quête:comma

Nightports is based on a simple but unbreakable rule of restriction: only sounds produced by the featured musician can be used. Nothing else. These sounds can be transformed, distorted, translated, processed and reprocessed, stretched, cut, ordered and reordered without limitation. Nightports w/ Tom Herbert is the third in a series of albums from musician-producers Adam Martin and Mark Slater to be released on The Leaf Label, following 2018's Nightports w/ Matthew Bourne and 2020's Nightports w/ Betamax. Tom Herbert made his name as the bass player in Mercury Music Prize-nominated bands Polar Bear and The Invisible, and has become an in-demand collaborator and session musician, including work with Adele, Lana Del Rey and most recently The Smile. Having honed his craft holding the low-end down in some of the most forward-thinking British groups of recent times, and also appearing on some the biggest tracks of the last twenty years, Nightports w/ Tom Herbert brings Herbert's command of the double bass into the spotlight.

Bristol techno, noise and hardcore supremos SCALPING are
releasing their highly anticipated debut album ‘Void’.
‘Void’ comes on the heels of an extremely exciting 2021 for the
band, which saw them play to sold-out crowds at the Roundhouse
twice in two weeks - both on tour with Squarepusher and at
Pitchfork Festival London - as well as releasing two widely
acclaimed EPs titled ‘FLOOD’ and ‘FLOOD Remixed’, the latter of
which featured treatments from producers Hodge, Azu Tiwaline,
object blue, AQXDM and Laurel Halo and Scottish instrumental
rock legends Mogwai.

SCALPING are heavy metal in 4D; the sound is moody, distorted
and rhythmic, but the use of electronic techniques gives the finer
details room to breathe, making more space for experimentation.
Tracks such as ‘Tether’, featuring Oakland rapper DÆMON, puts
a modern, metal twist on Bristolian trip-hop, whereas album closer
‘Remain in Statis’ features fast-rising artist Grove, a Bristol-based
rapper and self-professed metalhead whose commanding
presence sets the track alight.

In the heat and darkness, it’s a swarm of low-end frequencies and
ripping guitars, somewhere between Black Sabbath-esque
psychedelica and The Bug’s sub-bass headfuckery. Live, the
effect is immense. SCALPING play continuously for the duration of
their sets, generating a storm of metal-and-techno through a rising
beats-per-minute count.

‘Void’ will be put to the test, as the band kicks off an eight-date UK
headline tour, culminating in a live performance at fabric on May
5th. As live shows return in 2022, SCALPING will continue to
prove themselves as one of the UK’s most impressive, ambitious,
and original new live bands.

Swiss musician Delia Meshlir didn’t realize what her voice could do when she started out playing music. Through such groups as the drudge-rock Cheyenne and experimental Primitive Trails, Meshlir let the music lead her singing along. It wasn’t until she began writing the songs for Calling The Unknown that she started allowing her vocals to preside. Unbounded by structure, Delia Meshlir’s first full-length under her name brings layers of beauty, intensity and strength, all coming to a head with her striking vocal delivery.

Having acquired a stocking job at Irascible, a label based in Lausanne, Switzerland, dedicated to promoting local talent, Meshlir had the ideal launching point for her music. Now, in coordination with Irascible, Ba Da Bing will be releasing Calling The Unknown in North America.

Meshlir lost her grandmother while preparing the album, and many of the tracks reflect seeking a path through grief with love. On “A River”, she explores where feelings can exist when they are for someone who has passed. She sings: “I’m calling the unknown / but no one remains.” As the first song on the album, it serves as a perfect introduction, with refined drumming, reverb-wrapped guitars and tasteful saxophone lines. At command of a full band, Meshlir never abuses the opportunity, often having members hold back in restraint and add mere touches of color to her songs. However, when more urgency is required, she adapts beautifully, as on the raw and driven track “Dirty Colors”. Ultimately, the album is an invitation to peace after suffering.

Delia Meshlir is a trained visual artist who is creating her own videos and doing her own artwork for Calling The Unknown. It is a singular artistic work with stunning breadth.

VINTAGE CROP serve to serve again. Over the last four years the Geelong group have become a burgeoning force in the Australian punk scene. Their burly, brusque yet supple songs have evolved from the garage rock of 2017’s ‘TV Organs’ album into the post-punk panic attack of last year’s ‘Company Man’ EP. Now they’ve sculpted their sound further, the barrage now offset with robust songwriting, their full-pelt bounce tempered with flailing guitar lines and sardonic commentary. Bringing to mind Wire tackling tracks from early 7”s by The Yummy Fur, it’s an inspired approach, both striking and effortlessly mirthful. Vintage Crop still dish-up plenty of commanding stomp, their lyrics remain as keen-eyed as ever, but now they’re unafraid to mess with the tempo and drive their point home.
‘Serve To Serve Again’ is Vintage Crop’s third full-length album. It was recorded by Mikey Young after a year of playing solid shows, including tours in Europe and the UK alongside Louder Than Death and URSA and some of the band’s biggest shows to date in Australia with Amyl & The Sniffers, R.M.F.C. and The Stroppies. This allowed Vintage Crop to nail the songs live before committing them to tape, pulling and pushing ideas, stretching them into new-found territories. ‘First In Line’ races off the blocks with its sawtooth riff and splintered beat, all jagged edges and ragged vocals. Quickly follow a pair of totemic bruisers in the guise of ‘The Ladder’ and ‘The North’, both brimming with a nigh anthemic quality, confident in their faculty to rouse the rabble. ‘Jack’s Casino’ is a lurching romp about gambling, ‘Streetview’ is similarly propellent, only choosing to meander and divert itself with cryptic trips around the neighbourhood: “He only moved to that side of town because the postcode is worth it’s weight in gold”.
There’s no better poised nod to frustration than ‘Gridlock’ - “the hustle and bustle of inner-city traffic is driving me nuts because the radios on static”. Guitar lines entwine and wriggle wildly free from the song’s pouncing rhythm and potent vocal, making for the most vigorous of rackets. ‘Just My Luck’ prowls with a shared thrumming verve, whilst ‘Everyday Heroes’ closes out the album with measured flair. Skewed and fervent, rangy at times yet always assured in its intent ‘Serve To Serve Again’ is long-legged leap for Vintage Crop into the delirious now. These songs strive to make sense of futility, they criticise the chain of command, question privilege and most importantly make us want more from life. Now all we have to do is turn up the volume!

Limited to 1000 copies.
Pressed on Blue Vinyl.
Includes postcard and poster.
The Bluebells have dug deep into their archive to give us the earliest recordings of these tracks, which have never been released before and are exclusive to this 7”
‘Everybody’s Somebody’s Fool’ is longer and more vibrant containing an extra verse and guitar solo which are not on previous versions. This is the closest recording to the one that was originally intended to be released on Postcard in 1981. The sleeve, designed by Bobby Bluebell features 2 of the earliest photos of the band.
THE BLUEBELLS were formed by songwriter / guitarist Robert Hodgens aka Bobby Bluebell in 1980. When deciding to form a group to start performing his songs, Hodgens remembered two punk musicians from Bothwell (brothers Ken and David McCluskey) he had interviewed for his fanzine, 10 Commandments. David (drums/ backing vocals) and Ken (vocals / harmonica) joined Robert and The Bluebells started performing live in and around Glasgow.
The Bluebells were soon involved in the burgeoning scene coalescing around Postcard Records in Glasgow (Orange Juice, Josef K, Go Betweens, Aztec Camera, Jazzateers), and it wasn’t long before The Bluebells were sharing stages throughout the UK with some of the Postcard groups. A single (Everybody’s Somebody’s Fool) was scheduled for release on Postcard, however after appearing on the
front page on Melody Maker and in NME / Sounds etc, major record companies started making serious offers to sign the group. The Bluebells appeared on BBC music program The Old Grey Whistle Test, the first unsigned group to do so, and it wasn’t long after this television appearance that the group signed a major record contract with London Records.
The Bluebells were soon in the studio working on songs for their debut album, with Elvis Costello producing. They were invited to open on UK tours for Haircut 100 and Elvis Costello & The Attractions, and started releasing singles to critical acclaim (Forevermore, Cath, Sugar Bridge). However it was their fourth single I’m Falling (co-written by Robert and Ken) that finally resulted in commercial success, chart success, and appearances on Top of the Pops.
The Bluebells released their debut album, Sisters, in 1984 to further commercial chart success, which was continued when their next single, Young At Heart, gave the group their second big hit single. However, when Young At Heart was reissued
in 1993, it reached number 1 in the chart for a month, making The Bluebells regular fixtures on Top Of The Pops

As we emerge into the Now with a fresh perspective and renewed vigour, Red Laser Records usher in a novel epoch of Manctalo movements for our post-COVID enjoyment.

Entrusting piloting duties to four well decorated RL commandos, the EP serves to remind us all that despite everything that's happened, we can still find solace in red lasers, smoke machines and high-powered strobe lights.

Splitting open the collective dancefloor inertia is Kid Machine's 'Only Machines Allowed'.

A cybernetic b-boy jam straight outta the planet MEGOH circa 4044. Guided by electrified vocoder lines and a plutonium-grade, armoured groove this impenetrable battle rocket should issue the much needed power boost to get your body kinetics firing again when they release the e-barriers to hedonism.

Returning star fleet lieutenant Count Van Delicious has been collecting entities from the outer galaxies since his appearance on RL EP 9 ('Dark Fruit' w/ Senor Chugger).
Here he announces his return with an end-credits epic, an #inabiteveryoneelse theme from this young vet on a pants-off permo-buzz, up-scrolling through technicolored c64 visuals and deploying his now trademark zoopa-arps, euphoric synth stabs and thunderous low end shudder to deadly effect.

Meanwhile, Ste Spandex continues his cybernetic realignment surgery, dissecting a well circulated disco meme and adding voluptuous gender-neutral enhancements that'll be getting the next generation of androids frisky, despite their lack of reproductive organs. Fizzling synths, spherical repetition and a multi-dimensional mix of high voltage rhythms leaving that vocal line permanently downloaded in your memory cloud. No sharing necessary.

Scottish deep space observer Ernesto Harmon provides some cosmic ruggedness to close off our mission. Reinforced & galvanised low-end rhymix coalescing with humanoid synth expression and an infinite, carbon-free energy source keeping momentum plateaued through the morning after the night before. There's no off switch baby!

For astral travellers seeking solace in the new Now, EP12 kindly acts as an upgrade to your possibly dormant dancing system as you stumble out into the new nocturnal environment. Hopefully reminding us that the simple act of moving alongside one another in a pitch black, laser-guided club space hasn't changed that much...

Limited press, with artwork which could be the next top selling NFT, we urge our RL family to bag this collectable chronicle from the Red Laser Corp.

Growing up in the Californian sprawl and the vast suburbs of Phoenix, Arizona, Caleb Dailey largely dismissed the country and western music that surrounded him. Instead, he was drawn to independent rock, experimental zones, and other genre-defying forms, which led him to create skewed rock music with Bear State and establish the “minimal art label” Moone Records with his brother Micah Dailey in 2013. But in the early half of the 2010s, Dailey began to hear things differently. Drawn into the left-of-center works of artists like Gram Parsons and Blaze Foley, a more idiosyncratic take on country, folk, and roots music began to swirl in his imagination.

Wandering into the form’s cowboy chords and lonesome scenes, Dailey found himself wondering what his own country album might sound like. The result is his debut solo album, a collection of covers called Warm Evenings, Pale Mornings; Beside You Then. Produced by John Dieterich of Deerhoof, Keiko Beers, and Dailey himself, it’s a melancholy charmer, rooted in traditional ideas but free roaming in its scope. Laced with synths, pedal steel, acoustic guitars, and commanded by Dailey’s full and woozy voice, it owes as much to the busted waltzes of Lambchop and the homespun lo-fi folk of Little Wings (whose Kyle Field appears on the album via a spoken intermission) as it does to the songwriters and performers who provide its source material, which include Parsons, Foley, Elvis Presley associate Chips Moman, steel guitarist Buddy Emmons, and others.

“The subversive nature of country music isn’t as much at the surface as some other genres,” Dailey says. “But the deeper down the ‘country hole’ I went, the more I wanted to be part of it. It is truly a strange world.”

The hands of Dailey and his collaborators, which includes a wide roster of DIY experimentalists like James Fella of art punks Soft Shoulder, Jay Hufman (Gene Tripp), Lonna Kelley of Giant Sand, Japanese DIY hero’s Koji Shibuya and Tori Kudo, Nicholas Krgovich, Markus Acher of The Notwist, and more, that strangeness is accentuated. Dailey doesn't aspire to retro Nashville fetishism or sanctioned notions of “realness” so much as a genuine outsider authenticity. Take his version of Gordon Lightfoot’s “If You Could Read My Mind” for example: a highlight of the record, it pairs familiar genre signifiers like pedal steel and guitar strums with warbled synths. Then there’s his read of “Dreaming My Dreams,” originally made famous by Waylon Jennings (who also did time in the Arizona desert), which morphs from a mournful ballad into a wash of far-off sonic noise.

The attention here is on the songcraft itself, with Dailey inhabiting these songs and turning them inside out to reveal unexpected tenderness and playfulness.

Recorded at home with an acoustic guitar and 4-track, Dailey began open correspondences with his collaborators, who fleshed out ideas and added touches, often working with skeletal frames before Dieterich and Dailey shaped it into a cohesive whole. “John is the reason this album exists,” Dailey says. “He sculpted all these parts together in such an otherworldly way. He is truly a magician.” Deeply allergic to insincerity, Dailey avoids any trace of irony. He’s created a cohesive gem out of disparate parts, uniting Americana songcraft with experimental disassemblage. From this bric-à-brac, he’s made something touching and beautifully strange.

Instinct has been one of the key protagonists in garage's ongoing renaissance. Not only have his tunes given a fresh take on the much loved old sound, but there have been plenty of them, too. Now he's back with yet another full length, and once again it's packed with heat. There are deep shufflers that nod to the original US garage sound, as well as darker, 2-step tinged get downs. More so than before, there seem to be plenty of reversed bass stabs and MC vocals, old school signifiers and jungle breaks that pay homage to the roots of the sound while never simply copying it. The heart aching vocal of 'Don't Know' is our fave and a likely candidate for one of this summer's standout tunes.

Keith Tucker and Marty Bonds (Reel By Real) collaborating.

K1 / MARTY BONDS ......A soon to be electro/bass classic, the track gets body’s jumping with a killer bubbly bass line in true 'K1' fashion. Hard drums, infectious bass, alien-like signature vocals to show off Keith Tuckers writing skills...the full package of Detroit funk and originally. Thoughtfully completed with an "instrumental" and a "Bassapella" version for those who like to manipulate their mix.
* "TO FLY"
An electro masterpiece brought to you by the legendary producer Mr. Marty Bonds. Deep street bass dances amongst the spectral electronic percussions and commanding vocal in an intense mission for those who like to get their groove on. Also a head-nod to the"Hellraiser 2" sample that inspired this composition. Heavy stuff as Marty Bonds goes into a whole new bag from his Detroit techno origins... A must hear & have

The Accra-born pianist and frontman only released a few albums in small quantities, yet two of them are among the most sought-after records from 70's Africa. This was the first.

So what do we know After learning his craft in Benin and playing with the likes of Orchestre Poly-Rythmo de Cotonou, ROB returned to Accra to write his own material and find a sound.

Hooked on the driving funk and raw soul of stars such as James Brown and Otis Redding, he would often imitate his heroes on his father's piano during school holidays.

The title track sets the pace with a JBs-like rhythm, ROB almost shamanic with his sparse yet commanding vocal. The organ and wah-wah guitar spin us out before those imperious horns bring us back in.

And what better way to close this set than with 'More', swept up in a call and response between Rob and his backing singers as a 'Blow Your Head' synth flares and the brass blasts. Good times guaranteed.

As the man himself says, 'Funky music is in my blood. What you hear is the coming out of my mind.' No one sounds like Rob, because there is no one like Rob.

Some sonic communities grow even in isolation, in the lonely obsessive moments in the studio as time melts away. Deep inside the Detroit Underground nests a Berlin underground, chasing those resonant shared sounds. DU Berlin draws together some of that love felt through music in the German capital. It’s not the wild city of reunification or *Berlin Calling* or tourist-style movies or the easyJet set. This is the side of the city that endlessly romances machines for the sheer joy of it, as The Allegorist titles her track, “until dawn.” And with some big names and emerging, ranging from mainstays to veteran agitators, the Berlin DU crew have telegraphed each other through productions and mutual inspiration. The results vibrate and rumble with sympathetic frequencies, but never limited to grayscale or dithered palettes.

DESIGN: Neubau Berlin.

Stripped down to the core duo of Robert Görl and
Gabi Delgado and with Conny Plank again behind
the boards with crisp, focused production, with
‘Alles ist Gut (Everything Is Fine)’ DAF turned into
an honest-to-goodness German hit machine.

Even more important and impressive was how
they did it - keeping the electronic brutality that
characterized them, but stripped down to nothing
but Görl’s massive drumming, electronic bass and
synth tones, and Delgado's deep, commanding
singing. The result was and remains massively
influential. A must have for all fans of electronic
music.

Previous album released on Dead Oceans. Previous album was a collaboration with Brian Eno. Past press coverage from Pitchfork, SPIN, The Guardian, Drowned in Sound, Dusted, The Quietus, and many more. Since the release of his last album 2017’s Finding Shore, a collaboration with Brian Eno pianist and singer-songwriter Tom Rogerson’s life has undergone a number of dramatic transformations. While writing his new album Retreat to Bliss, Rogerson had a child, lost a parent, and received his own diagnosis of a rare form of blood cancer. The new decade brought him from Berlin to the Suffolk of his childhood, composing profound pieces of minimal songwriting in the church next to his parents’ home. Rogerson studied composition at the Royal Academy of Music under mentors like Harrison Birtwistle, and he made his live debut as an improvising pianist in 2002, before releasing an improvised record with Reid Anderson (Bad Plus) and Mike Lewis (Happy Apple, Bon Iver) in 2004. He formed the band Three Trapped Tigers in 2007, expertly blending elements of electronic, jazz and noise rock into a cohesive whole. The band earned a reputation for innovative live shows and went on to perform and collaborate with artists like Brian Eno, Deftones, and the Dillinger Escape Plan. It was working with Eno, another Suffolk native, that eventually led Rogerson back to his roots and back to a place where he could write Retreat to Bliss, his solo debut album. “All my life, the piano has been my constant companion, my confessor, my best friend, and my worst enemy,” Rogerson explains. “I’ve always written music on and for the piano, but it felt too personal, too private to release.” Indeed, listening to Retreat to Bliss feels almost like eavesdropping, as though you’re crouched in the belfry of a Suffolk church, bearing witness to a form of musical bloodletting. For the first time in his noteworthy career, Rogerson has combined masterful piano playing and subtle electronics with the texture of his own voice, an attempt to express deeply private emotions that were difficult to articulate using instrumental music alone. “The last few years have brought some struggle, some joy, and a lot of change. My response has been to retreat to what I trust the most: the piano, my voice, and the landscape I grew up in. That’s how the album got its title, and how I came to be ready finally to release a solo record.” The eleven tracks that make up Retreat to Bliss were recorded by Leo Abrahams (Brian Eno, David Byrne, Grace Jones) over the course of just a few days, a process that emphasized spontaneity and the artist’s own commitment to improvisation. Secular yet devotional, intensely personal yet profound, the experience of listening to Retreat to Bliss seems to evade characterization. It’s physical and emotional, a glimpse into the mind of an artist who has chosen exposure over withdrawal, who uses his command of the piano to chart an unflinching path forward, never looking back. UK press campaign by Someone Great. Press Quotes "A meeting of minds that is full of rewarding surprises, challenging and surprising one another, and their listeners, with music that feels alive and wondrous…” Pitchfork // "Both mournful and dazzlingly optimistic, a taste of the conflict found so ofen in nature and reflected so elegantly across the course of the record.” The Line of Best Fit // "Many avant-garde instrumental albums exist to craf a mood; Rogerson and Eno merge these moods, sounds and themes together efortlessly and radiantly on Finding Shore” Exclaim // Track List 01 Descent 02 Oath 03 Buried Deep 04 Toumani 05 Drone Finder part 2 06 Chant 07 Rapture 1 08 Open Out Span Wide View 09 A Clearing 10 Retreat To 11 Coda

New Gospel Revisited is the new album from the fearless and formidable American composer and trumpeter Marquis Hill. A live recording that revisits and reinterprets his debut 2012 album New Gospel, this time round employing a band of super-heavyweight musicians including Walter Smith III, Joel Ross, James Francies, Kendrick Scott and Harish Raghavan. Marquis Hill’s rise over the last few years has been striking and there’s no letting up. Since winning the prestigious Thelonious Monk Institute Jazz Composition award he has demonstrated full command of his art and built a reputation for synthesizing what he describes as the essential elements of the Africa-American creative heritage including contemporary and classic jazz, hip-hop, R&B, house and neo-soul. Now, his sights are set even higher. New Gospel Revisited, is an extraordinary live recording that reimagines his debut as a leader with a new band, a new focus and a sharpened ear as a bandleader, composer and performer. The set is breathtakingly good with a band that sounds as inventive and creative as it reads on paper. “… New Gospel was my debut album and my first completed production. To revisit this music in a fresh way, with a new band has been uniquely invigorating —and hugely rewarding.” Marquis Hill

The Neptune Power Federation brings back the love song and rocks as furiously as ever on their fifth studio album, Le Demon De L’Amour! The Imperial Princess and her crew of Aussie rockers lord over eight love songs that prove few can push the boundaries of rock and metal like The Neptune Power Federation! Heading into the creation of their fifth studio album, Le Demon De L’Amour, Australian psychedelic rock and roll brigade The Neptune Power Federation couldn’t let go of the fact that love songs had been commandeered, in their words, by “soft rockers, bedwetters and the introvert crowd.” Whereas rock had its glory period during the 1970s and 80s, the art of the love song is now lost within heavier music. Few bands are now willing to venture into such territory — metal and rock have settled comfortably into typical, predictable lyrical tropes that fail to pull at the heartstrings the way they used to. On Le Demon De L’Amour, The Neptune Power Federation reclaims the art of the love song as their own. Off the heels of their acclaimed 2019 Memoirs of a Rat Queen studio album, the members of The Neptune Power Federation utilized the unexpected downtime afforded from the 2020 COVID-19 pandemic to craft an album that takes more chances than its predecessor. While the band’s trademark rock swagger and prog tendencies still come into play, Le Demon ups the voltage and energy. True, there is a multitude of genre-blurring taking place, but the album’s infectious choruses and leaden riffs easily re-imagine metal and rock’s glory eras without blatant thievery.

Of course, all roads to The Neptune Power Federation run through lead vocalist Screamin’ Loz Sutch and her stage persona, “The Imperial Priestess.” Le Demon’s eight cuts find the indomitable frontwoman in top form, belting out tales of love from a female’s perspective, weaving in stories of cult worship, murder and hypnotism. The album’s artwork (created by guitarist Inverted CruciFox) also introduces her new nemesis — The Wizzard Princess. Recorded at bass player JayTanic Ritual’s The Ped Food Factory in Marrickville, Sydney, with mixing duties provided by Clem Bennett, Le Demon De L’Amour leads The Neptune Power Federation into their tenth anniversary next year. Their journey has taken them from the sweaty clubs of Sydney to a global audience. Now armed with eight love songs sure to melt and captivate the most hardened metal hearts, The Neptune Power Federation boldly goes where few bands dare to go.



"Maybe their best album so far!" - Deaf Forever (DE), 8.5/10, Soundcheck pos. 7 !!

"They can even top the phenomenal predecessor!" - Metal Hammer (DE), 5.5/7

"'Le Demon De'L'Amour' is definitely their most mature and complete album to date!"

"Finest party rock music of the most beautiful kind!" -(DE), 9/10

"An album full of thick, good riffs, solos, melodies and choruses that stick in mind - definitely recommended!" - Rockmuzine (NL), 85/100

"They are in impressive form!" - Saitenkult (DE), 8.5/10

"The Neptune Power Federation add a great piece of music to their list of achievements." - Heavy Music Blog (DE), 8/10

"The band rocks a bit straighter and more pleasing than before through their love song concept." - Rock Hard (DE), 8/10, Soundcheck pos. 6 / Dynamit !!

For the second chapter of his odyssey, we find again Le Commandant Couche Tôt in the middle of the Amazon River, escaping from drones and wildfires in a hovercraft.
Une Histoire d’Amour Brésilienne (A brazilian love story) shares a dystopian vision widely inspired by the environmental issues of 2020 and 2021, which illustrates a form of anxiety toward the future.
Its soundtrack however is purposely the antithesis of the story: a very optimistic tribute to space-disco and brazilian funk. A “good vibe” pill to give hope for a new beginning.

Very sought after early Cignol productions which were only previously released on CD. TIP!

vinyl only

Revealing its debut vinyl issue, Distrakt Audio embarks on its maiden sonic voyage. Bringing together talented artists from across the globe to release their music on 12" format alongside label owner Ali Demir. First to feature is the uber talented Furz from Argentina, who cuts two hip swinging bassline grooves,on the A side. Whilst the Distrakt Audio frontman Ali Demir lays down two fluid and pad soaked slices of gold on the B side. As club cuts go, these four polished pieces will be a sure-fire winner in the bags of savvy selectors.

Regal drops the first remix package from his debut album featuring Slam, PTU and Boston 168.

Involve Records boss Regal presents "RWYS Remixes Pt.01" - the first installment of three immense remix packages from the Spanish techno giant's debut album, "Remember Why You Started". Recruiting international powerhouse duo's Slam, PTU & Boston 168 to rework the earth-shattering originals.

Scotland's luminary duo Slam kicks off with their edit of "She Dances Alone". The pair's distinctive tweak is the alchemization of the kick drum, pivoting into a thunderous force. The kick is paired with claps that ricochet above a determined synth line, while the low-slung baseline mists under twinkling keys and sprinklings of hoover noise, giving the rework an old school feel. Uplifting major notes inject brightness & contrast to the track, with the cunning acid line lingering 'til close.

Next, enigmatic Russian twosome PTU transform "Dealing With My Pain", a once low tempo mid-point track, into a primary dancefloor weapon. This heavily industrialised rendition utilises an incessantly deep bass drum while maintaining the commanding male vocal sample. Blistering hi-hats, and a wildly distorted synth breakdown build a brash and dubious mood. The thumping kick drum drives the track forward, looping electrical elements that ring out from ear to ear, surrounding you with wild noise and energy.

Italy's acid techno aficionado's Boston 168 step up to close with their interpretation of "Fearful Nights". In true style, the duo mould the very start of the track to blend with their signature sound. A bumping kick drum and quintessential 303 manipulate the melody, resulting in a far more venomous composition than the original. Sinister synth stabs slice through the chaos with a hi-hat and snare drum combination for extra effect.