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On the A side with ‘Joy’, Bruise head in a jubilant direction. Chanting vocal chops ride along deep cut kick grooves and vivid piano riffs; modernising the classic house sound and forming a track that would as likely go off in a club in the UK as it would on the sun-soaked beaches of Ibiza.

In ‘The Theme’, Bruise switches things up and offers up a weighty, bass-driven progressive techno heater; bolstered with rattling break chops and polyrhythmic analogue synth arpeggios. As the track progresses, rip-roaring, squelching acid-lines are introduced at the crescendo; creating a versatile club record; primed and ready for the clubs reopening.

On this single ‘When Pianos Attack’, the vibe is instantly recognisable. Piano chords lead the charge of yet another dancefloor destroyer, with that signature sound of swinging beats, layered pianos, lashings of strings, and hosts of heavenly soulful choirs. Just close your eyes, look up, feel the rush, and dance.

+ Includes the unreleased vinyl exclusive ‘Akiba Choirs’. A new school dance anthem!



Huge support from: Annie Mac, Pete Tong, Laurent Garnier, Severino / Horse Meat Disco, Sasha, A Trak, Andhim, Spiller, Graeme Park, DJ EZ, John Digweed, Fatboy Slim, Sam Devine, Laurence Guy, Gilles Peterson, Fred Everything, Soul Clap, James Lavel, Basement Jaxx, Francois K, Luke Solomun.

'Joy'
- Pete Tong’s Essential New Tune + Tong asked Bruise to record a Joy themed Essential Mix for BBC Radio 1.
- Premiered by leading dance authority Mixmag.
- Featured in Defected / Faith’s behind the counter.

‘When Pianos Attack’
- Played by Blessed Madonna as an artist to watch 2022!
- Played at Warehouse Project by Graeme Park, and then again by Terry Farley.
- Magnetic Magazines Best of Month

Bruise appeared in Faith Magazines taking a full page for interview with a heavy focus on When Pianos Attack.

Piano, synthesizer enthusiast, composer, and arranger, Eric Borders aka Captain Supernova, makes first release under new moniker, E. Lundquist. Pushing the boundaries of funk fusion, it’s as much 70s library music, as it is Pink Floyd and The Flaming Lips at times. It often feels as if the planet is going to unfold.

Borders, born and raised on the westside of Los Angeles, is known for his cinematic and cosmic compositions that push jazz into a different time and space. ‘Multiple Images’, the debut release as E. Lundquist, is the composer's first attempt at making a Library Style record. A genre that lends itself well to the Sci-Fi and Jazz Fusion vibes that Borders has been known for in the past. The music often plays as if it is the soundtrack to something happening both simultaneously in and out of this universe.

“As we finished the record it sort of evolved from a library piece into a full fledged album with a mix of different inspirations from blaxploitation, 70s funk, soundtrack, themes, cinematic, and contemporary jazz-funk. It only felt right to break away from the fictional character and give this music a composer name as if you read it on the back of a KPM record. Then E. Lundquist was born.”

The new name pays homage to old family bloodlines, and is the last name of his biological grandfather. While Eric Borders was his given name, Borders has no actual blood relation to his family, it was the name his father had adopted from his Step-grandfather. The name of the album “Multiple Images” is an ode to one of Lundquist’s favorite Library tracks by Brian Bennett “Images”.

Von der erfolgreichen Vinyl-Compilation-Serie. “Golden Chart Hits Of The 80s & 90s” gibt es jetzt bereits die dritte Ausgabe. 12 ausgewählte Hits für alle Fans der 80er und 90er Jahre, u.a. mit einem der legendärsten Titel überhaupt : „Relax“ von Frankie Goes To Hollywood“.

Desweiteren mit dabei: Camouflage „The Great Commandment“ , Gigi D’Agostino „Bla Bla Bla“, Black “Wonderful Life” , Rednex “Old Pop In An Oak”

blue Marbled Vinyl Repress

Med School Music veteran Bop launches his own label "Microfunk Music". The first release contains 4 minimalistic tunes, starting from the chill autonomic moods and the lovely nostalgic arpeggio of "Telescope" written by Bop and Synkro, moving to Nuage's fragile synths and luscious summer vocals, followed by a warm analogue bass in "Endless Green". In addition to these beautiful sounds, Microfunk Crew includes the more energetic, fit for the dance floor drum&bass with strong juke and ambient influences of "Crab Nebula". The EP is perfectly completed by Dissident with his kind and even slightly infantile soundscapes in "Design Yourself". This vinyl record is a great introduction to the label's unique sound. Each song has its own character and tells a specific story; however the wholepiece sounds very organic and will definitely appeal to the intelligent electronic music fans.

Biosphere is the main recording name of Geir Jenssen (born 30 May 1962),(1) a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.

Patashnik was originally released by R&S Records/Apollo in 1994. It was number 1 in NME´s Independent Chart in March 1994 and reached number 50 in the UK official album chart.

The track Novelty Waves was used in Michel Gondry's Levi's 501 Jeans "Drugstore" spot, and holds - according to the Guinness World Records 2004, the record for "Most awards won by a TV commercial".

One reason why Jenssen's work stands out from the flood of early '90s ambient/techno releases is his strong sense of the quirkily creepy -- not in an Aphex Twin mode, but in his own particular way. The contrasting samples of a child quaveringly saying, "We had a dream last night," followed by a rougher sample saying, "We had the same dream," gives opening number "Phantasm" an unsettling feeling. Intensified by the, on the one hand, pretty, on the other, disturbing music, buried synth strings and a soft pulse accentuated by clattering noises deep in the mix, it kicks off the striking Patashnik very well. Though not as openly dark as acts like Lull, for instance, Biosphere still has an edge which isn't just melancholic, it's downright ominous at point. There's the slow crawl of "Startoucher," for instance, with its buried vocal snippets and deep bass drone, or the blend of the space signal atmospheres of "Mir" into the low, brooding intro to "The Shield." Not everything is so shadowy, though, Patashnik is primarily a relax and chill listening experience, but not without its gentle high points. "Novelty Waves," which became a crossover single in some quarters, has a good dancefloor sharpness to it even as Jenssen slyly sneaks in odd drones and samples through the mix. The opening snippet talking about an extraterrestrial disc jockey on "SETI Project" is good for a smile, as well as acting as a sharp lead-in to a fast rhythm track. Mostly, though, things continue on a deliciously unnerving pace throughout, gentle enough to go down easy but still just off enough to ensure you can't call this new age folderol for the rave generation.

Sisko Electrofanatik's Gain Records recently had a chart-topping hit with the label boss’ track “Only One”, and is back with a new collaborative EP by Roberto Pagliaccia and Dubskull.

Along with the three original tracks, the EP also features a remix from T78 who in addition to releasing on his own label Autektone Records has also featured on Filth on Acid, Intec, and Suara.

Roberto Pagliaccia and Dubskull are both Italian artists. Dubskull whose dark and atmospheric style has been a feature of labels like Reload and Riot, and this is their third time featuring on Gain. Roberto Pagliaccia is an exciting new talent, and this is only his 3rd release after a recent debut on Lapsus Music, Blackboard with AudioJack remix.

T78 has had a recent hit track made in collaboration with Space92, and in addition to his many hard-hitting solo releases, he has also worked with A*S*Y*S, Raito, and Maxie Devine.

With brooding tension and twisted euphoria, this release has a peak time energy with acid tones.

“Skil” opens the release with a slow-building tension before the uplifting energy of the lead synth, then T78 lifts the tempo of Skil with his explosive remix. “Loris” has a dystopian atmosphere filled with dark suspense, and “Acid Jungle“ closes out the release with its rubbery lead synth and modulating tones.

Fast fünfzehn unerträglich lange Jahre ließ Grammy-Preisträger D'Angelo seine Millionen Fans auf ein neues Album warten - am 15. Dezember 2014 überrascht er die Welt mit der Veröffentlichung des Longplayers "Black Messiah", der AB SOFORT erhältlich ist. Die erste Single aus "Black Messiah" trägt den Titel "Really Love".

Die Aufnahmen zum dritten Longplayer des 40-jährigen US-Amerikaners fanden in den vergangenen fünfzehn Jahren in Zusammenarbeit mit seiner Band The Vanguard statt. Darüber hinaus waren Pino Palladino, James Gadson and Questlove an einigen der zwölf Songs beteiligt. An den Texten schrieben neben D'Angelo auch Q-Tip und Kendra Foster mit. Aufgrund der Qualität der Musiker konnte im Studio komplett auf digitale Plug-Ins verzichtet werden. Die Aufnahmen, Bearbeitung, Effekte und Abmischen erfolgten analog auf Band, zum größten Teil wurde altes (Vintage) Equipment verwendet.

Baby Buddha is David Javelosa and musical partner Charles Hornaday playing instruments and providing their own whacked-out vocals. Baby Buddha really was less of a band than a project; a side project in fact, for some members of another group, Los Microwaves. Baby Buddha would eventually record and release an album, 1981's provocatively-titled Music for Teenage Sex on Robbie Fields' L.A.-based Posh Boy label.

Happily, the project's guiding creative light, David Javelosa has recently seen to a vinyl reissue of the now-40-year-old record, mystifyingly retitled Music for Teenage Sects. Definitely among the stranger releases of the new wave era, Music for Teenage Sex/Sects could perhaps only have been created when and where it was made. But on the occasion of its 40th anniversary, the music sounds as weirdly wonderful as ever. "We Are Not" sounds like Human League stuck in a car with The Residents. And their cover of "All Shook Up" sounds like a musical kin to those inscrutable eyeball guys too; it wouldn't be out of place on Meet the Residents. "Little Things" is a house-of-mirrors, scary track, with spoken-word vocals by Los Microwaves' Meg Brazill and label head Fields.

The album cover is slightly different as well: it displays a bedroom scene like the original LP, but with the young female model absent. The new release (on Javelosa's own Hyperspace Communications label) is pressed on beautiful translucent blue vinyl and comes in a gatefold sleeve with a lively collage of photos, buttons, gig posters. Limited to 500 copies.This playfully titled release features David Javelosa (on synth and vocals) along with Meg Brazill (on bass and vocals) plus drummer Todd "Rosa" Rosencrans. Side One features five studio tracks, none of which were included on the band's 1981 Posh Boy LP, Life After Breakfast. Three of these tracks were recorded in '82; there's no information regarding the provenance of the other two songs. The records' second side collects five live recordings, capturing Los Microwaves onstage in New York City (The Peppermint Lounge) and Boston as well as at San Francisco's own I-Beam, a venue that often played host to the band. Those tracks date form roughly the same ear, 1980-83. Sonically the songs variously recall Blondie, Flying Lizards, Gang of Four and a far less dour Human League. Importantly, the band rocks, even when it's employing a spare drum kit, solid but elemental bass, and monophonic analog synthesizers. The stripped down aesthetics of the group – necessitated by its minimalist instrumental approach – are nonetheless thrilling. Even if you weren't there in 1980, this'll take you back.

« In Praise Of Nothing » is the debut EP of the brand new S.A.C.S 89 imprint created by Stephen & Charlou former founding members of OPAQ Records. S.A.C.S 89 stands for Society Against Conformist System and aims to defend uncompromising music. On this first record founders Charlou & Stephen provide 2 tracks each and 2 collaborations ranging from techno & EBM to synth-pop. An invitation to join their new system.

When it comes to legendary albums, very few can match the cult status achieved on the international jazz and funk scene, by Alice Clark's eponymous album, recorded for Mainstream Records in 1972. The record which went unnoticed when it first came out has become one of the most sought-after albums ever since it became cult on the London jazz and funk scene in the late 80s. It is now being acknowledged as one of the best soul albums of all-times. Recorded live over two days at the Record Plant studios in New York City, the album was produced by Bob Shad and arranged by Jazz veteran Ernie Wilkins with a big band setting. The music is a superb mix of jazz and soul blessed by Clark's superb singing and including two all-time favourites, "Don't You Care" and "Never Did I Stop Loving You" plus a selection of heart-wrenching songs beautifully sung by Clark. Very little is known about Alice Clark and the legendary two-day session. All is known is she only ever recorded one album and passed away in the early 2000s. Wewantsounds will tell the Alice Clark story for the first time and give a unique insight into the birth of this cult album with a deluxe release that will pay tribute to her talent.

For their second release Breidenbach Label once more gathers six artists from their regional circuit. Connected by their floating and sometimes even hypnotic soundscape, pulsating pads and strong grooves, each of the four tracks has its own intimate style.

With Love Entropy Crécy delivers a powerful and emotional ambient introduction to the A-Side. His fellow artist and close friend Ami adds a poetic layer: spoken word which shimmers through the sound, adding to the sentimental vibe. An atmospheric first serve. KliX picks up the love theme and transforms it into a mesmerizing ear catcher called Give Me Love. The somewhat trancy elements accompanied by evolving patterns, vocoder-vocals and classy 909 drums give this track its enticing and unique character.

Spaceloop on the records B-Side marks a debute release for the Mannheim based duo Seeder. They teamed up with Benny Delara to deliver a hip shaking dancefloor weapon that captivates through its strong and pulsating baseline combined with atmospheric elements that carry the records narrative. The EP is accomplished by Tech Report from the promising live-due CVSO. While blending breaky grooves with atmospheric elements the listener may find himself surprised by a jazzy piano melody that is proof of their creative and forward-thinking musical mindset.

Morrice is no less than a pioneer of Portuguese techno, churning out high-octane bangers and rave-tinged rollers alike from his hometown of Porto since the mid 90s. Lucky for us he didn't slow down, and his fresh offerings are as enticing as ever - we got our hands on some of the finest crop of Morrice's characteristically deranged, sonic techno and 'Back on Tracks' was born.

One can hear the realness of a legend-worthy path in dance music in every tough beat and in every bass line twist and turn: the opener 'Dirty Smack' is a raw, no-frills mutant banger that will throw even the most bashful raver into a frenzy, reminding us all why we miss dancing together so much. 'Stress Will Kill You' is a tense, paranoid techno roller featuring a super effective lead over an economic but super banging technoid beat&bass. 'Synth Lies' is another trip recalling Midwest movements and exuberant composers like Poindexter.

On the flip, you'll find the soulful depths of a warm 'Doctor' as well as the wonderfully Detroitian-via-Douro dream of 'Acorda', all silky pads and stabs. The record closes with a 'Dirty Smack' remix by Paraíso regular Violet who infuses the original with broken rhythms and percussive highlights.

Subtil is back with the "Rest & Peace" EP, marking a new and totally different approach for the imprint.

"Rest & Peace" results from their intentions to release something different from what they typically do and gather music to listen to outside of the club ecosystems. Embracing a more musical, experimental, and definitely peaceful character, this EP is will cater to the introspective moments or those cozy hours with your favorite ones.

Subtil had some leftover covers from previous releases from the past few years and thought it was an excellent opportunity to use them for the release. Combining the "rest" of their covers and music created with "peace" in mind, "Rest & Peace" is a unique and unusual collection of tracks and a bold musical statement from Subtil's key producers.

There's always been a bit of a "no frills" feel to Developer's output. The Los Angeles producer specializes in the kind of functional, no-nonsense techno that comes into its own when played over booming club sound system and as a label owner has truly nurtured his Modularz imprint into one of The homes for contemporary American techno. This release is consistent with the labels on going output of warehouse bangers. Straight up tribal influenced, dark, hypnotic, rhythmic techno music for the wicked.

repressed !

Serious holy grail business on this rare 12-inch extended disco version of Lorraine Johnson - The More I Get, The More I Want on Prelude Records. Original copies of this promo-only cut will set you back £400+ and it doesn’t take a genius to work out why. Produced by Jesse Boyce and Moses Dillard and mixed by Rafael Charres the man behind the mixing desk for classics such as Rare Pleasure - Superfine Feeling and Keith Barrow - Turn Me Up, it’s a dream team cohort that created this Paradise Garage classic.

Backed with equally enthralling, Boyce and Dillard produced, Francois K mixed ‘Feed The Flame’, also loved by the Garage dance floor.

Griffintown Records welcomes house mainstay and Moxy Muzik boss Darius Syrossian for another of his superb singles. It comes after the UK artist has continued to serve up a wealth of killer tunes and just as he returns to laying down his vital sets all over Europe and beyond.

'Faux Base' is a chunky track with rock solid drums. The bass is warm and fat, the hi hats are razor sharp and the whole thing builds in subtle fashion before a big drop that will blow the roof off. 'Persepolis' is another turbo charged house kicker. There is techno energy in the tight drums and an infectious sense of funk in the bass as the hi hats and symbols splash about the mix.

This is another forward thinking and highly effective EP from Darius.

Tropical Disco Records have once again delivered four scintillating feel good summer disco jams courtesy of the latest edition of their well loved vinyl series. Perfect for those gloriously sunny outdoor events, BBQ’s and beach parties alike their latest EP is another must have slice of black gold.

Scouring the globe for the freshest cuts Volume 22 is another multinational affair combining the skills of Colombian duo Vagabundo Club Social, Mexico’s Monsieur Van Pratt, Italy’s Infradisco and New York’s Roland & Brother Rich.

Opening affairs are the hugely exciting duo Vagabundo Club Social with their track ‘Costero’. They are producers who nimbly fuse dusty Latin grooves with cutting edge production techniques and dancefloor know-how and here have delivered yet another feel good dancefloor smash. ‘Costero’ is quite simply a DJ’s dream track which will do the business at any end of the set whether you need to get the crowd on the floor or tear the proverbial roof off.

Mexico is currently at the leading tip of the disco charge and Monsieur Van Pratt is one of the stand-out producers from a country bursting with talent. ‘Jazz Player’ pulls absolutely no punches combining jazz cool with disco know-how for a track which wins on all counts. Sublime brass solos sit atop a huge funky gem of a bassline. ‘Jazz Player’ will tear dance-floors up worldwide as the world starts to rediscover its long since packed away dancing shoes.

Italy’s Infradisco is up next with ‘Aungasana’ and it’s the perfect track to follow on combining many of the traits that both Vagabundo Social Club and Monsieur Van Pratt utilised on their tracks. Expect huge jazzy horns, funky bass and tribal vocals building up to a monstrous organ groove which raises proceedings to fever pitch. Infectious and energetic, it’s another seriously classy dancefloor moment.

Closing out the EP are New Yorkers Roland & Brother Rich with the exquisitely titled ‘Roger Moore’s Living Room’. Paying homage to the James Bond legend it’s the ideal track to sip brandy and toast the characters of yesteryear in that velvet smoking jacket you have always wanted. Deep and Jazzy with the essence of the 70s flowing through it’s DNA ‘Roger Moore’s Living Room’ is a track so effortlessly cool that even Blofeld would be throwing some shapes.

Tropical Disco’s Volume 22 is a sublime selection of timeless and wonderfully cool tracks which will be the perfect accompaniment to sun soaked events this summer and well beyond.

Support across Mi Soul & House FM.

The new batch from the bottomless edit archives of Danny Krivit is an uptempo, guitar-heavy excursion into two cuts of danceable rock from opposite sides of a decade.

“Marbles” originally came out late in 1970, the result of a collaboration between the fiery British guitarist John McLaughlin and drummer Buddy Miles. Miles was hot off his time with Jimi Hendrix, and producer Alan Douglas, who’d been instrumental in putting together the Band of Gypsys group, attempted another crossover combination with a brand new, blazing guitar god. Also on the date was Larry Young, an organ player best known for his expansive jazzy albums on Blue Note, and several veterans of Buddy Miles’ funk-rock combos. The resulting mixture produced in “Marbles” a powerful, driving rhythm anchoring an addictive riff that steamrolls through the cut in a fashion not unlike the motorik sound of Velvet Underground or Can. Mr. K’s edit leans heavily on the drums, naturally, with a long, tailor-made intro and a mesmerizing focus on the main riff, extending things well past the seven-minute mark.

Ten years later, the world of music was in an entirely different place but a good guitar riff coupled with a driving beat was still powerful currency on the dancefloor. This time, the group was Scottish new wave-punk group APB, whose single “Shoot You Down” had garnered unexpected peak time play in cutting edge NYC hotspots Danceteria, the Peppermint Lounge, the Ritz and the Mudd Club. “Shoot You Down” combines the urgency of the Clash with the free for all vibe that characterized the downtown scene (and throws in a chant borrowed from P-Funk for good measure). Mr. K has created a long instrumental opening that leads into the vocals, giving the tightly-wound 7-inch single a proper extended 12-inch treatment it deserved but never had before.

The sound is crisply remastered for club play, and stretched over the breadth of a 12-inch single. Both of these tracks are appearing on the long-format player for the first time.

One of the world’s premier house DJs, Junior Sanchez re-imagines one of his early classics, releasing ‘Be With U 2.0 (feat. Dajae)’ via Club Sweat.

As a passionate advocate of preserving the spirit of house music Junior Sanchez mixes ingredients of the 1999 original, situating the warm buoyant bass underneath Dajae’s fervent and impassioned vocals, while implementing spirited sax tones for a soul-fulfilling affair.

An iconic anthem that has lit up dancefloors for over two decades, is served dance music justice with its rebirth. Junior Sanchez bestows the ‘Be With U’ gift upon a new generation, coupled with remixes from Yolanda Be Cool and Dance System.


Supports from: Claptone, Anna Lunoe, Tommie Sunshine, Sacha Robotti, David Penn, Riva Starr, Kryder, Shiba San, HeavyFeet, Kevin McKay, Jamie Jones, Pat Lok, Heldeep Radio - The Noise House, Vanilla Ace, Moon Boots, Norman Doray, Nick Catchdubs, severino panzetta, Don Diablo, Charles J, and Patric la Funk, TOCADISCO, Chris Lake, Paco Osuna, Dennis Cruz, Bingo Players, Mendo, Riva Starr, Don Diablo, Joachim Garraud, and Roger Sanchez

Mit diesen 80er Jahre Electro Titeln wird auch heute noch jede Party zum Kochen gebracht. Zeitlose Klassiker, die nie ihren Charme verlieren werden.

Charlotte de Witte continues her fantastic year with brand new EP, Asura, on her KNTXT label. All three of the tracks on this release will be exclusively included in her BBC Radio 1 Essential Mix, which is scheduled to be broadcasted on 18th of September.

As well as being back on the road and serving up her high-intensity DJ sets at the world's best clubs and festivals, Charlotte has also been busy in other areas. She has forged a new alliance with Apple Music and is now curating multiple exclusive mix series including a monthly KNTXT Residency Mix and KNTXT Active, which sees the Belgian artist and her label further investigate the connections between high-performance music, sports and BPMs. She has recently remixed the hugely influential trance classic 'The Age Of Love' by Age Of Love' alongside Enrico Sangiuliano and continues to A&R essential new tunes for the label.

Says Charlotte of this EP, "with Asura EP I’m trying to give you a little insight into my musical influences by going back to my roots. We’re speaking about a young Charlotte who, about 12 / 13 years ago, got indulged in the world of electronic music by going to her first underground clubs and raves. From electro and techno to acid core and hardcore to psytrance. This EP flirts with the soundscapes of the latter."

This EP finds Charlotte delve deep into her own past in electronic music with plenty of psychedelic influences. Opener Asura is a brightly lit techno track with big chords that bring the colour. They are sleek and metallic and sure to get hands in the air, with acid sounds and rumbling bass all adding extra weight and depth to this fantastic opener. 'Soma' is another dramatic and psychedelic track with hard-edged drums pounding away beneath celestial chords. They are mysterious and emotive and bring colour to the darkness. Last of all comes another big, psytrance-tinged and emotional roller coaster in 'Stigma' with its all-consuming techno groove and bass that sounds like it's fired from a machine gun. After an acidic breakdown, the drums roll again and even the biggest festival crowd is sure to be swept away.

Charlotte de Witte leads from the front once more with her standout new Asura EP.

If there was ever a dance oddity it’s the bizarrely named single ‘Prisencólinensináinciúsol’, released in late 1972 by Italian entertainment icon Adriano Celentano, first appearing as a 45 on his own Clan label. A cult favourite if there ever was one, GW Edits kicks off their label with a sumptuous edit sewing the A and B side of the record into an 11-minute masterpiece named ‘Adriano Italiano’.

Renamed ‘The Language Of Love (Prisencol…)’ for the UK market, the original failed to make any impression on the UK chart instead becoming a cult DJ treasure. The fact that it was regularly reissued over the next few years illustrates its enduring appeal.

The novelty of its title and zany nonsensical lyrics may have caught the attention, but what sealed the deal was that groove! On top of that, Celentano’s vocal (as well as that of his wife Claudia Mori, who injected the short female section) that mimics the way English sounded to non-English speakers, comes across nowadays as proto-rap, receiving kudos as such in more recent times. The track is most certainly an anomaly, having no bearing whatsoever on hip-hop culture, yet somehow unconsciously envisaging it.

The flip side of the record was appropriately called ‘Disc Jockey’, also featured that infectious rolling groove complete with offbeat hat. It wasn’t as DJ friendly though, the drums not dropping for the first minute, whilst it also featured a more traditional sounding song in Celentano’s native tongue instead of the rhythmic rap gobbledygook of ‘Prisencólinensináinciúsol’.

Here the two are sewn together for a full-length ‘Adriano Italiano’, running at just over 11 minutes, with the addition of a further two-minute instrumental version. The full-length appears on vinyl for the first time and, along with the original ‘Adriano Italiano’, launches the GW Edits series, bringing this eccentric favourite to a new generation of DJs in time for its 50th anniversary next year.

Debut release for The Fear Ratio's Mark Broom and James Ruskin under their 'Deadhand' alias, which proceeds on a strictly experimental hip-hop tip, accompanied as they are here by 4 x world scratch champion DJ Prime Cuts (of The Scratch Perverts) and illbient rap legend Sensational, who brings his characteristic broken charm to the EP's itchy, spartan production vibes: "Step into my office, now we sparkin' it... I spit the isms in yer ear... you better recognise it's raw shit from orbit."

This pairing with Sens makes total sense: Distinct from Mark and James' work as The Fear Ratio, their Deadhand project delivers something closer to 90s illbient in any case: extending the boom-bap era of hip-hop production with elements of hallucinogenic dystopianism, the energy of the EP nevertheless vibes playfully: Given the dispiriting global situation at present, the EP title 'Meanwhile' might simply refer to getting on with things in spite of all the cultural and political misendeavor the era will no doubt be long remembered for. Despite the global health pandemic and the looming spectre of wide-scale environmental collapse, little despair or surrender prevails here, but rather a hankering to attempt a few tripped-out experiments.

Three remixes bring further twists of the screw: A cosmic break flex from ETCH resituates Sensational amidst the magmic glow of Reaktor bass ensembles, while DJ Prime Cuts repurposes 7" soul gold by way of a more 'traditional' SP1200 approach. 90s trip-hop pioneer and graffiti legend REQ steps up with all the painterly flair he is rightly renowned for, obliterating the Monster Orchestra's classic 'I Can't Stop' stab towards a double dose of galactic melancholia.







g 07: Touch (ETCH's Pink Ladies in Space Remix) feat. Sensational
[h] 08: Meanwhile (DJ Prime Cuts Remix) [feat. Sensational]
[i] 09: Touch (REQ's Dub) [feat. Sensational]
[feat. DJ Prime Cuts]

Amphia welcomes Ferro, making his debut with a
four-tracker EP titled “The Unforced”.
“I Said” starts off with a mysterious vocal sample
complemented by a gliding bass line and abstract
percussion that drives the audience to create their
own narrative. A change of direction and a deeper
exploration of a darker dimension are brought on by
“Post Apocalyptic”, characterized by a slightly more
mechanical, nuanced rhythm. “Unforced” with its laidback mood and stripped down groove keeps your
attention focused, the percussion arrangement
working in unison with the glitched textures to create
a distinctive character. Concluding on a high note,
“The Contrary” keeps a steady flow through its lowend bassline, enigmatic synth line and vocal cuts.

Kurtiss is a shadowy and enigmatic figure working on the boundaries of civilization. A sporadic figure on the House music scene with eccentric habits, Kurtiss’ music is a rarified sonic experience for those who seek it out. The Ameri-can artist is hard to pin down and his music is a tantalizing little secret only for adept diggers who appreciate the style of Hi-Def House music that the artist has cultivated. Although he’s a known Soundcloud fixture, he’s only put out a handful of digital singles as Curtis Vodka in the past, with Mutual Intentions facilitating his latest and immortalizing his music on their next set of releases. A nomadic artist, who’s worked on music ranging from Ghetto Tech to House, his music has spanned the known musical spectrum, forging uncanny relationships with everything from 50 Cent to Mall Grab. Under the pseudonym Kurtiss (or Curtis Vodka), he’s all about HIGH-Fi House, life, aliens, Jazz and no trends. It’s an attitude that he lays bare on this rare contribution to the physical, recorded format for Mutual Intentions on ‘The Curtis Vodka EP’. The EP weaves classic House music influences through a penchant for vintage sound machines and arrangements that evoke a solemn air. Elements of Gospel and New York’s deeper inclinations in House music seep through his sound as archived vocal samples and noisy machines give his work its defining character. Glistening keys and strings that slither through airy textures create dense aural experiences on ‘The Curtis Vodka EP’, calling to mind the musical masterpieces of House music’s golden era when the likes of Kerri Chandler and Mas-ters At Work were producing som

Charlotte de Witte's mighty KNTXT label rolls on with another big new EP from Italian wonderboy Alignment. The Berlin based techno talent serves up four suitably supersized cuts that follow on from his Time EP, which landed earlier in the year.

For the last five years, this artist has been amassing a fine discography of thrilling techno. This has earned him a worldwide reputation amongst the techno cognoscenti, and despite the global
pandemic this year, he has still put out plenty of red hot new material that proves he has used his extra free time at home wisely. He can do old school inspired bangers as well as refined futuristic techno rollers with equal style, and proves that once more with this fantastic new EP.

He says it, “reflects more the ‘sentimental' moments during these hard times. Nevertheless, you can also expect trippy and hypnotic vibes that will make you dream to dance again until the early hours.“

While Charlotte adds, "Ever since I started playing these tracks, people started asking for track IDs. They stood out and always were one of the highlights of my sets. These tracks are made to
destroy any type of dancefloor. A true masterpiece by one of the most exciting artists around.”

Opener Nothingness is a hunched over techno power-groove, with high pressure kicks and scraping synths peeling off the drums. It's a big wall of irresistible sound, then Injection brings
even bigger and more kick drums that are sure to rattle any club to its foundations, while the rave synths will get hands in the air.

Reverberated keeps up the good work with a more all-consuming techno cut thanks to the laser-like synths that light up the track from above. It has superbly dark and unsettling vocals stitched into the groove for extra layers of mental intensity. Last of all is the dark and urgent Sensory Deprivation with its edgy synth motifs and unrelenting energy.

These are four more high powered tracks from man of the moment Alignment.

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!

After their killer first release 'A Homies Journey To The 11th Quadrant', the Future Funktion crew return with another EP absolutely stacked with variation and character.

Special Request continues his impeccable run of form with a typically fervent entry into the DJ-Kicks mix series. His adventurous 25 track mix takes in personal favourites, new school classics and of course a selection of his own brand new and exclusive edits, dubs and reworks next to some overlooked gems. Leeds based Paul Woolford dares to go where few others do. He can do face-melting underground bangers, peak time piano anthems, ambient cinematics or chart climbing crossover hits. What unites his work as Special Request across labels like Houndstooth and R&S, though, is precision engineering, but never at the expense of real, raw emotion and visceral impact. He is an artist who very much pours his heart into everything he does, and has been on such a prolific run in recent years that it has been impossible to keep abreast of all his many projects. Even in this mix, he hints at yet more new sides and sounds. As always with Special Request, this is an emotional, full spirited ride through the musical mind of one of the most accomplished artists of the day.