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“Dance dance otherwise we are lost” is a raw and insightful EP with 5 non-conformist tracks ranging from the hard hitting yet poetic peak time 141bpm Trans TanzTheater to Orbits of Happiness 135bpm an unstoppable rhythmic force carrying the weight of a thousand lives. Woven by an orchestra of synths and their unescapable gravitational force, pulling you in – ever developing, ever growing.

Next up is Incessant Maze 139bpm a projection of the mind itself. A mechanism of transcendence and transformation. A raw and ready psychedelic techno assault to shake your mind out of your body and back into again.

Following the three originals are two very special remixes from Filmmaker and Polanski that bend time and space: a blissfully dark slow tempo remix of “Orbits of Happiness” by London’s experimental techno Producer/DJ/Promoter all-in-all powerhouse Polanski. At 120bpm, the “Is this happiness?” remix has had its question answered already by the sensational feedback received so far: A sultry timeless cut. There’s no way to escape. Not that you would want to, anyway.

Finishing it off, undoubtedly one of the standout artists in 2019 rising star Colombian producer Faunes Efes’ Filmmaker project has released a slew of incredible albums and EP’s this year already. Here he delivers “The Quandary” a wild and psychedelic cut of Incessant Maze merging hypnotic vocals with an ever driving percussive power that is already getting some special support in Europe and South America 130bpm.

Phuture Assassins - ‘Back To The Phuture EP’ - We are going back to the Phuture with this incredible package of exclusive 'Future Sound' mixes which has something for everyone!

The very first release, before there was Suburban Base, was a Boogie Times release which didn't even carry a label name or logo... BOOGIE 001 under the artist name 'Phuture Assassins' became the record that really did start it all. So what is more appropriate than the next release in a continued order of catalogue numbers for the whole new era of Suburban Base than a Phuture Assassins release as SUBBASE 77 to continue your collection.

Leading with the unreleased Dead Dred '95 Dubplate which was considered a 'lost DAT' until it was recently unearthed amongst the archive of masters in Sub Base storage. You can imagine how excited we were to rediscover this and were able to save and remaster it for release. This was intended as part of a remix package that never ended up being released and was only available to a selected few as a Dubplate, that is, until now.

Alongside it we have included the 2 Bad Mice remix, which is now considered not only a classic but it is also the definitive mix of 'Future Sound', for those of you that were looking for a reissue. Its been expertly remastered to superb quality.

You wanted a brand new remix? Mark XTC & Exile's 'Future Sound' 2021 Remix brings the 1992 future to the 2021 present! They have given the timeless Suburban Base classic 'Future Sound' the remix treatment, producing 'raise your lighter' moments in their inimitable style, drum and bass with deep subs, whilst still keeping to the original vibes of this classic.

And completing the package is a version from the legendary Cause4Concern, their remix of Future Sound was only ever promo'd and despite receiving critical acclaim and extensive club play it never saw a full release. Now it's being fully unleashed in beautifully re-mastered form.

This release has it all, unreleased 'lost' mixes, remastered reissues, brand new remixes, beautiful special effect vinyl for the entire pressing run, all wrapped up in one of the most stunning original Nodz artwork sleeves ever created, an Assassin from the Phuture emerging from a time travel wormhole firing Sub Base Bullets!

Samosa Records releases are coming thick and fast in what could be their finest year yet. Lex & Locke are the latest talent to make their Samosa debut with their ‘Pacifica’ EP – a sublime three tracker which is mouth watering from the off.

First up is Balandra. From the moment you hear the raw four to the floor drumbeat, you’re under its spell. The infectious bass riff moves the scenery around a little, whilst the subtle bongo attack teases what’s to come. And what’s coming is a funky, rolling cosmic lead synth that has no right to sound that damn sexy, no right at all. The vibe quickly grows into an interstellar journey, aided by an outrageously funky clav jam that gets inside your head. Balandra feels like the soundtrack to an ‘after dark’ undercover stakeout in a 1970s cop thriller. Detectives Lex & Locke are on the case and the evidence is compelling. A unique, 122bpm funk bomb which has the Samosa fingerprints all over it.

A2 is Cabo Pulmo – continuing the vibe of Balandra, Lex & Locke lay down some serious grooves in what initially sounds like a live funk band jamming away in the studio without a care in the world. No soon as we get into the beat and the bass, there’s an immediate switch to a swirling, bold cocktail of funk infused with a touch of jazz that belies the 124bpm tempo. The production is expertly tight; layers of synth, electric organ and punchy guitar riffs make this ideal for both the sun terrace and the dance floor. You’re under arrest, and Lex & Locke are reading you your rights!

The final track, Nine Palms has a real quirky, almost broken beat feel to it with its high-hat ride pattern and punchy bass drum. A wickedly twisted analogue organ riff is quickly introduced, which is cleverly used as both a rhythm device and the melodic platform that sets up the whole track. Lex & Locke seem to be total masters of a ‘free-style funky synth lead’, and we’re treated to another slice of this particularly tasty pie in ‘Nine Palms’. Whereas Balandra is the late-night stake-out, Nine Palms is the final act where Lex & Locke high five each other following another successful bust.

The Pacifica EP has a wonderfully intimate and assured vibe about it and is sure to feature in many a summer soundtrack. This release also proves that Samosa Records aren’t afraid to go off the beaten path occasionally - and when it’s this good we’re more than happy to follow. Grab this amazing cut of wax while you can!

KOKOROKO return with this exclusive Double A Side vinyl of 'Baba Ayoola' and 'Carry Me Home' released via Brownswood Recordings on 25th June 2021. Both singles achieved huge support upon digital release by BBC Radio, BBC 6 Music, 1Xtra, Afropunk, Clash, Rolling Stone France & NPR. 'Baba Ayoola' was written as a tribute to the grandfather of the band's alto saxophonist Cassie Kinoshi and is 'an invitation to celebrate life'. Whilst 'Carry Me Home' was inspired by conversations with the masterful Dele Sosimi, whose technical ability in bridging the gap between the West African afrobeat sound of his roots, and the London energy of his upbringing, has directly informed the ever-impressive capabilities demonstrated by London's eight-piece collective, KOKOROKO.

Repress

The multi-faceted producer and DJ, and one of electronic music's most respected, Calibre releases his brand new record 'Planet Hearth' on November 29th. An album featuring exclusively new material, and dedicated to a very close friend who passed away last year, this is by far the most personal and poignant record he has ever made.

First coined in 2015, the album has taken four years to complete and in his own words 'part of a slow metamorphosis that I have wanted to do for a long time'. Escaping to Valentia on the West Coast of Ireland, he sought solace away from the grind of modern living to write music and draw inspiration from his surroundings. It was during this time that he experienced great personal loss, which can be felt throughout the record, forming an emotional narrative that will make even the hardest of hearts shed a tear upon listening.

The title track 'Planet Hearth' was made in Belfast a few weeks before losing his close friend, and in his own words: "I remember this one feeling very automatic and emotionally engaging, the timing for me has great meaning". Whilst the track 'Five Minute Flame' was written in five minutes one morning in Valentia with the sun streaming in and the coffee being made, showing just how he can draw inspirations at any moment of the day, "I love the immediacy of writing music very much" he states. Largely ambient, there is a nod to his drum and bass roots with 'Walking in Circles', a track that can, and has been played in one of his dnb set. Whilst the album has been playing throughout the year in different club settings, opening the night with the sound that he so loves, the record wasn't made for the club as such, 'originally the idea was to put music together that didn't need to be played in a club, that it could be whatever I wanted.'

This is an honest and pure record that steps away from Calibre's drum and bass persona that he's so synonymous with. A somewhat melancholic and atmospheric piece of work, it still has that signature Calibre sound, attesting to incredible diversity of the man. A true master of his craft, his ability to constantly create and consistently deliver with such honest expression is staggering. A chameleonic creator in the purest form - as a painter, fine artist, multi-instrumentalist, writer and producer - he has a career stretching over two decades with over fifteen albums of varying genres.

To coincide with the release of the album on November 29th, it's perhaps fitting that he makes his return to XOYO - the London venue he resided in for 10 weeks from July through to September - as he plays on the Dekmantel Soundsystem residency, who he passed the baton onto for the Autumn Winter season.

This is Calibre in his rawest, purest and exposed form, delivering a body of work that he cares about the most.

In the fight against Alzheimer’s, epilepsy, schizophrenia and other diseases characterized by an imbalance in neuronal activity, there are chemical weapons, such as those that try to prevent the protein fragments known as beta-amyloid plaques from developing in the
cerebral cortex , and physical, such as electrical stimulation that allow to restore the functionality of brain cells. This last resort, which has already been shown to be effective in modifying the activity of the cerebral cortex, is today a weapon of general intervention.

Converting it to precision requires the development of individualized and predictive brain models that allow identifying where and how much to stimulate each patient. To achieve this, an international European team is working on the creation of virtual replicas of the
most unknown organ in the body: the Neurotwin project.
According to recent research, the decrease in power in the neuronal oscillations of the gamma band of the cerebral cortex (a pattern whose frequency ranges between 20 and 50 Hertz) favors the development of protein fragments related to Alzheimer’s.
Transcranial application of weak electrical currents has proven to be an effective and painless way to modulate brain activity without side effects.

The objective is to create complete computational models of the brain with real data of living beings (human patients) and that allow to anticipate and specify the effects of noninvasive stimulation techniques on neurological mechanisms.

“Never turn your back on a friend.”
Alfred Hitchcock

Mastering – Eternal Midnight Mastering Studio
Cover Art – Nitasha Singh Brett
Visuals - Dietriamgle, Espii Studios, Irene Avellanal

Razor-N-Tape Reserve presents a very special new package of remixes of the band BaianaSystem, bringing together one of Brazil’s most exciting contemporary sounds with modern dancefloor-minded production.

The standout track of their 2018 LP 'O Futura Não Demora', Água is a lyrical poem to the people of their native Bahia, featuring the legendary Antonio Carlos & Jocafi, with orchestral melodies, an incendiary vocal chant, and traditional organic Brazilian rhythmic approach.

On the A side, Freerange boss Jimpster delivers two exceptional takes on the song, augmenting percussion and adding synth layers to create deep and hypnotic tribal house textures within a sublime sonic soundscape.

On the flip side Brazilian producer Diogo Strausz joins forces with RNT boss JKriv to highlight the symphonic and melodic elements with their vocal mix, and then go into dark and driving percussive electronic territory on their fiery dub. With stunning visual art realized by Costa Rican designer The Myno, this package is as essential and smooth as water!

We’re excited to be launching a new release series: “Melodies Record Club”, a string of DJ and artist curated mini compilations in loud 12” format.

The first instalment was put together by Four Tet, selecting two big peak-time Jazz tracks he used to spin regularly at Plastic People.

On one side, we’ve got all time jazz greats Jackie McLean and Michael Carvin’s De I Comahlee Ah, taken from their seminal album Antiquity recorded in Denmark back in 1975. A year and a half ago, we visited Steeplechase, the original label in the outskirts of Copenhagen. They informed us that at the time, the track was cut short as it didn’t fit on the full LP. They were kind enough to provide us with the tape of the full original recording, allowing us to release for the first time the full extended version capturing twelve and a half minutes of studio magic. Speaking with Michael back in November, he told us that every song on that album was recorded without any overdubs. They had taken their shoes off and organised the studio in such a way that they could move from instrument to instrument during the take (!!)

On the flip, we have Chris McGregor’s Brotherhood of Breath – MRA. Back in 70s London, the Brotherhood had brought together musicians who had sought refuge from South Africa’s apartheid regime and the best of a new generation of British jazz musicians. Music journalist Richard Williams, who had originally reviewed the band in the 1970s tell us: “They made music that appealed in equal measure to the head, the heart and the feet, taking the jazz legacy of Duke Ellington and Charles Mingus and adding to it the fantastic dance rhythms and gorgeous harmonies of the townships and untethered collective improvisations of the new free music”.

Four Tet’s instalment is out early May in 12” format and digitally (stream & download), first press comes with a folded A2 insert with words from and about the artists. Graphic design by Studio ChoqueLeGoff, illustration and animation by Nevil Bernard and for the audiophiles out there, remastered and cut at half speed by Matt Colton at Metropolis Studios!

The second instalment curated by Ben UFO is scheduled shortly, which will be followed over time by a string of releases including selections from Hunee, Mafalda, Floating Points, Anya & Julia from Javybz, Daphni, Josey Rebelle, Charlie Bones, Gilles Peterson… and more, stay tuned!

This Mini-LP was originally released on Materiali Sonori in 1984 in Italy and is long out of print. Alexander Robotnick (aka Maurizio Dami) is an Italian electronic musician. He made his debut on the Italian music scene as the founding member of Avida, a dance-cabaret band featuring Daniele Trambusti and Stefano Fuoch. in 1983 he attained international popularity with his track “Problèmes d’amour”, published first by the Italian label Materiali Sonori and then by Sire-Wea. “Problèmes d’amour” went on to become a “cult track” of the disco scene. After 40 years Spittle Records in joint venture with Materiali Sonori re-issues the mini album and the 12” with its original artwork.

"Once I was in Chicago, it was around 2010, I was just finishing my set and went outside the club to light a cigarette. Suddenly a police car stops nearby. I thought the policeman was here to fine me (I was more than 20 meters outside the venue), but he just lifted a poster of mine and asked to sign it. Then I realized that "Problèmes d’Amour" has been for a longtime the opening theme for a popular radio broadcast well-known between the black community (hence the policeman was black)”. - Maurizio Dami

It’s time for the label founders to take control over our spaceship. Clusterhead offers four slices of proper abstract techno for those who know.
Release starts with Alteración del orden: a broken kick spiced with elastic synth washes and microdrones sets the pace while the rest of the percussive elements appear softly in the arrangement. The main sequence grows and mutates as minutes go by, reverb and stereo treatment goes heavier until repetition makes the desired effect on the virtual dancefloor.
Second cut Resiliencia Incesante again relies on broken kicks and processed synth lines. The BPM rate is higher here and the percussive elements are snapper and tighter. Sounds twist and change over time as the frequency range grows. An industrial ode to obscurity.
On the flip side, Automutilación creativa brings us again into oblivion, shuffled grooves obsessive sequences continuously moving and high pitched synthetic drums running through the stereo field.
Closing the release we have Notzing on board, still recovering from his amazing experimental work on our label, we give him again the commands of our spaceship to translate his mental obsessions in this superb rework of Automutilación creativa.
One more time we push the sound boundaries on behalf of timeless futuristic music in touchable format.
ESPAÑOL
Es hora de que los fundadores del sello tomen el control de nuestra nave
espacial. Clusterhead ofrece cuatro rebanadas de techno abstracto para aquellos que saben de lo que hablamos.
El disco comienza con Alteración del orden: ritmos rotos condimentados con sonidos elásticos de sintetizador y microdrones marcando el ritmo, mientras que el resto de los elementos percusivos aparecen suavemente en el arreglo. La secuencia principal crece y muta a medida que pasan los minutos, la reverberación y el tratamiento estéreo se vuelven más presentes hasta que la repetición produce el efecto deseado en la pista de baile virtual.
Como segundo corte Resiliencia Incesante nuevamente se basa en bombos rotos y líneas de sintetizador procesadas. La tasa de BPM es más alta aquí y los elementos de percusión son más rápidos y ajustados.
Los sonidos se retuercen y cambian con el tiempo a medida que aumenta el rango de frecuencia. Una oda industrial a la oscuridad.
En la cara B, Automutilación creativa nos trae de nuevo al lado oscuro, grooves mezclados, secuencias obsesivas en continuo movimiento y percusiones sintéticas de alto rango recorriendo el campo estéreo.
Cerrando el lanzamiento tenemos a Notzing a bordo, todavía recuperándonos de su asombroso trabajo experimental en nuestro sello, le damos de nuevo los comandos de nuestra nave espacial para plasmar sus obsesiones mentales en esta soberbia reelaboración de Automutilación creativa.
Una vez más empujamos los límites del sonido en nombre de la música futurista atemporal en formato táctil.

Finally available again as a 12 “maxi single! From the legendary film music of John Carpenter’s box office hit “Assault On Precinct 13” from 1976, including the “John Anthony Scratch Mix” and the “Remix” of The End.

Double LP: Heavy 350gsm Sleeve, Liner Notes, Sticker

WRWTFWW Records is very happy to reissue Swiss cult band Grauzone's self-titled album in an expanded 40 Years Anniversary Edition packed with the original 1981 album plus 9 extra songs, as well as extensive liner notes by Swiss music historian Lurker Grand. The 19-track album is available as a double LP vinyl in heavy 350gsm sleeve and a digipack CD, both sourced from the original reels and put together under the supervision of band member and all around legend Stephan Eicher.

The pioneering band from Bern (Switzerland) had a short-lived but highly-regarded career which birthed a cult discography that still fascinates and resonates today. Consisting of core members Martin Eicher, Stephan Eicher, and Marco Repetto, and on-and-off participants Christian GT Trüssel, Claudine Chirac, and Ingrid Berney, the elusive group broke new grounds in the early 80s, experimenting with punk and industrial music, early techno sounds, minimalism, new wave, pop, and various electronics. With an innovative and polished approach to design, visuals, performance, and all around style and philosophy on top of their superb music, the constantly transforming unit developed a whole experience - the Grauzone experience: wild and unpredictable, yet sophisticated and cohesive, or as Swiss music historian Lurker Grand would call it, "an Art band with a Punk attitude".

Completely rejecting the music industry rules and refusing to play the game of promotion, touring, release schedules, and TV appearances even though they had a multi-platinum international hit with the song "Eisbär", the band quickly disintegrated in full convention-defying glory, leaving behind an inspiring music legacy for the world to discover and discover again, one generation after the other.

This extended version of their debut (and only) album beautifully crystallizes the Grauzone miracle/accident - where pop and youthful experimentation meet at (new/cold/no) wave and industrial crossroads, and where classic hits ("Eisbär", "FILM 2", "Raum", "Träume Mit Mir", "Der Weg Zu Zweit"…) flawlessly mesh with unconventional deep cuts ("In Der Nacht", "Film 1", "Maikäfer Flieg"…). Very simply put: GOOD timeless music with an edge.

Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and Sylvie Fleury, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin's Rephlex label.

When the first Placid Angels album dropped in 1997, John Beltran was already an established force within dance music’s then-emerging scene. He had a knack for both the melodic side as well as intricately designed rhythmic programming. A signature style that went for his early records in the 1990s as much as it does for this new installment of the Placid Angles series. The blissful synths, Aphex Twin-era IDM and loose percussive patterns take you right back to where it all began when genres didn’t mean anything and Beltran was just starting out to experiment with any sound that would elevate your consciousness. The Michigan-born artist since has spanned a career of nearly four decades, remaining relevant all the while, by playing the music he found himself most drawn to express. By working with artists like Detroit veteran Carl Craig, labels such as R&S or more recently his LPs for Delsin or his joint work with Four Tet. Whether it be his more Techno-leaning or New Wave-inspired works, his takes on Ambient, or the more Latin-influenced productions - he has always stayed active and re-invented himself while painting his records with a clearly own palette that is full of beautiful melodies and a timeless sound-design. The album Touch The Earth itself comes as diverse as the artist’s own legacy, ranging from skittish, colorful UKG to proper pulsing sub-basslines as it progresses deeper into intelligent drum programming and further into the melodic ventures of what’s at the core of Beltran’s work.

As Modularz approaches it’s 50th release - Label owner Developer decided to feature a 4 track sampler taken from

The new Lp by Chicago’s Zachary Lubin named “Omronicon” this is Modularz 49 to be exact and features a wealth of groove based bangers all carrying the same aesthetic and theme through the recordings. It’s hard to pin point if this is a hard or deep release so let’s say it’s entirely both and with good reason - it’s also very synth heavy and gains ongoing momentum the more you listen. It’s very obvious that Modularz puts out excellent techno and this is by far no exception. TIP

In the late ‘80s, a wave of British musicians raised on ‘70s UK pop, Caribbean sound system culture, reggae, lovers rock and Motown/Philly soul music fell in love with synthesisers, drum machines and 8-track recorders. The street soul generation had arrived.

Originally released as a white label 12” in 1989, ‘You’ve Gone’ is the sole release from Bassline, the studio project of Southeast London-raised musician Tony Henry, not to be confused with Tony Henry from Manchester jazz-funk/R&B band 52nd Street. Featuring the singer Lorraine Chambers, it’s one of the true jewels of the UK Street Soul scene. As Lorraine’s heartsick soul vocal glides over sunrise synths, dusty drums, elegant electric piano figures and a reggae indebted bassline, ‘You’ve Gone’ captures the optimism and strength of the era perfectly.

‘You’ve Gone’ was championed by Choice FM UK (now Capital XTRA), Kiss FM, and DJ Trevor Nelson. Tony went from selling white labels out the trunk to booking in Live PAs for Lorraine with London sound systems like Rampage and up north in the street soul loving cities of Manchester and Birmingham. “When Lorraine did PAs up there, she went out on stage like she was Beyoncé.”

The son of a Jamaican father and an English mother, Tony grew up around the London sound system scene. He taught himself bass guitar, keyboards, and production, before playing in the reggae band Chakwanza (Swahili for “the first”). In Chakwanza, Tony rubbed shoulders with Aswad, Barry Boom, Steel Pulse, Maxi Priest, Gregory Issacs, Dennis Brown, Ghettotone and Saxon Sound, before focusing on a career in banking over music. “Music was my first love, but it couldn’t have afforded me the sort of level of - let’s be blunt and pragmatic about it - financial success that would have allowed me to support my family.”

Outside of office hours, Tony continued to work on music at home, sometimes serving as a session bassist with local bands. In the late 80s, a work colleague mentioned her sister Lorraine Chambers was a singer. Tony and Lorraine recorded “You’ve Gone” over two sessions. “Lorraine went into the booth, put her headphones on and got into the song. My daughter turned to me and said, ‘Daddy, she can really sing!’”

Despite the success of ‘You’ve Gone’, they never recorded together again. “The world changed, and for me, it changed as well. My younger kids were born, and work started getting more intense. I got a bit more successful and was living a mad, kind of crazy life.”

Thirty-two years on, ‘You’ve Gone’ finally receives an official reissue comprising the lauded original mix, an alternate version and Tony’s Back to Bass-ics remix. Fittingly, in recent months, Tony and Lorraine have re-connected in the studio writing new material.

DJ Support
Nathan Micay, Madam X, Ben UFO, Extrawelt, Answer Code Request, Mosca, Foul Play, Crazy P (Hot Toddy), Lauer, Ben Sims, Om Unit, Martyn Bootyspoon, hrdvsion, Nick Craddock, Kikelomo, Laurent Garnier, Carl Craig, Addison Groove, My Nu Leng, Anja Schneider, Ame, Kassian, Orde Meikle (Slam), Richie Hawtin, DJ Autumn (Banoffee Pies), Henry Greenleaf, Rhyw, Fault Lines, Bake, Sly-One, Mak & Pasteman, Littlefoot + more

Once again Scottish heavyweights Duellist and iFormat join forces this time for Manchester’s finest, Drøne.

Their track, Rabid is a journey through twisted synth lines, driving
percussion and punishing kick drums. It relentlessly pounds your brain for just under 6 minutes and doesn’t let up. You have been warned.

The remix package is equally as impressive.

Japan’s takes the track in another direction entirely. Reducing everything down to the bare bones, yet creating something destructively complex. Half time kick drums and a wall of building noise await here.

LA’s AXKHAN is up next, cranking up the intensity with his ferocious take on the original. Dark and menacing from the off, AXKHAN at his finest.

Last by certainly not least is rave behemoth D.Carbone. Peak time warehouse techno is where D. Carbone excels, and that’s exactly what he delivers.

French techno artist Cøncenträte returns for his second vinyl release of Gynoid with a very deep and haunting track Semantika, that also gets a slightly more industrial rework by Jonas Kopp . The second track Timewarp is much fatter with lots of dance-floor punch and a bonus Developer remix.

The EP has already gained support from Ben Klock, Dave Clarke, Deep Space Helsinki, Drumcomplex, Kwartz, SLAM, Philippe Petit, Robert S (PT), Arnaud Le Texier, Rraph, Takaaki Itoh, Amelie Lens, Noaria, Advanced Human, Tom Hades, T-Dok, Unbalanace, Marcel Fengler, Cari Lekebusch.