cos Boys Do Cry.

B1: Born in Romania, raised in London, now Munich’s her home. Oana Leca delivers a fusion of two of her most beloved styles- Minimal House vibes in a blue shimmering Detroit coat.

B2: No-holds-barred for Nik Wookward. The long time Munich affiliated producer drops a sneaky brain intruder. Minimal Deep House with a psychedelic twist, just what we like. So please don’t latch the club gate before…forever.

After inaugurating the label with a tape in 2015, our local friend Richard Brown (AKA Brown Irvin) returns to Motion Ward with an oblique two-track 12" entitled "Run Me That Soul". "Locution" flexes a wobbly equilibrium of dubbed dancefloor energy and amorphous acid while "Overcast" coats the B Side in a smeared gradient of ambient wash and shape-shifting stasis. A persuasive pair of parallel worlds for winding up and winding down.

Music Mania and Indica Dubs is proud to present a triple colour vinyl 7” series in their Mania Dub series. These unreleased songs have been produced by one of the biggest pioneers of UK Dub; The Disciples! The Disciples were formed in 1986 by brothers Russ Bell-Brown and Lol Bell-Brown. They were given the name by Jah Shaka, after producing exclusively for Jah Shaka.

True Love: played with exclusive mixes over the decades by Aba Shanti-I! The slow but heavyweight bass line and synths are the perfect combination of a serious sound system killer tune! One of the most popular demanded dubplates for release. African Odyssey: named after the spiritual vibe of the tune, this tune has always got people dancing in sound system sessions. Deep Space: played regularly as dubplate by King Shiloh sound system and many more. This fast tempo steppers tune drops well in sessions every time.

Extra: pressed in colour vinyl to make a red - yellow - green set for the Disciples Dubplate 7” Series.

Music Mania and Indica Dubs is proud to present a triple colour vinyl 7” series in their Mania Dub series. These unreleased songs have been produced by one of the biggest pioneers of UK Dub; The Disciples! The Disciples were formed in 1986 by brothers Russ Bell-Brown and Lol Bell-Brown. They were given the name by Jah Shaka, after producing exclusively for Jah Shaka.

True Love: played with exclusive mixes over the decades by Aba Shanti-I! The slow but heavyweight bass line and synths are the perfect combination of a serious sound system killer tune! One of the most popular demanded dubplates for release. African Odyssey: named after the spiritual vibe of the tune, this tune has always got people dancing in sound system sessions. Deep Space: played regularly as dubplate by King Shiloh sound system and many more. This fast tempo steppers tune drops well in sessions every time.

Extra: pressed in colour vinyl to make a red - yellow - green set for the Disciples Dubplate 7” Series.

Music Mania and Indica Dubs is proud to present a triple colour vinyl 7” series in their Mania Dub series. These unreleased songs have been produced by one of the biggest pioneers of UK Dub; The Disciples! The Disciples were formed in 1986 by brothers Russ Bell-Brown and Lol Bell-Brown. They were given the name by Jah Shaka, after producing exclusively for Jah Shaka.

True Love: played with exclusive mixes over the decades by Aba Shanti-I! The slow but heavyweight bass line and synths are the perfect combination of a serious sound system killer tune! One of the most popular demanded dubplates for release. African Odyssey: named after the spiritual vibe of the tune, this tune has always got people dancing in sound system sessions. Deep Space: played regularly as dubplate by King Shiloh sound system and many more. This fast tempo steppers tune drops well in sessions every time.


Extra: pressed in colour vinyl to make a red - yellow - green set for the Disciples Dubplate 7” Series.

Die Martinez-Brüder Chris & Steven aus der New Yorker Bronx sind seit über 10 Jahren in der House-Szene aktiv. Seit 2011 haben sie eine feste DJ-Residenz auf Ibiza, legen auf renommierten Festivals wie Ultra, Time Warp oder Tomorrowland auf und kollaborieren für ihre eigenen Tracks mit Grössen wie Chic(!), Miss Kittin und Tiga. Sie betreiben mit Cuttin' Headz ein Label und gleichnamige Partynächte und legten 2014 dem Mixmag UK-Magazin einen exklusiven CD-Sampler bei. Grund genug für Fabric, sich das berüchtigte DJ-Duo zu packen und ihr erstes offizielles Mixalbum zu veröffentlichen. Dieses bestreiten die Brüder mit 23 erstklassigen Tracks, die von Chicago-Innovator Paul Johnson bis Detroit-Multiinstrumentalist Amp Fiddler reichen. Dazwischen steuern The Martinez Brothers mit "Jam Joint", "Mistakes" und ihrer Top-Kollabo mit NY-House-Legende Louis Vega ("Let It Go (TMB Alternate Version)") drei exklusive eigene Produktionen bei. Die DJ-freundliche Doppel-LP enthält 12 ausgesuchte Perlen, darunter von Mahony & Flogg, Roots Orchestra und zwei Exclusives der Martinez-Brüder.

Mais Alors !!?... c’est à l’envers is the first release of new French Label ICI BIENTÔT (Here Soon ...), launched by Paris Fleamarket’s Record Shop, Geminicricket. On the Menu... Suspended Time,
Unsung Heroes, Hidden Records and Next Door Marvels.
In 1983, NEF released their first and only album, Mais Alors !!?... c’est à l’envers. At that point, the band already had a long history, interwoven with that of various musical trends and alternative
movements from the late sixties to the early eighties. That’s certainly what makes this record so special and able to conciliate such different worlds as Electronic Prog, Film Score, New Wave …
The band’s destiny was most certainly tied to their native region, the South of France, an idyllic environment that attracted a number of musicians during the 1970s, allowing the group to attend many
concerts or share the bill with several groups that have gone on to become well known: Can, Ash Ra Tempel, Magma, Catherine Ribeiro, Zao, Chêne Noir, Art Zoyd …
Founded in 1975 by Richard Lorenzi, NEF started as a kind of Free Rock band with multiple influences, going from Prog to Musique Concrete, in which any method of making sound, any way of
bringing out sounds was good … 2 musicians and a photographer, full member of the band who was projecting slides over the music and influenced their dreamlike universe. In 1978, Vincent Tronc came on board with his keyboards and synths. While the group had been influenced by electroacoustic techniques until then, Vincent broadened NEF’s horizons, bringing in a host of new influences: Ash Ra Tempel, Kraftwerk, Klaus Schulze … the beginnings of electronic music. When the album is recorded in 1983, new directions were taken and changed NEF’s usual sound.
First, the idea of playing the accordion, clearly not a common thing and a new Drum Machine, the Roland CJ-5000. Pressed the day a figure of French Chanson died, NEF’s pressing is botched up, a
good part of the records were unusable since the records came out totally warped. Then, at the end of the eighties the small stock of remaining records is lost in the sadly famous flood of Nîmes. 2000
records had been pressed, but very few survived! All the more reason to reissue Mais Alors !!?... c’est à l’envers, an unsung record, free and multifaceted, a quirky and daring musical ovni, transcending eras and genres, between synthetic
Krautrock and Film Score, reminiscent of NEU! (with a red nose), François de Roubaix and Pascal Comelade.

PLR is proud to host a variety of talented producers from around the hemisphere, from Berlin to Montréal to San Francisco. The label is a brainchild of independent artist Experimental Housewife and was kicked off by prolific producer Roche (100% Silk, Jacktone, Hobocamp) and his breath-taker A Genuine Effort To Make You Comfortable. Soon after, the spring saw italo-sprinkled dance floor beats followed by slamming techno and weirdo-tronica, a non-genre made of intriguing sounds that play tricks on DJs. In closing, the roster will be opening ears up with a wonderful miniseries of ambient releases before the final EP: arpeggiated pop from conceptual two-man band Star Service .

Premiere producers like Lily Ackerman (As You Like It, Mioli Music), CMD (Jacktone, basic_sounds), Golden Diskó Ship (Monika Enterprise, Spezialmaterial, Klangbad), BLEIE (B.O.D.I.E.S., 3am Devices), Mo Kudeki (Noctuary, Public Works), and Tape Ghost (Asterisk, Night Sea) have all signed up to the roster, releasing fierce and excitable works that they have had for a while but hitherto were not able to release to the public.

Reverenced names like Ryan Merry (now Elexos Park but formerly Ghosts On Tape), Roy England (Make Mistakes, Communikey), Caltrop (In The Dark Again), Loren Steele (Wolf + Lamb, Jacktone), and Philadelphia warriors Sean Thomas (Drumsong, Sound Between Movement) as well as bpmf (Schmer, Serotonin, Prototype 909) have all offered exclusive productions.

Mysterious and up-and-coming producers like Emmett Perlman (Wage Slave, Make Mistakes), Bad Person , gayphextwin (Jacktone), BIlagáana (VODER), and Atlas Of Nothing can be explored in the catalog alongside new names like Memeshift, The Hug , and Jaclyn Kendall .

Our spotlight mastering engineers for digital releases include David Last, Abe Duque, Dark Star Audio, David Tatasciore, and Helen Heß. Our resident and extremely generous/talented engineer for the year has been the one and only Roy England.

“Sol LeWitt is an artist whose work I’ve admired since I was a child — my mom took me to several exhibitions growing up and there are a couple LeWitts in the Nelson Art Museum in my hometown of Kansas City, Missouri.

In 2012 I was invited to perform at M-Museum in Leuven, Belgium, and was asked to pick the room where the performance would happen. There was a large Sol LeWitt exhibition up at the time of the performance with around 20 wall drawings. I visited the exhibition, chose a gallery of large black and white stripes and invited 6 cellists to perform in this room.

To prepare for the performance I revisited Sol LeWitt’s artist books, many of which contain the diagrams and lists of instructions that are used to execute the wall drawings. I made a score in photoshop: a tower of black lines, some broken, some continuous, extended across a sheet of A4 paper. I indicated that the lines are in the key of F. The 6 cellists performed this score reading left to right, top to bottom. There was a live audience. The cello ensemble performed the graphic score twice of the course of the evening. These are the 2 pieces on this record.”
– Christina Vantzou

Performed by Nelle Bogaerts, Mauro Sarachian, Anne Van Os, Lieselot Watté, Jasmijn Lootens, Tine Hubrechts. Recorded, edited and mixed by Christina Vantzou - Spatial sound design by John Also Bennett.

Only 2 more pieces to come to conclude this 7 x 7" series.

Wanubalé - nine guys from Berlin, inspired by the city's fresh Jazz scene and distinct club culture. Wanubalé met at school. Five of the nine in the band went to the same musical high school in Berlin.
Heavy influences from Jazz, Neo Soul and Funk shape their compositions. However, electronic sounds are just as important to Wanubalé. All of the nine are in their early twenties. All of them are into Dub, Bass Music and Broken Beats. And several members are DJs, as well. The Wanubalés are first rate musicians. They tend to take their time writing arrangements, yet they are careful not to overly emphasize their Jazz skills. Songwriting is a collaborative affaire, everything is developed organically.
Just like the band name, which dates back to the days of fooling around in the schoolyard, playing with syllables ("nuba" came first). Sound was crucial. Some say "Wanubalé" means "brother" in Swahili. Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, mighty brass sounds and great melodies. The musicians don't hide their influences: Snarky Puppy, Fat Freddy's Drop, plus younger acts like Hiatus Kaiyote. But Wanubalé do their own thing.
Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, mighty brass sounds and great melodies. All songs are written, produced and arranged by Wanubalé. Recorded at Jazzanova Studio, Berlin.

There's a distinctly UK thread throughout Off Grid; from the broken drum machine workout on Isit and the acid bass line on New Levels to the jungle- influenced breaks on High And Mighty and Turnin', Romaal Kultan has produced a compelling EP that will provoke plenty of gun fingers as well as nodding heads.

DJ Oonops presents Volume 2 of his extensive compilation covering genres from Dub, Jazz, Funk, Soul to Beats and Hip Hop featuring pretty well known artists as well as zooming newcomers. He spent more than one year to select artists from around the globe who reflect the sounds of his "Oonops Drops" broadcast on Brooklyn Radio (NYC).

Be that jazzy beats or virtuoso live jazz drums, keys and guitars from Japan by Kazumi Kaneda, RF and 45 a.k.a. Swing-O, a first-time- on-vinyl dub remix by Great Britain's Coldcut or a brass cover version of Rihanna's "Stay" by Sly5thAve out of the US. Most of the tracks are exclusives or first time available on vinyl for this compilation, like the song "Measly Peace" by Magic In Trees out of Nashville, German beatmaker Twit One with an ill Jazz instrumental or London based rapper and singer Amy Tru featuring Nubya Garcia.

Also you gonna hear a unique and rump-shaking cover version of Blackstreet's "No Diggity" by T Bird & The Breaks, John Turell's powervoice over some heavy beats by Soopasoul, Kinny with a catchy tune, Igor Zhukovsky from The Soul Surfers & MRR Drumetrics with an exclusive, pumping psychedelic drum track and Schemes from Montreal who take all the credits at the moment from the web by Vice, Okayplayer, Music Is My Sanctuary and many more. For the artwork Oonops collaborated once again with San Francisco based artist Lindsey Kustusch who mirrored the atmosphere of New York City on point with her oil painted artwork.

Be sure to get your hands on this limited peace of work before it's gone like Volume 1. About Oonops: beside his vinyl only show on Brooklyn Radio he is spinning banging club sets to relaxed mixtures for vernissages, museums or theaters. And furthermore he works as a product designer and he's listed in the top 50 of Germany's best table tennis players and focuses all his skills in an event which will bring all this together.

With the release of their first two albums and live shows supporting Snarky Puppy, Roy Ayers, Marcus Miller, Larry Mizell & the Blackbyrds, Butcher Brown, Yellowjackets and more, Resolution 88 have already established themselves as one of the UK's leading exponents of funk jazz. Their music is synonymous with the silky, buttery sound of the Fender Rhodes. They're also a bona fide band, a refreshing change in a musical world increasingly occupied by online collaborations and viral videos. They're best mates who love to hang out, play together and make their own music - that sincerity is evident in their songs and their chemistry on stage.


'Revolutions' represents a lot of firsts - the first time Resolution 88 have recorded to multi-track tape, the first time that they've included a real string and brass section, the first time they've included special guests on record and the first time they've pressed an album on vinyl. Imagine a combination of an undiscovered Herbie Hancock album from the mid' 70's, rare-groove samples from the golden era of hip hop (ATCQ, Pharcyde etc) and the new London sound of bands like Yussef Kamaal.

Every track on'Revolutions'represents an aspect of music on vinyl. On'Pitching Up'you hear the DJ pitch the record up from 33rpm to 45rpm.'Out Of Sync'simulates a clumsy attempt at beat-matching. The hypnotic, circling sax line that opens the title track'Revolutions'(echoed by the strings at the end) evokes the mesmerizing sensation of watching the record label artwork whirling as it spins on the platter.'Runout Groove'fades in and out; the drum beat mimics the distinctive, perpetual rhythm tapped out by the stylus as it reaches the runout groove. On the second side,'Sample Hunter'unexpectedly deviates from the main section into Rhodes-drenched interludes; the type of moment that producers searched high and low for back when hip hop was great.Marcus Tenney's (Butcher Brown) lyrics on 'Dig Deep'are all about the thrill of digging for records and'Matrix'is inspired by the hidden messages sometimes left in the matrix markings on record pressings. On'Tracking Force', you can hear the beat twist and morph as the stylus skates over the record. Finally,'Warped Memories'closes out the album with a wistful, melancholy melody. Sit back with a glass of Japanese whisky and a Cuban cigar (or whatever your chosen poison is), stick the album on and enjoy it from start to finish - although if you're listening to it on vinyl, you'll need to get up to turn it over to the B-side ;)

Raised in the multicultural and mind-broadening London borough of Enfield, Loraine James grew up hearing everything from steel pan music to Metallica, from jazz and electronica to drill and grime, and the results of this exposure can be heard on ‘For You And I’. In part the album explores the complexities of being in a queer relationship in London - “I’m in love and wanted to share that in some way … to make songs that reflect layers of my relationship.” – and as a whole ‘For You and I’ is rhythmically free flowing and sprawling, with melodies that evolve into rippling keys, feeling like a live jam session with a jazz mentality, contrasting the delicate and abrasive. Opener ‘Glitch Bitch’ is a warm ear-worm, brandishing swirling textures with undulating keys and compressed percussion, with an introspective theme revisited soon after on third track ‘So Scared’, whose glitched percussion and syncopated dub bassline build to a frantic meltdown melody. On ‘London Ting // Dark As Fuck’, inspired by Dizzee Rascals's ‘Boy In Da Corner', James explores the darker side of her production with her frequent collaborator Le3 BLACK laying verses over the skeletal track. ‘Hand Drops’ is an instrumental, about public displays of affection in a queer relationship. ‘Sensual’ reflects on intimacy with vocals by UK singer Theo, who's lyrics capture love and gentleness over a soft, minimal production of ethereal keys and scattered glitches. The albums’ title track is also the most colourful, it’s ecstatic and effusive chaos driven by fervent synths expressing elation and the joyful side of her relationship, while ‘My Future’ is a more reflective moment, where warping synths wash in and out with compressed kicks, as the artist considers the dangers that may come with her relationship : “I wanna tie the knot / But the rope is dangerous”. ‘For You And I’ is a deeply intimate and personal offering, expressing happiness, anxiety, joy, sensuality and fear through a vivid sound palette and an experimental sense of rhythm.

Superb EP of a Dark Techno Doom starter sound... With an acid threatener Broken techno for the finish. BIG as usual with Violent Cases !!!

Autre left the lab and brought his science to the people. This is his second offering for the ESP Institute. On side A we have a silky slice of electro aimed straight for our hearts, LA Funk, incorporating stanzas of jazz chords and Autre’s signature meandering string lines, all thickly layered atop an up-tempo more-bounce-to-the-ounce bassline that will receive the nod of approval from even the most serious funk heads. On the flip side, the artist uses a similar broad brush of synthetic strings, but ventures into an emotional sweet-spot built on glorious chord changes and cascading arpeggios, sprinkling delicate percussion throughout like a flurry of phosphorescent dust particles. Wig Teleportation is a complicated looping narrative that ebbs and flows, snaring the soul with melancholy yet keeping your interest piqued with intricate layers of rhythm. These two songs will heal through the power of bodywork.

SLEEPERS POETS SCIENTISTS is the compilation of 9 female Georgian artists. It showcases works by Natalie Beridze's students at the CES (Creative Education Studio), where Beridze teaches song-writing and music production. Natalie Beridze is an international well-established artist with releases on Max Ernst, Laboratory Instinct, and Monika Enterprise, through live performances, theatre and movie soundtrack works, as a member of artists collective Goslab, and collaborations with Ryuichi Sakamoto, Thomas Brinkmann, Gudrun Gut, Nikakoi – to name but a few. "This compilation is the backbone of what I try to persuade as a lecturer and as a person, who endlessly loves the music-making process. "Sleepers, Poets, Scientists " is the embodiment of intelligent, benevolent, dedicated, talented and beautiful women, who I believe have a bright future as female composers in Georgia and this album is a significant step towards it."

The retro cover is a nod to the famous group shot from the 1927 Solvay conference, which brought together physicists like Albert Einstein, Erwin Schrödinger, Marie Curie, and others. With this in mind, the name Sleepers, Poets, Scientists rings like a call to action for today's brightest minds, to wake up and save our chaotic, troubled world.

After S3A's "Pages" double album earlier this year we asked some of our friends to re-interpret and re-construct their favorite original track off the album and deliver these fine remixes. We aimed to have a nice variety in styles on this record and hope you enjoy these tunes as much as we do!
Starting off with the live disco funk of "Lorenz Rhode" who sets the tone for a class dance floor EP and followed by the soulful deep house vibes of French master "Art Of Tones" aka "Llorca" who delivered 3 different mixes to this release. The main mix is on the vinyl and there are two bonus mixes added to the digital release, a "Beats" and a "Dub" version. Ending this brilliant first side is London's newcomer "Dampé" with that deep and jazzy electronica approach we got to love him for on his first debut Dirt Crew Recordings release.

On the flip we pick up the pace and present you the faster dancefloor tracks of Amsterdam's "Nachtbraker" with his freaky hallucinating sounds placed atop of one of these irresistible bass lines only he can come up with and leading towards an "end with a bang" in best Detroit ghetto house style by our own Icelandic fire "Felix Leifur".

Each artist perfectly transported his own unique styles into these tracks and we hope this release with its broad approach will serve any dance floor to its best!

Johnny Clarke is one of the great vocalists that ruled the Jamaican Dancehall scene from the mid – 1970’s to the early 1980’s. While Bob Marley was out conquering the world, Dennis Brown, Gregory Issacs and Johnny Clarke were winning the hearts of the Jamaican people .Johnny Clarke’s use of the ‘Flying Cymbal‘ sound took the Island by storm and produced a run of hit singles few could match.
Johnny Clarke (b.1955, Jamaica, West Indies) cut his first record ‘God Made The Sea and Sun’, after winning a local singing contest in the Bull Bay area of Jamaica. Although the single was not a hit, it led to two follow up tracks for producer Rupie Edwards, ’Everyday Wandering’ and ‘Julie’ that fared much better, both on the island and oversees in England and Canada. These tracks also brought the singer to the attention of producer Bunny Lee and a working relationship that would go on to produce a prolific catalogue of music. Johnny Clarke’s Dread Conscious / Love Song style were to grace many hits around this time in 1974. Such tunes as ‘None Shall Escape The Judgement’, ‘Move Out of Babylon’, ‘Rock With Me Baby’, ‘Enter The Gates With Praise’ to name but a few. All new songs added to a host of cover tunes, recommended by Bunny Lee, many taken from the singer John Holt’s catalogue, that suited Clarke’s vocal style. The rhythms were cut at various studios around the Island. Randy’s Studio 17, Channel 1, Treasure Isle, Dynamic Sounds and Harry J’s, by a group of musicians loosely called the Aggrovators and some tunes incorporating the ‘Flying Cymbal’ sound again introduced by Bunny Lee, working the Hi-Hat in fine style. The tracks were then taken to King Tubby’s studio where Johnny Clarke’s vocals would be voiced.
Another phenomenon that was happening in the early 1970’s, was the version cuts to vocal tracks. This is when the tunes were cut back to the bass and drums and the vocals were dropped in and out in a dubbed style, and reverb and echo and various effects were added to these tracks. The main exponent to this style was King Tubby himself, and as was the fashion at the time, each vocal track would carry a version as its B-Side. Producer Bunny Lee lead this style working closely with King Tubby and all of his singles from then on would carry a Dub cut on its flipside. As Johnny Clarke was one of Bunny’s main singers at the time, we would hear a great selection of popular songs getting the dub treatment and in many cases the single was purchased for its more exciting dub cut, again made popular at the various dances where the dubplates were played out. We have compiled some of the best of these dubs from the time and put them together for this release, hope you enjoy the great voice of Johnny Clarke alongside the productions of Bunny Lee and the creative genius of King Tubby, a great combination we hope you will agree….

Zodiac, a new collaboration between Brendon Moeller and Monty Luke, present a heady brew of sci-fi dub and deep rhythms on a full-length album, ‘Serengeti By Night’.

With meditative roots music at the very heart of ‘Serengeti’, experimental ideas are excavated over ten tracks. Vivid atmospheres are conjured up, as tribal trance, voodoo dub and otherworldly electronics are deployed over rock steady rhythms.

With influences that lie in the musical endeavours of African Headcharge to Rhythm & Sound, Public Image Limited to Cybotron, Zodiac keep the flame burning for exploratory dub-leanings, and deliver an album from the space station above that administers sophisticated braindance sounds that will command repeat listens...

Secretsundaze welcomes Eliphino to the gala relaunch of their imprint for a thoroughly satisfying mini album of contemplative jacking and dulcet breakbeats.

Eliphino's most recent 'Realistic Sex EP' on the hotly tipped Meda Fury label boasts thunderous breaks, 303s and serious sub-bass pressure which has gained praise from tastemakers such as Jon K, Carista, Josey Rebelle, Moxie and Gilles Peterson.Having flexed with this darker edged EP after a long lay-off from releasing, while sharpening his skills and reconnecting with his musical inspiration, Eliphino is now ready to really cut loose with 'Breaking Up Is Hard' - a statement longplayer that dreamily investigates the dusty spaces between house, breakbeat, ambient, hardcore and acid. Tom This album came about as way of focussing my energy in the wake of a significant break up. I tried to experiment with melody and texture to convey some of the range of emotions that come with such a testing time. That being said, the B-side bangers are more dedicated to abandon and forgetting your worries.

Hailing originally from the Leeds, but with time spent in both London and Berlin, 'Breaking Up Is Hard' lands somewhere between the Hessle Audio crew, Joy O and Selected Ambient Works era Aphex.

Having previously released heaters for Brownswood and Hoya Hoya over the years, Eliphino stepping up for the debut artist LP on the reactivated Secretsundaze label feels like a natural fit as James Priestley explains:

""We've collectively had a connection and friendship with Tom that goes back several years and in fact it was receiving this work as demos that really spurred and inspired us into getting the label rolling again. It feels totally right to be working with him on this and for this mini-LP to herald the relaunch of the label as it moves towards a more artist led as opposed to EP driven approach.

Chillum Trio started out as a collective of like-minded musicians in 2002, however, after releasing an album together (which was supported by the likes of Laurent Garnier) the project slowly become the solo act of founding recording producer, Geza Szekeres.
At that time he discovered West-African music, latin jazz and the universe of soul and funk, these new directions have been shaping his musical evolution ever since.

In 2014 he turned out as one of the winners of Gilles Peterson's Havana Cultura remix contest that gave him the opportunity to travel to Havana and record music with the creme of the Cuban jazz scene.
One of his songs recorded in this session got released on Brownswood Recordings compilations Havana Cultura Mix and Havana Cultura Anthology.

Budabeats Records is more than proud to release Chillum Trio's first ever 12" single called Cosmotropica with two dancefloor friendly tracks mixing broken afro-house with tropical and cosmic influences.



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The second full-length LP from Jungle Brown, ‘Full Circle’, drops on Mr Bongo in September 2019. Featuring collaborations with Sampa The Great, Fliptrix (High Focus) and Terri Walker amongst other super-talents.

The trio – Ric Flo, MAEAR & Tony Bones – have spent the last two years redefining soulful hip-hop – the sound is bigger, more thought-provoking, and it has matured with a rich soulful underpinning. They have also entered territories fans are yet to hear from them as they glide effortlessly over Tony Bones’ productions that introduce trap and house into their repertoire. The
project is an eclectic array of their influences, twisted and blended together to create a ground-breaking release for UK music.

Jungle Brown’s debut album ‘Flight 314’ has achieved more than a million streams without any budget for marketing or promotion. They spent much of 2016 in Apple Music’s ‘Best of 2016 category, featuring on Spotify and SB.TV, were requested to curate an exclusive playlist for Tidal and attracted attention from New York with Beats 1’s very own, Ebro.

They’ve shared the stage with the likes of De La Soul, Ghostface Killah, Lowkey, Akala and Donaeo, played major festivals including Glastonbury, Boomtown and Lovebox as well as a huge number of clubs shows across the UK.

Raucous 60’s R’n’B monster obscurity and killer dance tune. Super rare on original pressing

Vegan straight edge outfit SECT unites vocalist Chris Colohan (Cursed, Burning Love, Left For Dead), guitarists James Chang (Catharsis, Undying) and Scott Crouse (Earth Crisis, The Path Of Resistance), bassist Steve Hart (Day Of Suffering), and drummer Andy Hurley (Racetraitor, The Damned Things). .

The result is a caustic, riotous, belligerent style of vile hardcore fed by a boundless well of socio-political vitriol. Blood of Beasts was recorded with Kurt Ballou at GodCity Studios and mastered by Alan Douches at West West Side Music.
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"Blood of the Beasts" is ten reflections on the myth of progress, the new old tribalism, the single face of all subjugations, the broken promise of automation, love, loss & obsolescence set against the dying light of a better tomorrow.

Reaching out to the real roots of the Jamaican sixties musical explosion…

Some of the originators of the genre, including Ernest Ranglin, Lennie Hibbert & Cecil Lloyd, playing in their element and demonstrating just where they're coming from

It has been a long time coming, LDDLM is more than happy to welcome a house friend, Cosmo Vitelli.
This EP is a complement to the recent (and forthcoming) Malka Tuti releases, coherent fragments of a creative year. If Cosmo is known for his wavey-krautey (I have no other words) productions going back to the Bot’ox days, he also has a meaner side.The aptly titled “Un Episode Psychotique” is disco gone wrong, italo with neurosis, straying from polished clichés, musical yet strangely anxiogen.It is turned into an Eighties monster by GOTT aka Sneaker and Scannoir. Their Creatio Instrumentalis is a cold funk monster and their Creatio Continualis amps up the EBM factor.
How does one translate Giallo in Croat? “Tisja” may answer the question, the spoken words of Tanja Vežić burning through the celluloid.

Finally, “The Shy Dictator” is like an early Chemical Brothers breakbeat monster, powerful yet psychedelic, canalised fury of bells and drums.

The first album on Numbers from Complete Walkthru aka US producer Max McFerren, titled Scrolls, is out on 20th September 2019.

Scolls plays around with themes of privacy, disillusionment and personal development over eleven tracks, representing a transitional time in McFerren’s life. Through Scrolls’ early stages he moved from New York, where he was holding down a residency at Brooklyn’s Bossa Nova Civic Club and playing regularly in downtown Manhattan at the iconic China Chalet and the now much missed Santos Party House, to the open, rural setting of South Carolina.

The albums personality, and the thematic preoccupations underlying it, reflect the impact of this contrast. It’s sound textures cast widely into what McFerren describes as “the ephemera of the saturated digital realm” while moving through arcane rhythms, chiming melodies and expansive, metallically tinged ambient passages. First single Lean In, streaming in full now, is a dusty breaks-tight miasma of fragmented cyber-consciousness. There are playful, hyperactive refrains on Getting Ridiculous. Leavin’ Church Early is an expansive beat free meditation, while NYC’s dynamic momentum is a cityscape of bad-faith corporate aspiration.

McFerren refers to his motivations with Scrolls as being “anti-nihilism”, as reacting against a dark emptiness he perceives in certain forms of techno. Ultimately with the record, he is seeking the potential of centring joy in the present moment, in a conscious awareness of now.

Hailing from Chicago, Beau Wanzer has carved out a singular voice in electronic music since debuting on the L.I.E.S. label in 2013. Wanzer’s music is not industrial, wave, electro, or techno - it’s a unique and twisted amalgamation of all that, and more. Crazy as it sounds, we at Suction Records have been sitting on this Beau Wanzer material since 2003. Back then Beau was working at Weekend Records And Soap — a Chicago hub for the city’s exploding electro scene — when Solvent and Lowfish rolled into town to perform at an Ersatz Audio label showcase. We met Beau at the shop and he gave us a 21-track CDR. We were instant fans, fast friends, and went on to the share the stage with him several times, well before he released his first records. That CDR contains these 6 tracks now released on 10”-vinyl as the “Do The Spider Shimmy” EP. This is suction049.

Had that CDR not been held onto, and recently-unearthed by Solvent, this music would have disappeared into digital oblivion; Beau had long forgotten them and didn’t even have a copy of these CDR tracks. Beau Wanzer’s trademark sound — raw, minimal electronics and effected-beyond-recognition vocals — were already in full-effect circa 2003, but what makes this material different from his contemporary output is the dry, drumbox-funk influence of Detroit’s Ersatz Audio label (Le Car, ADULT.), which is also heard loud and clear across the EP.

2019 marks the 20th anniversary of ‘Low Birth Weight,’ the second album by Piano Magic, then a loose collective of musicians centred around founder songwriter, Glen Johnson. Though a year later, the collective would take shape as a bona fide internationally touring group, in 1999, Johnson had one foot in his native Nottingham and the other in his new home of London where, finding himself label manager at Rough Trade Records, also became highly prolific, releasing his own records across a myriad of micro-labels (Che, Wurtlitzer Jukebox, Darla, Rocket Girl, etc).

By his own admission, ‘Low Birth Weight,’ owes much to the East London experimental group, Disco Inferno who, embracing sampling technology, attempted to turn pop music inside out. By 1995, the Inferno had burnt out but Johnson remained inspired by their playful, subversive manifesto and thus, the album here, partly produced by “Nottingham’s own Martin Hannett,” Martin Cooper, is difficult to pigeonhole either at the end of the millennium or even now. Drum kit signals are fed through a tiny amp literally inside a cardboard box; breathing is employed for rhythms; kick drums are replaced with broken glass; there’s a ragbag of tablas, huge slap back delay and phase, theremin, shortwave radio, and more.

Aside from the DI benchmarks, ‘Low Birth Weight’ bears the marks of an infatuation with the dreampop of the time – the guitar saturated in delay and overdrive – inspired by the likes of AR Kane and Kitchens Of Distinction and not the more languid “shoegaze,” which has oft been levelled at LBW.
There’s a revolving door of guests on the album, including Pete Astor (The Loft/The Weather Prophets) on a cover of Disco Inferno’s ‘Waking Up’; Simon Rivers of The Bitter Springs supplies lyrics and voice to ‘Crown Estate’ and ‘Dark Secrets Look For Light’; Jen Adam, then an American art student on a year’s placement in London, writes and sings ‘The Fun Of The Century,’ a personal account of being pushed off a roof at a party by someone she thought a close friend.

‘Low Birth Weight’ is undoubtedly of its time, though undoubtedly more playful and literary than much of the music made during the late 90’s and a fascinating bridge between dream pop and experimental electronic music.

The rarest of all exotic LPs, like Eden Ahbez but with extra added death. This bizarre, rarely heard masterpiece brings together jazz, ancient manuscripts and a convicted murderer…

Issued originally in 1959 it originates from Pheonix, Arizona. The concept behind the recording was unusual - to brings together two unconnected worlds: the jazz genius of Buddy Collette with the academic oriental studies and translations of A.I Groeg.

Little can be found of A.I. Groeg, But before the LP was recorded A.I Groeg had translated several Polynesian and Japanese manuscripts. These form the basis of the dark narrations and lyrics across the album.

Sublime vocalist Marni Nixon (the voice of Maria in West Side Story) was brought in for two songs and fledgling actor Robert Sorrels (now a convicted murderer) supplied the strangely unsettling and almost otherworldly narration.

The original LP states that “Buddy was given carte blanche with the material. After six months of composing and studying with the voice soloists, the results were two instrumentals and two songs on side one, and tone poems on side two. The latter represents a new musical genre. They are musical descriptions, preceded by spoken lines, and they become tone poems or musical illustrations inspired by the islanders, their words and marvelous simplicity. The mood is complete, yet hovers strangely in the air like a vague tantalizing dream.”

I’d first heard the album in about 2010 on a bizarre bootlegged CD (edited strangely with exotic library music), and spent the next few years desperately trying to find an original pressing. About one copy turns up a year, it seems to be far rarer than the legendary Eden’s Island album and occupies a similar musical space. But this album has a little more death.

Heaven knows what new listeners will think of Polynesia, but it sure is a dark and weird musical trip. One I feel everyone should take.
Jonny Trunk 2019

Deliquent Delivery’s third EP titled U​ comes from Dublin based label head Stephen Mahoney, who contributed two tracks to the label’s last split EP.

Mahoney’s vision for Delinquent Delivery is visible on this release, showcasing his talents which range beyond A&R and delving into production. ​U features five untitled tracks, contrasting thumping dancefloor driven techno with spacey atmospheric ambient tones. With over twenty years experience as a DJ, Mahoney’s ear for precise, engaging rhythms and melancholic tones can be heard throughout​ U.​

A1​ sets the tone of ​U.​ A thumping kick lays the foundation for the track, with gritty, cutting melodies juxtaposed with polished, pensive tones. Rhythmic structure is a large component of Mahoney’s signature sound, with cleverly placed hats and snares audible on ​A1​. A strong link to the sounds of Detroit sounds of the ’90s is audible here, synonymous with Zenker Brothers et. all.

A2 c​ontinues down the path previously set out, with another dance floor directed track. More subtle than previously heard, Mahoney drives the track with a glossy lead, only to break the track up and juxtapose it with a gritty, murky underlying melody. ​A2 ​also focuses heavily on rhythmic structure, with well-placed spacing allowing energy to be retracted and reintegrated with more tenacity.

A3​ takes ​U​ to a different space with an ambient excursion. Mahoney here showcases that he is capable of creating lush, captivating soundscapes which transport the listener to a place of tranquillity. Dark, harrowing undertones are balanced with ethereal swells, maintaining the aura of the record established.

B1 moves back to the dancefloor, with a thumping kick and jagged, piercing tones. Mahoney’s versatility as a producer is evident here, as ​B1​ moves in the same vein as the A-side of ​U​ but is completely different in style. Prime-time dance-floor material, this track drives forward with ferocity and grace, cleverly being broken up with sparkling synth tones only to hit back harder than before.

B2​ closes out ​U. ​A bouncy kick drum sets the tone, with atmospheric, dark swells creating an engaging sonic tapestry. Sparse, delicately placed lustrous tones take the lead, with airy swells contributing to form a wonderful balance of light and darkness. Mahoney’s focus on precision within rhythmic structure is again noticeable here, with rhythmic elements forming their own melodies throughout ​B2​.

U​ is Stephen Mahoney’s first full release on Delinquent Delivery and captivates the essence of his vision as a producer entirely. Versatile, engaging and polished, ​U​ contains five tracks which all compliment one another wonderfully. ​U​ is a record which is as useful in a DJ’s record bag as it is for home listening.