Second of two new bass-infected dub EP's with a hint of techno by the Japanese Mystica Tribe. Titletrack ''Stars Are Mine'' and ''His Temple'' immediately set off to deep dub and bass territories in these two typical Mystica Tribe excursions: grooving, but dark with lots of effects and tribal influences. ''Prayer'' evolves around a catchy melodica that won't leave your head for days or maybe even weeks and ''Zen Stone'' tops it off perfectly with this gloomy scifi dubtrip.
Brooklyn Sway's 7th drop might best be described as the black market edition, but as always we leave the gumshoe work to those heads out there savvy enough to figure it out themselves. Thugfucker alum Acid Tourist and BKS stalwart DeWinter remix celebrated West Coast sideman ROC's cover of a tune that needs no intro, transforming a torch song into an acid belter while keeping its quality intact. Charles Levine, best known as Charlie from Soul Clap, steers close to his usual antics with 'Ocean Waves & Ashtrays', his ashtrays obviously full of blunt ends as he runs the voodoo down on a sultry funk number laced with fat lead keys and ideal for beach party afterhours or smoky late-night sessions. Returning for a second BKS appearance, Ohm Hourani's 'SupaDupaFly' fetches the funk again with rap vocal samples sliding just inside the industry 10% rule set amidst seesawing synths for a woozy, extended effort sure to influence sobriety decisions. On 'Hearts & Diamonds,' label honcho Jay Prouty and mainstay David Paglia join forces jailbreaking two legendary NYC freestyle anthems into a combination that rocks more like high period New Order, so when you catch Fumero's psychedelic painting winking at you off the plate after a few spins, you'll understand exactly why the sway resides in Bucktown.
Originally released following his acclaimed sophomore album, HYBRIDISM finds Ecuadorian producer Nicola Cruz at the height of his exploratory powers. Now reissued on limited editon green vinyl, this expansive EP re-emerges with renewed relevance—blending North African rhythms, ethereal Persian motifs, and vocal fragments that evoke both ancient traditions and imagined worlds. A contemporary take on global exotica, HYBRIDISM is a vital entry in Cruz’s ever-evolving sonic journey.
'Aima’, named after the refrain sung by Igbo girls from Nigeria, creates the illusion that you’ve dusted off a lost LP. The aesthetic details recall expertly produced French exotica from the 70s, an overall feeling of warmth and character rarely pulled off with such panache.
‘Naeku,' in Cruz’s words, is "a sorrowful song in minor tonalities, but with a warrior energy, strength and forward vision: a soul departs, but a new one arrives in the name of Naeku, a maasai child. Not all grief needs to be a suffering; a feeling which I can relate to the place I come from with a Quechua word: Llaquilla - triste, pero feliz (sad, but happy). As always, the 303 adds that heart touching feeling.” If there’s a template for Multi Culti’s ethos, Cruz has synthesized the formula: Masai lamentation filtered through Quechua wisdom with a touch of 303 for the soul.
'Drom Tradisie' is a nostalgic vignette that captures the fantasy of a scenic horizon on a lost beach, a portrait done with the FM domain of synths that somehow associates with tropical imagery.
'Third Eye Dub’ takes things deeper, exploring the fractal realm of concentration, a point where the Oud (played by Nasiri) acts on the pineal gland. This inward journey through the cavernous depths of the subconscious sails on a smooth modular groove that transports the listener across this psychic expanse, a filigree of Persian harmonies (in Shur, to be exact) tracing outlines in the dark.
Finally, 'Kawe’s Dream’ ventures even further into the imaginary spaces of the mind. It is an aural reconstruction of the Tibetan Bardo Thodol, or ‘Book of the Dead’, a sacred text that guides the spirit through the passage out of the body. In Nicola’s words "To paint that depth, I had these Tibetan chants in mind, that I ended up crafting with Ableton's vocoder over a piece of Ayan’s vocals (sung in a made-up language). A few notes, and it gave the gravity I was looking for in the song.” Stuff that only a producer as capable as Cruz could pull off.
Hybridism’s five tracks are sonically diverse, yet all possess an ephemeral quality, a pastoral, transitory feeling that travels through the music - we listen to the sounds pass us by, we might even catch a hook or two, but the feeling is of sand running through our hands, deep, elusive, beautiful.
naemi follows last year’s excellent Erika de Casier-starring »Dust Devil« with a genius new album of ultra-catchy, perfectly executed shoegaze diamonds, powered by Ulla on drums and additional vox, flutes and extra vocals by Baptist Goth, and fuzz guitar by Kouhei.
»Breathless Shorn« is the Berlin-based Kansas-born producer's most compelling move thus far, featuring 11 perfectly fuzzed songs that almost completely shake off any electronic remnants in favour of a light-touched act of MBV worship. naemi has long nurtured an obsession with vintage dreampop and shoegaze, but until now they mostly blurred those influences with dubby ambience and delicate, heart-slicing production. On »Breathless Shorn« they completely re-draw their outlines, bristling with a much looser energy in a mode that feels like a big step up - more impactful, full of easy swagger and a bona fide emotional resonance.
Distorted, tremolo-bent guitars, boxy drums, electric bass and delirious multi-tracked vocals are the backbone here, mostly sounding like they could have been lifted off Kevin Shields' »Ecstasy and Wine« sessions. naemi's attention to detail is remarkable; no longer leaning on electronic masking or the influence of '90s British slacker rawk or twee pop, instead deploying the genuine article, with ambient music left as just a faint note wafting in the background.
2025 Repress
Dom Dolla makes a triumphant return, with 'Take It', a deep, dark, heaving club mix that combines an evocatively catchy vocal, with a deep groove beat to create one hooky production. Off the back of his 2017 ARIA nomination for Best Dance Release for the huge collaboration with Torren Foot on 'Be Randy', Dom has been busy touring the globe, stewing away in the dark corners of clubs, tweaking 'Take It', until it reached tech-house perfection.
"I put the bones of this tune together in a hotel room while road tripping between gigs in Arizona earlier this year, feeling heavily inspired by the west coast club audiences I was playing to. The vocals were written and recorded while sick in bed, using my tour manager's iPhone earbud microphone and a duvet as my vocal booth. At the time I had planned on replacing my recording with a cleaner take when I got home to Australia, but was never able to recreate something I liked as much, so it stayed! It's been slaying it for me ever since.", Dom Dolla had to say on explaining the origins of 'Take It'.
Having received over 20 million streams and consecutive ARIA Club Chart #1s for the former and Define, his 2016 collaboration with Go Freek, it becomes obvious that perfection is a common occurrence for Dom Dolla. Also, giving reason to why Dom has been cherry picked for official remixes by the likes of RUFUS DU SOL, Flight Facilities, Peking Duk, Madison Avenue, Motez and Sneaky Sound System and ongoing festival slots at Beyond The Valley (closing out the festival 4 years running), Splendour In The Grass, EDC Las Vegas and Splash House Palm Springs.
With Chris Lake, Kyle Watson and Billy Kenny already jumping on board, 'Take It' will be sure to garner a solid amount of support from the big-dogs. This goes without saying when Pete Tong is your biggest supporter, playing a spate of Dom Dolla releases across BBC Radio 1, a guest mix on All Gone Pete Tong and chosen as support for Pete Tong's huge orchestrated Ibiza Classics show at Melbourne's Sidney Myer Music Bowl.
After being tried and tested, this track is 100% guaranteed to rip your heart out and 'take it' straight onto the darkest dance floor out there. Australia, hold tight for a tour announce very soon, otherwise you can catch Dom on dance-floors throughout the US from July.
11 million streams across Spotify, SoundCloud + YouTube
#1 ARIA Club Chart
#1 Beatport Overall
Named as Pete Tong's artist to watch for 2019
Teasing dread atmospheres and zooming in on microscopic details that bring every beat in every bar to life, Seb Uncles returns to Samurai Music with another deep dive into his exquisitely crafted, cinematic progression of the drum & bass tradition.
Even a cursory glance at the Eusebeia back catalogue tells you Uncles is an artist committed to the storytelling promise of breakbeat culture. His work has been heavily tipped towards albums since he first broke through around 2015, and across more than 10 long-players he's cultivated a strong line in moody, evocative jungle and drum & bass more concerned with world-building and subtle detail rather than aggression and intensity.
Following up on his 2023 LP for Samurai, X, on Undertones Uncles applies his signature meditative tones to a broad expanse. There's a consistent sound palette that leans on the warm snarl of monosynth low end and aqueous pads, delicately edited breaks and crisply sculpted synth percussion, but Uncles moves with dexterity around different tempos and structures within this considered sound world. The overarching notion is one of things lurking beneath the surface - a comfortably open theme to be approached and understood from any number of angles. It certainly chimes with the upfront detail and brooding tension that gives the Eusebeia sound such depth.
There are moments of direct drum pressure, such as fierce opener 'Undertones' with its diced-up breaks and icy chords, the boisterous jungle dread of 'Uncover' and chasmic roller 'Root Out', but on the likes of 'Beneath The Surface' and 'Out In The Open' it's the mellow elements that take precedence over the deft drum science. The motion is persistent and nuanced, but it's achieved without deferring to default dancefloor tropes.
'Emergence' marks a pointed shift towards a delicate strain of techno that maintains the album's sound at a mid-paced pulse, focusing on synth shapes and textures to achieve propulsion with only the lightest of drum parts. Alongside the energetic intrigue of Uncles' sonic choices, the melodic make-up of the track is a compelling showcase for his emotionally ambiguous approach, both rousing and chilling in the same curious chord shapes.
From the half-time prowl of 'Lifting The Veil' to the creeping textures and haunted phrasing of 'Brought To Light', Undertones is another stunning exercise in widescreen jungle. It flows naturally from the rich body of work Uncles has cultivated over the past 10 years while carving out its own unique pocket - a reminder if you needed one of the profound sound bedded into the Eusebeia project.
Under his Orion Westbrook alias, the man cooks up some serious heavy-hitting house grooves with a funky twist that hits just right. Side A brings the heat with Pasadena’s own queen Moniquea, laying down her signature style — smooth, confident, somewhere between singing and rapping, and always on point. She glides effortlessly over this modern boogie gem, oozing style and swagger. The wildest part? These two only met once — but the chemistry is undeniable. Flip it to Side B and you’re treated to the sultry voice of Mae Rojas, a familiar name from the Cee-O-Funk sessions. Her sweet R’n’B flavor blends perfectly with a catchy, cosmic-tinged beat that’s equal parts seductive and futuristic. Personal but danceable — the kind of cut that lingers. Both tracks walk the line between dancefloor fire and laidback cruise, and that’s the magic here — funky, versatile, and 100% fresh.
"Summer Jam" is back! A long-awaited repress of this powerful and joyful tune described as "acid pied piper", with new artwork and new flip-side. EM Records is very happy to again bring you our favorite tune from the artist known as Tapes, here in a 10-inch vinyl/download format that, with its good vibes, positivity and major-key delightfulness, will rescue you from any doldrums you are experiencing, whether personal, societal or cosmic. "Summer Jam" is a solo recording from 2019, but it soars over the worries of the year, any year, with an up- lifting rhythmic lilt, a positive tonality, non-annoyingly catchy melodies and some lovely sonic textures. There's something here for fans of bass music, mid-80s-and- beyond electronic music, and pure toe-tapping good times. There's a sweet chord progression and background drift in the title track that are particularly pleasing, and the flip-side is a very satisfying "acid" live version with his ally, 7FO, that will lovingly catapult you to another major-chord heaven. The sun can shine anywhere, anywhen, so enjoy!
The undisputed king of Disco House Purple Disco Machine returns to his club roots with retro-inspired release ‘Ghost Town’ ft. Rertosonix. Fresh off reworking the Hurts classic ‘Wonderful Life’ and delivering a huge remix for ‘Born Again’ (Lisa ft. Doja Cat & RAYE), the Dresden-born producer is once again ready to conquer the dancefloor with his signature sound. Tailor-made for that insatiable desire to dance, it’s a release engineered for movement, locking straight into the pulse of late-night energy and crowd euphoria. As such, the track is unsurprisingly becoming a favourite in Purple Disco Machine’s sets already, where dates in Mexico, the USA, and Spain have left the dancefloors anything but a ‘Ghost Town’. Armed with a dancefloor weapon, Purple Disco Machine drops the release early for DJs on Beatport.
A master of channelling the nostalgia of dance music’s beginnings and blending it with a modern-day flair, Purple Disco Machine has expertly crafted a record reminiscent of throwback disco cuts. The soulful vocals come courtesy of Retrosonix, successful songwriters who have come together to specialise in retro disco vocals that ingeniously feel straight from the archives. You’ll be sonically transported back to a time when disco was heard on every corner. Tactfully letting the powerful hooks and provocative lyricism lead the rhythm for the tune, Purple Disco Machine’s iconic groove-driven beats and mesmerising synths lay the foundation for a dancefloor classic. Crafting breakdowns dripping with funk, the disco maestro builds to a crescendo that will undoubtedly be a crowd pleaser for his many shows in 2025.
On the release, Purple Disco Machine said: “While a number of my recent records have referenced the more electronic 80s disco sound, I never lost the love for the classic funky disco of the 70s - which in many ways was the original blueprint - and so it has been equally inspiring and enjoyable to work with this palette again. I'm hoping that the listeners are as haunted (in a good way…) by Ghost Town as I am !”
Apersonal Music, the Barcelona-based imprint known for its sun-drenched blend of house and disco since 2010, proudly presents the new EP by one of its longest-standing artists: Cisco Cisco. Portuguese duo Cisco Cisco are renowned for crafting emotional and uplifting house and disco, filled with hypnotic sampling and shimmering effects. Their sound has become a signature of Apersonal’s catalog, and The Heat EP is a glowing continuation of this.
On the A side “Why Can’t I Be You?” brings classic disco energy to the table — lush, melodic, and full of that heartfelt groove Cisco Cisco do so well. Plus returning to remix duties alongside Cisco Cisco is Ron Basejam, whose unmatched ability to transform disco originals into
dancefloor monsters shines once again. His remix of “Why Can’t I Be You?” stretches nearly eight minutes, slowly building and wrapping the listener in a deep, infectious groove.
On the B side “The Heat” is a bold detour into early-2000s French electro house, evoking the raw drive of the 2000s. “Under the Bridge” channels the spirit of a Generation X Parisian house party, with filtered synths and punchy basslines reminiscent of Daft Punk’s earliest work. And rounding out the EP Rayko delivers on his finest style, bringing a darker, late-night vibe to the release. His remix of “The Heat” is a driving, immersive journey blending electro and techno influences tailored for the deeper hours on the floor.
Basile de Suresnes' "So Good" EP is now available on vinyl. The digital release has become an instant hit, with the title track being playlisted by Laurent Garnier on his Fabric mix. The 2 tracks and its remix are now expected to fly off the shelf at record stores, don't sleep on this one!
The title track proves once again that the parisian producer is a master at bringing a disco cut into House music territory. The epic violin sample gets straight into the head while the groovy bassline call the feet to dance, the vocal adding a pinch of sexiness this great, dancefloor-orientated tune.
« Ask me to dance » is as catchy as it is funky, the samples are layered and filtered with flair and savoir-faire. It certainly will become both a DJ’s delight and dancer’s favorite.
Closing the EP with style is Naux’ remix of « So Good » : the lyon based producer uses chopped vocals and a strong bouncy bassline, adding his own flavor to the track while completely respecting the orginal work. Great job.
Frappé and Basile de Suresnes Strike again and dam it is (so) good !
Another early standout release from Speedy J's vast catalog. The follow up for the 'Rise EP', also originally released on Plus 8 Records in 1991, with the apt named title track 'Evolution'. Jochem's style of producing music was evolving while still influenced by all the music arriving in the Rotterdam import record stores. The US, UK or Belgium didn't matter, good music was the key... but this was definitely one of the pre-cursors to his first album.
Originally released in 1985 on the italian label London Records Production, Superbowl (or 93rd Superbowl) is an italo disco project with two big names behind: Gianfranco Bortolotti and Roberto Arduini. Together they created this very recognizable italo disco style based on powerfull bassline and energetic synth leads. Very catchy and dancefloor fillers.
The re-issue includes the same tracklist as the original release, Forever and a Day on A side and Forever and Two Days on B Side (kinda a full vocal dub version).
Italian DJ Plant Texture drops ambitious techno odyssey 'Mondo Nuovo' on Mutual
Rytm sub-label, X.
Bari-based underground mainstay Dona Basile, aka DJ Plant Texture, has been crafting forward-thinking techno for a decade, releasing on leading labels from Ilian Tape to Tresor Berlin. Adding to his rich catalogue, his label debut on SHDW's Mutual Rytm sub-label X is a homage to the spirit of space travel. With the label boss already a long-time fan and having dropped tracks from this EP in his sets for a while, the partnership creates an ideal match for an artist and label looking to push the boundaries of the genre. With Basile's distinctive style perfectly fitting with the label's vision, each of the productions provides a tribute to space exploration - fusing analogue hardware and deep rhythmic invention while channelling everything from early sci-fi cinema to the 80s ambient soundtracks. "Space exploration is the ultimate metaphor for creative freedom. This album is my way of sonically mapping the cosmos, not through melody but through mood, modulation and motion", notes Basile.
Opener 'Wormhole' is a raw, driving sound with synth pulses and jacked-up drums for peak time chaos, while 'Echoes' evokes ramps it up further with panel-beating percussive loops, earth-shattering bass and twisted stabs. The title track pairs more physical and booming drums with introspective synth craft that encourages deep thought. 'Flex The Beat' is the first of two digital only cuts and offers a chaotic collision of overdrive percussion, manic vocal loops and reversed stabs for utter dance floor carnage, before 'Let It Go' (Jungle Mix) provides a dark exploration of
frenzied jungle breakbeats with drilling bass to close the offering.
Japans kultige Goldgrube DD. Records wurde innerhalb weniger Jahre eröffnet und wieder geschlossen. In dieser kurzen Zeit (1980-1985) erschienen 222 Tapes (und einige Vinyl-LPs) mit der seltsamsten, gewagtesten und süchtig machendsten subversivsten Musik aus ihren sozialen und kreativen Kreisen, die ausserhalb Japans nicht zu finden waren. Jedes Tape enthielt abstrakte, xerografische, oft von Musikern selbst erstellte Grafiken, während sich die inhaltliche Bandbreite von Avant-Punk, kubistischer Ambient-Musik, Soundcollagen, Pop-Concréte, Jazz-Prog bis zu früher Computermusik erstreckte. Zum Abschluss erschien vorliegende Compilation als Abschiedsgeschenk, die 5 fieberhafte Jahre neuer Musik abrundete und die kreative Identität des Avantgarde-Labels unterstrich. Darin befinden sich 13 endlose und merkwürdige Schätze, die jetzt nochmal das Licht der Welt erblicken.
Efficient Space charts Ghost Riders’ North American roadmap, crashing into 1973 New York to ignite the unfiltered teen dreams of Dennis Harte.
In the late ’60s, 11-year-old prodigy Dennis Harte was handed a Sears-bought Silvertone 1448, its in-case amplifier primed for street-level incantations. Recruiting two neighbourhood friends, the trio hammered out raw rhythms, drawing in Brooklyn’s wandering bohemians, keen to glimpse a prepubescent Alex Chilton in the making.
Also jamming with his older brothers, Bart and John, a family friend introduced the siblings to budding music exec Carl Edelson, who had spent the better part of two decades hustling through a string of local labels. A father figure of sorts, Edelson backed them immediately, facilitating sessions at the famed A-1 Sound Studios and Sanders Recording Studio and pressing four 7”s on his newly minted Roundtable Records. To maximise his chances of courting major labels, he strategically assigned each release a different artist name - Dennis Harte, Pure Madness, Harte Brothers and the wryly titled Harte Attack.
Dennis’ emotional maturity and sheer talent bleed into the defining ‘Summer’s Over’, penned by Edelson and once recorded by mid-'60s New Jersey garage vocal group The Wouldsmen. Morphing into an unfathomably teenage, blue-eyed soul/psych lament, it aches for a season slipping away forever. Its Harte Attack edition counterpart - the candied ballad ‘Running Thru My Mind’ - delivers unison harmonies and kinetic guitar interplay with a streetwise punch, channeling the spirit of NYC-area icons The Rascals, The Lovin’ Spoonful, and The Youngbloods.
Roaring like the Spencer Davis Group, Pure Madness’ organ-driven bruiser ‘Freedom Rides’ screams of biker gangs, yet its true subject - ’60s civil rights activists the Freedom Riders - looms as another towering theme for an adolescent perspective. Meanwhile, the loose, bluesy ruckus ‘Treat Me Like a Man’ digs back into Edelson’s catalogue, covering the Beatles-inflected Levittown group The Shandels.
Though Dennis later found success touring with Wilson Pickett and now doubles as a piano tuner to the stars, these four snapshots frame ambition on its outer edge - a heartfelt homage to an unbreakable brotherhood.
We're thrilled to welcome a new name to the label: Toxy Kated.
This debut EP delivers 4 original tracks, each with a unique vibe and raw energy.
Jeff Parker’s 2016 album The New Breed was a turning point for both Parker and for International Anthem, changing the trajectory of his solo career as well as drawing an abundance of attention to our fresh imprint despite our then very limited catalog. Most importantly though, the album is the first to give voice to Parker’s wholly unique take on sample-based beat construction augmented by a crack squad of improv-savvy LA breezers—the high-level crew of Paul Bryan (bass), Josh Johnson (alto sax), and Jamire Williams (drums), augmented by Jay Bellerose (drums) and Ruby Parker (vocals).
What began as Jeff’s interest in understanding his own idea of hip-hop processes (and how they related to his work in jazz) expanded into a blueprint for much of his work since then. (see also: The New Breed’s rock-solid followup Suite For Max Brown, the gentle deconstructionist solo guitar of Forfolks, and the long-form slow bloom dub improvisation of The Way Out of Easy—all released via International Anthem)
The IA11 Edition LP features our IARC 2025 obi strip, plus a new 16-page 11x11" insert booklet with unpublished session photos, new liner notes by New Breed bassist / co-producer Paul Bryan, and an in-depth conversation between JP and IARC co-founder Scott McNiece.
“...equally rooted in jazz and funk, and built upon beat-making experiments…”
- Jason P Woodbury, Aquarium Drunkard
Over the course of 2025 IARC will be celebrating their eleventh year of existence by revisiting some of the most celebrated (and hard to find) entries in their decade of releases. These LP packages will be presented with new liner notes, new insert booklets, and the fresh 2025 redesign of their iconic obi and dome logo. They will also be at a price point intended to help make it easier for stores to stock and sell these essential pieces of their catalog.
