quête:cuts

Suburban Architecture are pleased to announce the third in their 'Architecture Dubs' series of limited edition 10" vinyl releases, which sees some of the most revered names active during the mid 90s golden era of Drum & Bass deliver remixes of Suburban Architecture material in homage to that most innovative of periods.

Following on from the now sold out release of Architecture Dub #001 (featuring remixes from Peshay and DJ Trax), and #002 (featuring Blame and DJ Trace), edition #003 features remixes from two further legends in the scene, Nookie and DJ Crystl.

Nookie needs little introduction. From early 90s Hardcore through to present day heavy hitters via a string of mid 90s classics, Nookie has had an enviable career in the genre. Having recorded for seminal labels that heavily influenced the Suburban Architecture sound: Reinforced, Moving Shadow and Good Looking, Nookie was an obvious choice for this remix package. On this release he takes 2021's 'Renegade Horns' to more dancefloor oriented territory with an energetic roller that marries classic drum breaks with a contemporary production feel.

DJ Crystl is also a name with a storied history in Drum & Bass. Also releasing music since the early 90s, Crystl has seen releases on influential labels, Lucky Spin, Dee Jay Recordings, Moving Shadow and iconic US Hip Hop imprint Payday. Crystl's remix of 2020 Suburban Architecture cut 'New Horizons' carries classic 1994 flavour, delivering an extended, Amen-laced rework of the original, full of classic Intelligent sonics.

Pressed on 10" vinyl and housed in brown Kraft paper sleeves, the series makes visual reference to the exclusive dubplate pressings which introduced so many classic cuts to the UK's dancefloors in the 90s.

The 28th split of the series exudes a sweet perfume of raw energy and sweaty bodies banging in a feverished cellar. On the A-side, Switzerland-based duo Bound by Endogamy, coming from the punk scene, delivers three industrial-synth-rave-hardcore bombs that will definitely destroy your brain. On the B-side, italian producer Antonio Barbetta aka Raw Ambassador delivers two strong dark electroid cuts designed to heat up dancefloors around the globe. This is Acid Body Music, punks !

I am thrilled to share with you the upcoming release of Live Life and Tell Stories, the new album by Figub Brazlevic & John Robinson set to release in the spring of 2023. This album is a celebration of John Robinson's love for storytelling, which has been evident since he was a young child, and his passion for hearing epic storytelling from many of his favorite emcees of the golden era of hip hop.

The connection between Figub Brazlevic and John Robinson is far from a fly-by-night or simply another international internet collaboration. The two met in 2009 during Robinson’s first time touring in Germany, and shortly after, Figub remixed J.R.’s group Scienz Of Life’s Leviathan album for the love and respect of the music. The remixes, which have yet to be released, impressed J.R. and his SOL crew, and he knew he would work together in the future with Figub. That time has come, and the message is clear: Live Life and Tell Stories is a seamless blend of Robinson’s thought-provoking narratives and Brazlevic’s abstract jazzy boombap soundscapes.

This album promises to take listeners on a sonic journey of dope grooves and ill storytelling, where Robinson's unique storytelling abilities are masterfully interwoven with Brazlevic's jazzy, boombap beats. From start to finish, Live Life and Tell Stories is sure to captivate audiences and keep them grooving to its infectious beats.

In an era where the music industry is dominated by short-lived trends, it is refreshing to see two seasoned artists come together to create music that is both timeless and meaningful. This album is a perfect example of what can happen when artists come together to create something truly unique, and I can't wait for its release in the spring of 2023.

So mark your calendars, because Live Life and Tell Stories is set to release in the spring of 2023. This is an album you won't want to miss, so be sure to push play and let Figub Brazlevic & John Robinson take you on a sonic journey of dope grooves and ill storytelling. Let's go!

Danish imprint Inherent Futurism returns with its second release in 2024, entitled 'Merger' and made up of a selection of cuts from the Copenhagen Electro Alliance. Inherent Futurism is the new label launched by Morten Kamper, an intrinsic member of the Copenhagen electronic music scene and the man behind the city's 313vinyl_collective record store. He launched the label with a reissue of the Autobot-1000 '3 Dimensions Of Space', a hidden gem from 2001 and the golden era of Electro. Here though, he brings things closer to home and revisits an array of select compositions from the Copenhagen Electro Alliance, compiled together to make up the aptly titled 'Merger'. The package is made up of twelve tracks across two twelve-inch vinyl from artists in the alliance, Nixxon, Brain Enterprise, Deimos Defender and Kruzh'em. As the name of the Copenhagen Electro Alliance collective would suggest, the aesthetic leans heavily towards experimental sounds and draws influence from the soul of Detroit electro, which paved the way for the future of the genre. The twelve-track collection explores all of the classic Electro tropes from punchy and crunch 808s, intricately intertwined synthesizer melodies, murky bass lines and dynamically unfolding, heavily modulated constructions, some leaning towards dance floor friendly while others lay more in the realm of sonic exploration of futuristic music.

The twelfth volume of Drumcode’s flagship A-Sides series featuring future-facing cuts spanning the breadth of the techno spectrum, The annual compilation serves to showcase some of Adam Beyer’s favourite demo’s throughout the year, as the label boss enjoys the opportunity to introduce new artists to the label, while showcasing cuts from Drumcode’s mainstays.
Kicking off Part 2 is none-other-than Carl Cox whio makes his Drumcode debut with his remix of Label Boss Beyer's massive Take Me There feat DJ Rush.

2023 Repress

Maston’s Darkland is a breezy collection of the material from the Tulips sessions that didn’t make it on to the original LP. Originally a digital-only release for those in the know in the autumn of 2018, after re-issuing Tulips in 2020 it made too much sense for Be With to give Darkland a vinyl release.

Like Tulips, Darkland was recorded mostly in Hoorn, in the Netherlands, between 2015-2017 during downtime from Frank’s touring duties with Jacco Gardner’s band. Bits were also done in Los Angeles on some extended trips back home.

The collection plays like an alternate view of Maston’s instant modern classic Tulips; a companion piece to the LP proper with similar mixture of shorter themes and more full length tracks. As Frank Maston explains: “I think Darkland is the shadow of Tulips in a way… what it might’ve been in a different universe. But the heart of Tulips beats in these songs as well and they evoke the same memories and feelings for me. I see my process playing out across these songs - lots of experimentation and trying out new techniques and sounds and just sort of going for it.”

Frank goes on: “It was all from the same pool of material, like 30+ ideas. I was making a lot of little demos… some would be more fleshed out and become songs and others would just be a cool riff and not go anywhere. When I started trying to form it all into an LP I went through all the sessions and ideas and collected the ones I thought were the most fleshed out and cohesive together as a whole. There were a fair amount of songs that were finished and in hindsight really should have been on Tulips (like what would’ve been the title track). And the rest of these songs are either very early versions of tunes that ended up on Tulips or some cool ideas that just ended up being dead ends. It definitely shows how wide my net was in the beginning before I narrowed the record down stylistically.”

Darkland opens with its ornate 39 second title-track before striding into “Tulips”, that full-length title-track that never was. It’s a real head-nod, percussive-rich electric piano stunner that would’ve been a comfortable standout on the album proper. But now this “downlifting” gem is given ample room to shine on this record.

The funky organ-led bass and drums workout “Immaculate Conception” will keep your neck gently snapping while MPC fiends go reaching for their sampler. And that’s gospel. “Love Theme No 3” cuts a breathtakingly stylish vibra-slapped swathe through the middle of the opening side before we’re startled by the pronounced bass and twinkling percussion of “The Owl In Daylight”. Charming digi-drums underpin the wonky synth (quiet-)banger “Innovative Patterns” which has a lovely melodic switch-up in the final third before the tempo (and hairs on your neck) rise on the faintly creepy yet imminently groovy “Osiris”. The gorgeously soft-focus “Groove Experiment No 3” closes out the first half in slow-mo wonderment.

The lushly melancholic “Raincloud” ushers in side B before the emotionally-stirring “Phonic” taps at the door, coming on like the long lost sister to Pet Sounds’ “Let’s Go Away For A While”. Next up, the swooning beauty “Love Theme No 2” keenly sways in front of you, growing ever more insistent and hypnotic. The too-short “Italian Summer” conjures the same flirtatious imagery as the title hints at whilst “Endless” is a fascinating “piano-pella” alternative version to “Rain Dance” from Tulips. “Wonder Theme” has a nostalgic, exotic 60s swing and album closer “Willow” is a hushed, campfire folk gem. The gently circular strumming is just magical.

Speaking to Aquarium Drunkard back in 2019 about the sessions that became Tulips, Frank noted: “I was really surprised by the lack of sunlight during my first winter in Holland, so I would call it Darkland which then became the name of the first demo I wrote during that time. It was also the working title of the record when I first started writing. Some are full songs that didn’t make the cut (including what would have been the title track), some are just ideas that I never finished.”

Whilst we were working on Darkland’s vinyl release Frank explained more specifically about the music that didn’t make it on to Tulips: “When I was putting together the tracklisting for Tulips I was already thinking that whatever didn’t make it onto the LP would be cool to release eventually somehow. The response to Tulips has been so passionate over the years that it’s nice to be able to offer another piece of that world. And for me personally it’s amazing to have more of my work out there in the world. Most common bit of feedback was that many of these songs should have been on Tulips. The odd friend says it’s much better than Tulips.”

Just like Tulips before it, Simon Francis’s vinyl mastering for Darkland has been cut at 45rpm so you can trip out to this as well at a woozy 33 1/3. The artwork too has been designed by Frank himself as a literal visual continuation of the Tulips cover.

We couldn’t possibly say whether Darkland is better than Tulips, and luckily we don’t have to decide.

On June 29th 2023, Jeremiah Chiu walked into the Vintage Synthesizer Museum (VSM) in Highland Park, Los Angeles, with no plan more specific than "let"s fire this stuff up and see what happens." Exploring the VSM"s vast collection of classic, rare and staple synthesizers, he would sequence, trigger, and layer the machines together with help from VSM founder/curator Lance Hill. The resulting album - In Electric Time - was recorded in just two days, and edited to completion in the two days following. It was captured fully analog by engineer Ben Lumsdaine, who contributes performances on a few tracks himself. Cooper Crain (of Bitchin Bajas) makes an appearance as well; but ultimately the collection is an intuitive expression of organic electronic conceptualized and created in-context by Chiu alone, as he calls on a lifetime of work in sound synthesis to pain a fulgent, refreshingly undercut sequence of cinematic sketches and in-process themes. In some ways, In Electric Time reflects the directness of Raymond Scott"s electronic studio recordings - with sharp cuts and room chatter - and, in others, it conjures the in-the moment- magic of Harmonia.

On June 29th 2023, Jeremiah Chiu walked into the Vintage Synthesizer Museum (VSM) in Highland Park, Los Angeles, with no plan more specific than "let"s fire this stuff up and see what happens." Exploring the VSM"s vast collection of classic, rare and staple synthesizers, he would sequence, trigger, and layer the machines together with help from VSM founder/curator Lance Hill. The resulting album - In Electric Time - was recorded in just two days, and edited to completion in the two days following. It was captured fully analog by engineer Ben Lumsdaine, who contributes performances on a few tracks himself. Cooper Crain (of Bitchin Bajas) makes an appearance as well; but ultimately the collection is an intuitive expression of organic electronic conceptualized and created in-context by Chiu alone, as he calls on a lifetime of work in sound synthesis to pain a fulgent, refreshingly undercut sequence of cinematic sketches and in-process themes. In some ways, In Electric Time reflects the directness of Raymond Scott"s electronic studio recordings - with sharp cuts and room chatter - and, in others, it conjures the in-the moment- magic of Harmonia.

Vivid night visions, alternate dimensions, and dreams that combine reality with film fiction have contributed to these 10 scenic cuts by Canadian musical alchemists called Siviyex. Nooma’s opening release.

Production duo Dj Dogg and Furious Frank are back with the third edition of their on-going series… this time in full remix treatment!

While keeping in line with their signature underground raw house style, volume three explores some new sounds for the series, including vocals cuts, euphoric early trance melodies, big bass and more.

People Of Earth strides into the New Year with a new project called The Elements Series. Part one welcomes some serious names, not least Detroit's ambient and techno master John Beltran who kicks off with 'Nuyorico' a joyous, chord-laced house groove laden with organic percussion. Javonntte's 'Tropical Feelings' is another of his textbook deep house cuts with whispered vocals bringing a spiritual vibe. Atlanta's main man Kai Alce does his do with the jazzy synth energy of shuffling house cut 'Benefit' (NDATL instrumental mix) then Byron The Aquarius pairs things back to dusty drums and humid chords on 'Sun Gods'. This one is only for the real heads.

Another previously unreleased killer from the early '80s Radics / Scientist days, this one was played on dubplate by Volcano in JA and Jah Life in NY, alongside other cuts of the rhythm (also eventually to be released). This is Peter Ranking the singer, not the more well known deejay.

The twelfth volume of Drumcode’s flagship A-Sides series is set to land, featuring 20 future-facing cuts spanning the breadth of the techno spectrum, while none-other-than Carl Cox makes his Drumcode debut. The annual compilation serves to showcase some of Adam Beyer’s favourite demo’s throughout the year, as the label boss enjoys the opportunity to introduce new artists to the label, while showcasing cuts from Drumcode’s mainstays

repressed !

Dropping into chapters four and five of his Midnight Themes series, Marlon Hoffstadt responds to this summer's double set of 'Human Interpretations' - where Gramrcy, Eric Maltz, Johannes Albert, Bawrut and others remixed his previous work - with a two part EP of original material titled 'Law Of Attraction'. Marlon has steadily chiseled his way back into the scene with a series of acclaimed releases and is now in full swing with his Midnight Themes label and his Savour The Moment parties. For 'Part One', the Berlin native delivers four bold tracks, building bridges between classic sounds and a distinct knack for melodies. It's uplifting techno for a hopeful future and these killer cuts are ready and waiting to hit the dancefloors. Speaking of dancefloors, join Marlon to celebrate the release of both EPs on December 8th at Renate alongside DMX Krew, Kowton, Meggy, Gigsta and many more.

Warehouse find!

While the German producer Martin Matiske averages a new release under his given name every few years, there was a long stretch of time in which sightings of his Blackploid alias were much more rare. After dropping an EP for Frustrated Funk in 2006, fans found further material hard to come by over the next decade or so. However, Matiske has reinvigorated Blackploid in recent times, with the project making a few compilation appearances and dropping a couple of EPs across 2020.

That run now culminates inCosmic Traveler, a four-track affair which marks Matiske's debut appearance on Sheffield's Central Processing Unit. Given the long wait, it's great just to see Blackploid back among the fray once again. But for the project's CPU curtain-raiser to be an EP of such high-quality techno jams? Now that really is spoiling us.

Cosmic Traveler's title nods towards the sort of stargazing aesthetics one finds in classic Detroit techno. However, while there are undoubtedly ties to the Motor City in this music, the record ultimately steers less towards spacious atmospherics and more towards the taut, lean machine-funk of seminal practitioners like Dopplereffekt.

Matiske sets his stall out from the off. Opener 'Electric Engine' begins with a run of stiff-necked 808 kicks before hissing hi-hats, a grizzly bassline and all manner of futuristic sounds enter to warp the tune into hyperspace. Following cut 'Night Drive' repeats the trick of 'Electric Engine' but adds a pleasingly dinky synth lead in order to nudge itself slightly towards bleep-techno territory.

The two cuts on Cosmic Traveler's B-side are pure late-night goodness, a pair of mid-set heaters primed for dark basements. 'Pleasure Activism' delivers on the promise of its title and then some, pushing the Kraftwerk template to extremes by bringing a load of gnarly synth lines into play over a wobbling acidic chug. Finally, EP closer 'The Race' is reminiscent of both the twisted machine-funk of Gerald Donald's Japanese Telecom project and the playful modern evolutions of artists like fellow CPU high-flyer Jensen Interceptor.

The resurgence of Martin Matiske's Blackploid project continues withCosmic Traveller, an EP of timeless electro-funk and techno.

FFO: Dopplereffekt, Japanese Telecom, Jensen Interceptor, Cardopusher

Tony Boninsegna: Notes From The Underground 1986-1994 (Volumes 1 and 2) Cold Blow / Musique Pour La Danse

The story of dance music is littered with hidden heroes and underground activists whose immense contributions have been overlooked, ignored and under-documented. Tony Boninsegna, a producer who made and released countless classic cuts and forgotten gems during the acid house and rave era, is one such example.

Melding elements of all that was popular in underground clubs at the time to create his own dancefloor-friendly sound worlds, Boninsegna amassed a huge catalogue between 1986 and '94, while hiding his involvement via an array of oddball aliases and opaque pseudonyms. Boninsegna's story first came to light four years ago when he appeared in Join The Future: Bleep Techno and the Birth of British Bass Music, Matt Anniss's critically acclaimed alternative history of UK dance music in the rave era. Now Cold Blow has joined forces with Musique Pour La Danse to deliver a much-needed anthology of his greatest productions and
co-productions - many rare or hard-to-find - for the first time.
Featuring 24 restored and remastered tracks stretched across two volumes on vinyl and digital, including a handful of previously unreleased tracks and mixes, and accompanied by detailed sleeve notes by Anniss, Notes From The Underground 1986-1994 is a joyful celebration of one of British dance music's most under-appreciated artists. The full breadth and depth of Boninsegna's rave-ready catalogue, as well as an indication of
the sheer volume of aliases he utilised during the period, is explored in detail across the two-part compilation.

Fittingly, volume one features two previously unreleased recordings that mark his earliest explorations of the emerging house sound (both as The Rhythm Squad, with Richard Compton), alongside touchstone releases such as Zeco's 'The Witch Trials' (a 1989 production that marked his first outing on vinyl), celebrated workouts recorded with regular collaborator Mykey Tee (Lab Technicians' bleep-inspired 'We Gave U Life', Big Showdown's epic 'They're Here' and AEK's mind-mangling, bleep & breaks number 'Lick It'), and genuinely overlooked gems (the proto-tribal house of Pierrepoint's acid-smothered 'Tonnerre' and saucer-eyed rush of Estudiantes' 'Let The Music Into Your Mind').

It all adds up to the definitive musical retrospective of a genuine underground, rave-era hero whose time in the spotlight may finally have arrived.

“The band was once described as a 'fucking nightmare' to be around, whilst we are lovely people we do embrace the chaos that comes with all of this so found it fitting to title our next album as such. The songs themselves mainly follow this theme but relate to all aspects of life. Lyrically, it is more of the same... no metaphorical meanings, no fantastical story telling, no pretentious bollocks.... Just tales of a life lived as it will always be.”

David Nance & Mowed Sound, the first album by Nance to be released on Third Man Records, cuts deep. Memories sprout back, like the sounds of a great rock song blasting from the neighbor’s truck as it revs away into the night. There is a definite connection to the past, but the swinging guitar boogie and snarled blues you might expect from Nance and company sounds leaner and completely hypnotic. What remains are 10 tracks from a well oiled group so rhythmically together that the songs on the album seem as connected as links in a chain.

David Nance & Mowed Sound, the first album by Nance to be released on Third Man Records, cuts deep. Memories sprout back, like the sounds of a great rock song blasting from the neighbor’s truck as it revs away into the night. There is a definite connection to the past, but the swinging guitar boogie and snarled blues you might expect from Nance and company sounds leaner and completely hypnotic. What remains are 10 tracks from a well oiled group so rhythmically together that the songs on the album seem as connected as links in a chain.

repressed !

Birthed at the turn of the ‘80s, synth and wave music has remained a constant force over the last four decades, with a recent spike in interest in the sound offering further proof of its’ timeless, out-of-this-world quality. It’s against this backdrop that Dutch DJ Interstellar Funk presents his celebration of the style, “Artificial Dancers – Waves of Synth”.

A bumper compilation bristling with obscure and hard-to-find gems, the set sees the Artificial Dance label founder joining the dots between synthesizer and drum machine-driven tracks in a variety of subtly different styles. It’s the result of hundreds of hours spent digging through dusty old records, tapes, and the Bandcamp accounts of DIY musicians who have been active since the sound’s first boom in the early 1980s.

The 11-track set draws on tracks made and released at different times over the last 40 years, with the earliest cut committed to tape in 1978 and the most recent in 2018. While the tracks date from the ‘80s, ‘90s, noughties and 2010s, the showcased cuts are united by a primitive but futuristic quality that makes dating them difficult. In many cases, it’s hard to tell which tracks were made in the early 1980s and which were conjured up in 21st century studios.

As you’d expect, highlights are plentiful with a number of the most unknown or sought-after cuts appearing on vinyl for the first time. In this category you’ll find the Human League’s odd but inspired early number “4JG”, a near mythical 1982 live version of Liasons Dangereuses’ “Dias Cortas” (previously only available on a VHS video) and Chris and Cosey’s “Hybrid C”, a brilliant mid-’90s cut plucked from their CD-only album “Skimble Skamble”. You’ll also find a rare demo version of Clan of Xymox’s Dutch darkwave classic “Stranger”, which became a club smash across Europe in 1983.

Interstellar Funk has also chosen to showcase tracks by a range of DIY producers and lesser-known artists. These include Californian band Batang Frisco, who self-released a sole private press album in 1986 (their contribution, “Sewing Machine”, is dedicated to founder member Bill DiMichele, who passed away this year), Matthias Schuster’s Im Namen Des Volkes project – which contributes the previously unreleased 2014 track “Alles Ist Gewinn” – and Zahgurim, a short-lived early ‘80s act who reunited in 2018 to record their first new material since 1983.

If that wasn’t enough to set pulses racing, the compilation also showcases a solo track by sadly departed Psyche member Stephen Huss. Nobody is quite sure when Huss recorded “Infinity Sign”, but we can confirm this is the first time that one of his solo productions has ever appeared on vinyl.

This is the story of the one the great disco labels, a legendary label who were at the forefront of a genre during it fruition and creative peak. Sam Weiss started SAM Records in Long Island City, New York in 1976. Sam, and his brother Hy, were born in Romania before moving to the Bronx in New York City when they were young. Sam and his brother were no strangers to the music business having been in the industry since the mid-50s running labels Old Town and Parody Records. • During the mid-1970s Disco took New York by storm and emerged into a revolutionary musical force that re-shaped the face of the City. It was however a genre major labels largely ignored initially. It was the smaller, independent labels that led the way in disco’s early years. Founded in 1974, Salsoul was the first. Sam’s new label SAM Records arrived a year later, followed by West End and Prelude in 1976: four labels from which umpteen disco classics emerged. • This compilation compiles all of the classic material that SAM release during the years 1975 and 1983. Offering up a treasure trove of disco essential this compilation features tracks from Gary’s Gang, John Davis & The Monster Orchestra, Komiko, Rhyze, Convertion, Vicky “D”, Greg Henderson alongside deeper cuts by Lucy Hawkins, K.I.D and more. • The audio used here has been sourced from the SAM archives and in many cases the mixes are appearing in their truest 12-inch form. The set is complete with extensive liner notes by The Guardian’s chief music critic and disco authority Alexis Petridis. • SAM Records has forever left its footprint on the Disco and music history, and this compilation is an essential addition to anyone’s collection.

After a brief hiatus, Late Night Burners re-enters the party with a fresh reissue in the Still Burning series, the first of a few that will drop throughout 2024. And again, the adventure was found close by.

Roland Klinkenberg operates under many clever aliases (Simsalabim!) but arguably his biggest moment as a producer was the progressive trance tune “Inner Laugh”, which was remixed by none other than Border Community founder James Holden. And when those kinds of tunes get cross-bred with uptempo house and menacing techno, you get “SIM 01 / Trance Textures 2”. Originally released as the first record on his own Sim label in 1995, these tunes were part of the beginning of Roland’s long and illustrious career. You’ll understand it when you hear it. No remixes this time, just the four OG cuts remastered from the DAT tapes with love, respect, and tenderness.

Repress!

Our next Toolroom 4-track vinyl sampler offers some of our biggest recent releases including none other, than the boss man himself, Mark Knight who is joined by James Hurr & Cari Golden with their club focused record, 'You Are A God'. In demand Italian DJ & Producer Qubiko also returns to the label with 'Talking To Myself', whilst key members of the Toolroom family, Leftwing : Kody go back to their clubbier roots on 'Mallet'.

Last but not least fast-rising, star-in-the-making, ESSEL who is set to drop a slice of Summer with 'Try', a Piano House focused record in the classiest of fashions, akin to a classic Dusky sound. Four killer cuts that you will not want to miss this summer season!

Rayko the Spanish Disco Producer and DJ extraordinaire has been busy in his Madrid based Studio burning the midnight oil to deliver Vadillo Vice Volume two.

Four reworked funk fuelled bass heavy cuts, tried and tested by the man himself on dancefloors across the globe and due to be released on vinyl only later in the year.

Deeply rooted in the golden era of the 70s and 80s, Rayko’s influences are masterfully interpreted and transformed into modern day dancefloor bombs, and are a key signature sound of his long established label Rare Wiri (Since 2008) an outlet for his productions alongside other likeminded artists such as Daniele Baldelli, Man Parrish, Gazeebo, Ilija Rudman, Ichisan, Spirit Catcher, Mushrooms Project, Eric Duncan among many others.

333 reissues a massive sought-after and obscure Jazzbo-produced 45 from Stanford Shirley. The System was recorded at Harry J's studio and released in 1987 on the late Linval Carter's Ujama label. Though one of the lesser known cuts from Jazzbo's late 80s production stable, it is surely up there with one of the best. Killer archetypal digi business.

GALACTICA MUSIC Launches for all Ravers, invaders and techno music Lovers.

After a big success, GALACTICA FESTIVAL decides to create a Record Label where can express his vision of music.

This discographic adventure starts with a V.A. Series called ''ICARIUS'' where great artists with techno cuts on many shades are brought together.

The label presents a 12-track VA (double vinyl) where you can find all the best of the techno scene, ranging from electronic to industrial, acid break and hard techno.
Not a Monothematic V.A., but a right compilation that encloses the essence of techno with all its shadows and variations.

Skydaddy, the moniker of London based musician and bandleader Rachid Fakhre, has announced his debut EP, Pilot, releasing on the 2 February 2024. Alongside this announcement, Skydaddy has shared a new single ‘His Masterpiece’

Having spent the last few years writing and producing as one half of the acclaimed musical duo Spang Sisters, Skydaddy’s debut EP Pilot promises to be a ray of light bursting out from an increasingly busy London indie scene. Combining cello, violin, flute, piano and intricate vocal harmonies, Skydaddy cuts an utterly compelling figure, leading a fluid and interchangeable band, at its largest 7 people strong, they delicately glide through intricate passages of chamber-folk-rock, into swelling orchestral crescendos.

Released today is new single ‘His Masterpiece’ a piano driven track bristling with both a sense of hope and of melancholy. Skydaddy’s vocals sit alongside ear worm hooks from violins and flute. Following on from debut single ‘That Morning’ (also on upcoming EP Pilot) Skydaddy manages to capture a sound of yearning and nostalgia, whilst still sounding completely fresh and incredibly exciting. Offering insight on the inspiration on the track, he offers:

“Inspired by the story of Claude Lantier from Emilie Zola’s L'Œuvre (Commonly translated to ‘His Masterpiece’), the song charts the plight of an early impressionist painter in Paris whose works are unappreciated and gawked at by the Parisian artistic elite who are still tethered to the Romantic trend in painting. Lantier (whose character is based on Paul Cézanne) becomes madly obsessed in a painting which he believes to be his masterpiece and the ultimate demonstration of his talent and genius; an obsession which leads to his eventual, self-inflicted demise. The song is ultimately about alienation, bitterness and the struggle of creativity.”

repressed !

3 silky cuts for interstellar ears.

This is the new 20th anniversary edition of one of Soul Jazz Records’ classic Studio One releases, now available as a one-off special blue vinyl very limited-edition pressing (2000 copies worldwide). 


Studio One Roots set the standard for Soul Jazz Records’ long-standing series of Studio One collections and features many of the classic artists from Clement 'Sir Coxsone’ Dodd’s mighty roster of reggae. This album includes Freddie McGregor, Willie Williams, Cornell Campbell, Alton Ellis, Devon Russell alongside some of the defining crack-session men groups of Jamaican reggae history – The Sound Dimension, Brentford All-Stars, The Skatalites, New Establishment and more. As ever the album is filled with a mixture of
seminal cuts and super-rarities from the vast vaults of 13 Brentford Road. 
Stand-out tracks include Alton Ellis’s Blackish White, a surreal and powerful Afro-centric dream, Count Ossie Nyabinghi and Rastafarian drummers genre-defying interpretation of Booker
T and The MGs ‘Meditation’, Willie Williams awe-inspiring versioning of the Skatalites seminal Rastafari anthem Addis Ababa and many, many more.
 This album has been fully digitally remastered, analog cut and packaged complete with the following: Original sleevenotes by Lloyd Bradley (author of When Reggae Was King),
compiled by Mark Ainley (Hones Jons), high-quality Soul Jazz mastering, wicked images of Count Ossie and the Mystic Revelation of Rastafari on the cover, and a rare image of Clement Dodd and musicians inside the studio at Studio One on the full colour inner
sleeves.
 “The music of this compilation is of a rare, rare beauty and is essential to anyone's reggae collection” All Music

Originally recorded in 1987 at Tabansi recorded Studio & Roger All Stars and pressed by Wilfilms, Nigeria. You’ll find six tracks of drumcomputer driven lo-fi jams laced with catchy synth lines from the mind of producer Austine Onwurah, who was quite active in the 80’s.. The project with Mr. Idigo resulted in a highly addictive cosmic boogie album which includes four absolute highlights. The record starts with one of the standout cuts; Flight 505, which is a tough electro/boogie crossover with vocals and sparse vocoder on top. Followed by the heavy boogie jam ‘We Got To Love’ , that is the personal favorite and a great track for DJ’s . The magnificent A-side closes with the catchy title track, again great production with top chorus and synth hook. On the flip you’ll find the wicked digital reggae tune ‘Mystic World’ with still ever relevant lyrics that closes the LP.. There is something special about this sought after record, the way the instrumentation has been played and programmed is very groovy and musical with a certain sound to it that is unmistakably Nigerian. The synth melodies weave in the tracks with ease and layers of funky bass and guitar float on top. Music that will grow on you every time you listen to it, one of the clever wonders coming from Nigeria! Officially licensed with courtesy of the family. Carefully restored and remastered with respect to the original sound and artwork. ‘’The need to ‘Search’ has come oh’ people of the world we have taken earthly forms the wisdom of love and unity thou shall love one another for love and unity is the route of life so do I search for Love, Peace & Unity’’ – Alphonsus Idigo

Celebrating its 25th anniversary WORLDSHIP MUSIC drops this remastered 12" edition of "TOMORROW PEOPLE" complete with "BONUS BEATS" as an extra. Out in 2019 as a limited (and now out of print) 7" this classic house cut features the great GREGORY PORTER on vocals. 4 cuts.

Lee Burton makes his debut on Up The Stuss with ‘Sinewaves’, a five-track collection of expansive house cuts representing his impactful sound.

With music released via Dorian Paic’s renowned raum…musik through to John Dimas’ Elephant Moon and Berlin’s Taverna Tracks, Greek DJ/producer Lee Burton has been a firm favourite for those in the know, having been embedded within the underground minimal/house scene for the past decade. A constant when it comes to providing ‘secret gems’, with his records in rotation amongst the record bags of leading names across the globe, Burton’s talent as a DJ has also seen him grace legendary parties and institutions from NYC’s ReSolute to Berlin’s Club der Visionaere. Next up, his latest studio voyage brings an impressive label debut on Chris Stussy’s Up The Stuss, opening the imprint’s 2024 schedule in style.

From the acid-electro fusion of opener Sinewaves’ and the breezy tones of ‘Burning’, through to the up-tempo and intoxicating sci-fi sonics of ‘ITICF’ and the modulated, electro-funk of ‘Love Motion’, each track provides a unique slice of Burton’s vast sound palette, crafting an EP that covers all hours of the night. Sprinkle in the digital bonus ‘Oxytocin Overdose’, contrasting squelchy tones and classic chords with that infectious topline, and it’s another must-have record on the imprint.

Two superrare & heavy funk cuts from Donnie Sanders. "Shing A Ling Baby" can be found on the incredible "Feeling Nice Vol.4" compilation album. "Naptown USA" is completely unknown and waits to be discovered.

Ebony Steel band is one of Europe's leading steel band and one of the first steel bands set up in the UK. The band was founded in 1969 by a group of dedicated Caribbean and British men and women who shared a love of steel bands and steelpan music and wanted to promote steelpan music across the UK and Europe.This time, "The Model" and "Tour De France" are single cuts from their Kraftwerk covers album "Pan Machine". With Japanese imaginary jacket.

Wildacre presents Hanzeverbond EP.

Wildacre & Qindek have teamed up, both hailing from the east of Holland, with 5 cuts of straight up, modulair analog techno. You'll hear 25 years of experience which created this forward driven, staggering, killer EP. Strongly recommend to play in a warehouse techno rave!!

From the outskirts of the Netherlands!

"Flower power psych pop that’ll blow you away! Exploring the jangly folk and garage sounds of the late ‘60s, the Superfine Dandelion picks a wide variety of colorful folk, country and jug band influences and puts a psychedelic tint on their all-original compositions. Our favored stereo mix, pressed on blue vinyl!

Formed in 1967, this Phoenix, AZ band would only last for a year before parting ways, leaving behind just one album – a fate many Mainstream artists ultimately faced, no matter how quality their style and sound was. The Superfine Dandelion features Mike McFadden (formerly of the garage rockin’ Mile Ends) and Rick Anderson (founding member of the Tubes) showcasing the sound of the Summer of Love – kaleidoscopic, sunny & groovy!

“While the cheeriest cuts have the sunny folk-pop/rock feel of, say, some of the L.A. folk-rock issued by the Dunhill label (‘Don't Try to Call Me’ recalls P.F. Sloan) or the Monkees, their self-titled LP had a good deal of sub-Jefferson Airplane folk-psych-rock, with plenty of minor chords, harmonies, and wistful lyrics. Then ‘Janie's Tomb’ and ‘It's Raining’ have a jokey jug band vibe, like a cross between the Charlatans and the Lovin' Spoonful.” – Richie Unterberger (AllMusic)"

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This is a welcome return to the label for Amazingblaze who released his Can't Stop EP in January this year and his Venture EP in 2022. Since then he has continued to innovate with his heavy-hitting trance, techno and hardstyle influenced sounds. His ever evolving studio skills see him mix up old school influences with new school sound design that is perfect for engaging dance floors. His signature imprint is all over these four new cuts with their mix of big synths, bigger drums and all consuming grooves.

“Believe EP says it itself. All I wanted to say is that you have to believe in yourself”, Amazingblaze says. “This brand new EP contains 4 full-power tracks that definitely goes through your heart. Massive trance synths combined with vocals make it sound really mysterious and groovy. Hope you enjoy it, and believe in yourself.”

Charlotte de Witte adds: “It’s no secret that to me, Amazingblaze is one of the purest talents out there. This guy really understands what music is about and manages to create dancefloor bombs time after time. I’m super proud to have him on board for another EP on KNTXT and to watch him grow and become one of the top level artists out there.”

'Believe' kicks off with intense drum patterns and smart vocal samples that are lit up with bright and electric synths full of euphoric energy. 'Strange Candy' is a bulky and physical mix of clipped techno funk and throwback rave sounds with strobe-like lasers shooting across the face of the track. There is more peak time brilliance in the hard drums and hands-in-the air synth magic of 'It Happened Again' while 'Boyz Makin Noiz' shuts down with twitchy stabs and twisted acid lines and dark vocals appear from the shadows.

Amazingblaze delivers yet another exceptional EP, seamlessly blending forward-thinking techno and trance elements.

Dutch dance troupe ISOTOOP inaugurates its label with a quaternity of sly rhythms to mystify and elevate. Adhering to ISOTOOP’s unstated yet practised mantra of many growing as one, the culprits behind the pieces are none other than core family members Shoal (Kenny Kneefel) and Vand (Viktor van der Riet), unifying for the first time under the name of Voal.

The longtime friends and compatriots in sound meld together to form a distinct entity; aligned as one, but audibly a product of their individual approaches. Across the four cuts, the two producers share a singular vision of club music, designed to initiate movement and shake the floor, while leaving essential space for thought and imagination.

From the low-down and dirty funk of ‘Carpet Crawler’ to ‘Take My Hand’s bleary and dazed downtempo, evaporating in its final moments into transcendent closing ambience, Voal journey through a wide landscape of club electronics with a fervent pulse. Pinned between the two slower joints are ‘Lucifer’, a consecutive tumble through iterated rolling percussion and minimal basslines, and the kinetic, high-tempo fiesta of ‘Saffron’, a sure-fire favourite for the ecstatic midnight.

Thick like warm tar, and airy as steam, Voal’s debut whets the appetite for more.

Written by Freddie Hudson

A selection of 8 exclusive Dub cuts produced in the legendary Genevan squat “Goulet 25” between 2003 and 2013 and cut at 45rpm for deeper basses at Dubplates & Mastering in Berlin.

Give thanks to the Creator JAH RASTAFARI to make everything possible

The latest by Texan-turned-Angeleno progressive vaporwave producer Carlos Ramirez aka AURAGRAPH finds him shifting focus to the dance floor across eight chrome clockworks of cosmic acid house and liquid rave glide: 'New Standard'. Inspired by lessons learned during a 5K mile American road trip tour in the summer 2022, he set to work in his Simi Valley Tuff Shed of synths and hardware, pursuing an explicitly DJ-friendly muse: "I realized I wanted to make a record where every track could go off in a live setting."These cuts do just that, revved and rhythmic, peppered with slap bass, Madchester whistles, filtered acid, gated snares, baggy cowbell, and sample pack classics - record scratches, orchestral stabs, the "Yeah! Woo!" from Lynn Collins "Think (About It)." Ramirez describes the process as immediate and instinctual: "I'd turn on the MPC, pick a tempo, and just improv - it was incredibly fun."From sleek freeway techno ("110 Cruising") to arcade lurker acid ("Coast 2 Coast") to big room bangers ("666 Ambience"), the tracks time-travel across the canon of club music, sifting tricks and styles to fashion fresh anthems of hypnagogic jack. It's an album channeled as much as crafted, tapping into the decks of mythic warehouse infinities past and present, where the system rips all night and acid never dies.

To coincide with The Courettes' first US tour, Damaged Goods put out this special compilation album. Boom! Dynamite includes singles, deep cuts from their studio albums, with B-sides and rarities thrown in for good measure! First pressing on orange vinyl is limited to 1000 copies only! The Courettes are two souls in love with each other and in love with rock 'n' roll. They've been touring nonstop throughout Europe since 2015, bringing their "perfect blend of garage rock, '60s Girl Group, Wall of Sound, surf music and doo wop" to the delight of any audience even remotely interested in rock 'n' roll. Expect excitement, danger, sweat, explosive performances, and most importantly, GREAT tunes! The "hardest working band in showbiz" now venture further away - After visiting the Land of the Rising Sun in 2022, The Courettes are thrilled to tour the USA for the first time in 2023. Described as "The Ronettes meet The Ramones at a wild party at Gold Star Studios echo chamber", The Courettes have released four fantastic albums on the legendary label Damaged Goods Records, each one praised by magazines such as MOJO and Shindig!, most notably the Back In Mono album in 2021, a true milestone in their career. This new compilation, Boom! Dynamite, released exclusively for the US market, guides you through their albums from the very beginning, from the early raw power garage rock onto their present Spector/Levine Wall of Sound Gold Star sound, made using complex recording techniques at StarrSound Studios in Denmark with top producer Soren Christensen and mixing genius Seiki Sato from Japan. Featuring Brazilian Flavia Couri on guitars and vocals, and Danish Martin Couri on drums, The Courettes were born international. For them there are no nations or borders. Their mission is to connect, cherish, and inspire rock 'n' roll souls around the world, including now, in the USA. The Courettes are pure dynamite! Turn up the volume and fuzz out! BOOM!

GLBDOM sub-label GLBDOM Classic is dedicated to nostalgic house sounds inspired by the great styles of Chicago, Detroit and New York vibes, with hints of Italo-Dream house and even the Balearics. We get all that here on this new split EP from French house producer Sunny Galaxy and Englishman Dan T.

Sunny opens up with some happy, piano-laced party starters, well-swung garage-house grooves and steamy basement jams, then Dan T offers a B-side trio headed up by the gloriously vocal laced 'Wrong Time.' 'My Desire' cuts up the groove with some nice raw percussion and 'Want To Love You' is a sultry and jazz-tinged number for lovers.

On 6th October, multi BRIT-nominated DJ/producer Joel Corry releases his debut album, ‘Another Friday Night’ via Asylum / Atlantic Records, with the pre-order going live on the 18th August.

To be released on both vinyl & CD, as well as via streaming/download, ‘Another Friday Night’ is a collection of Joel’s most iconic records of the last five years, including breakthrough hit ‘Sorry’, ‘Lonely’, multi-platinum UK #1 single ‘Head & Heart’ ft. MNEK, ‘BED’ w/ RAYE & David Guetta, ‘OUT OUT’ w/ Jax Jones, Charli XCX & Saweetie, plus fresh 2023 cuts like ‘Dance Around It’ with Caity Baser and the anthemic ‘0800 HEAVEN’ with Nathan Dawe & Ella Henderson, ‘Another Friday Night’ toasts a remarkable run of releases that’s seen Joel become one of the UK’s biggest and most impactful dance acts.

“My debut album ‘Another Friday Night’ is the biggest moment of my life”, says Joel Corry. “Everything I have dreamed about and worked so hard for has come together with the release of this record. It has been an incredible journey and I am so proud to have reached this moment in my career. I want the songs to make people feel good and bring happiness to their days, and the album includes everyone’s favourite bangers from over the years, as well as some really exciting new material. This is the ultimate Joel Corry playlist, perfect for Another Friday Night.”

Ahead of the release of ‘Another Friday Night’ on October 6th, Joel has also announced a special headline show at London’s Ministry Of Sound on Friday 29th September – his first London headline date since playing at former 5000-cap venue, Printworks, in autumn 2021.

Fans who pre-order ‘Another Friday Night’ will be granted early pre-sale access to tickets on August 24th, before general sale opens on August 25th

Great new release from Italy’s Alderic Records, 6 Hard techno/Rave cuts…

Four x four hard driving, dancefloor shaking detroitish electrotechno cuts by Ten Lardell. Limited hand-stamped vinyl. TIP!!!

BADBADNOTGOOD is a young supremely talented trio of musicians made up of Matthew Tavares on keys, Chester Hansen on bass, and Alex Sowinski on drums. Since their inception at Humber College’s Music Performance program in 2011, the three have challenged the rule book on improvised instrumental music and taken jazz tradition into the future.
With early champions including acclaimed BBC broadcaster Gilles Peterson and Tyler The Creator who helped fuel their discovery with a series of live jams that instantly went viral and dubbed them the “Odd Trio”, the band released their first EP BBNG in June 2011 to wide praise. The marriage of jazz virtuosity and hip hop source material offered a fresh take on the traditional “standard” applied to hip hop classics by taking on choice cuts from the golden era rap cannon and writing inspired arrangements for them instead of one-dimensional covers.
The band hit a landmark by introducing original material into their composi- tions with BBNG2 in 2012. New songs like “Rotten Decay”, “Vices” or “UWM” carried on the proud heritage of musical juxtaposition by bringing together jazz, hip hop, punk, and dance music into vigorous balance. Since then, they’ve won praise from the four corners of the globe and collaborated with Frank Ocean, Earl Sweatshirt, MF Doom, Pharaoh Monch and RZA among many. Their no- torious live performances have brought fans across the whole musical spectrum together, taking the band around the world from Coachella to Glastonbury.
Now, the inseparable friends are prepping to release their biggest project to date III on prodigious young label Innovative Leisure, a highly-anticipated project ushering in the group’s newest explorations which are proving to be limitless.

Matthew Herbert and Goldsmiths University's in-house record label NX Records presents the latest in their series of experimental electronic vinyl 12"s.

NX14X showcases the work of two boundary pushing Goldsmiths students: first, UK born and South Africa raised composer Galina Juritz, whose chopped and spliced RnB doused in lush string arrangements enduces a fidgety unease and zero gravity lushness in equal measure.

And second, rising DJ and producer Harry Rodger, with two cuts of organic, summery techno that would sound perfectly at home pumping out of the NTS Radio speakers into a sun-baked Gillett Square.

2001, Yorkshire, England. SUBDUB is in full strength shaking down Leeds' city walls with regular parties, community events & sound system sessions. Active since 1998, the devoted crew push UK Dub music forward, inviting key players of the scene to play at their events powered by the mighty Iration Steppas sound system. Session after session, the SUBDUB imprint nurtures a loyal community of skankers while building close ties top artists in the field. A solid reputation that resonates amongst dub-heads around the globe. After 3 years of existence and having already put out 3 singles on their Tandori Space Records label, the idea of putting out a SUBDUB compilation album sparks. Producers get involved and the ‘Digital Africa’ project takes shape! But when the test presses finally arrive, the difficult financial situation and bleak state of the vinyl market at the time force the project to get shelved…

22 years on, while on a pilgrimage to SUBDUB and stopover at the Tribe Records HQ, the Dubquake team see the dusty test presses emerge from the record store vaults and get a taste of the incredible music through the shop's speakers… Unreleased & exclusive tracks by Iration Steppas, Jah Warrior, D.BO General, Vibronics, The Disciples, Tena Stelin, Nucleus Roots, The Bush Chemists & Freedom Masses. 12 undiluted UK Dub cuts from the 90s pressed on to 2x12” vinyl discs, with a 13th bonus digital track. Pure sound system business, raw dubs inna vanguard style!

‘Digital Africa’ is finally coming out on Dubquake Records in time to celebrate SUBDUB’s 25th birthday. A forgotten compilation full of history, curated by Simon Scott & Mark Iration. Guaranteed to bring back sweet memories to veterans of the dance, a great piece of dub music education for the rest of us!

Superjock Records is proud to present the 20th Anniversary Expanded Edition of Connie Price & The Keystones’ cinematic Psychedelic masterpiece “Wildflowers” for the first time on vinyl!

Originally released in 2004 on Now-Again Records, the Expanded Edition features B-sides, EP cuts, and rarities from the vault.

Masterminded by producer/composer/multi-instrumentalist Dan Ubick, the album also features members of Breakestra, Orgone, Poets of Rhythm, L.A. Carnival, Funk Inc., Dap Kings, and The Heliocentrics!

Producer / composer / multi-instrumentalist Angel Marcloid records music under the moniker Fire-Toolz. Though Marcloid’s output emerges in a litany of aliases and projects — from the jazz fusion / new age of Nonlocal Forecast to the vaporous nostalgia of MindSpring Memories — the Fire-Toolz catalog remains the central focus of the prolific artist’s musical universe and a home for Marcloid’s most ambitious work.

"I am upset because I see something that is not there.", the fifth Fire-Toolz album to join the Hausu Mountain catalog since 2017, follows 2021’s sprawling double-album Eternal Home and 2022’s self-released EP I will not use the body’s eyes today. I am upset… offers listeners a prismatic cross-section of juxtaposed genres and compositional contortions to explore, maintaining Fire-Toolz’s signature density and complexity while tightening the scope of Marcloid’s experimentation into the project’s most focused song cycle to date.

Perhaps more than any previous Fire-Toolz album, I am upset... presents some form of pop music, carried in Marcloid’s passages of clean vocals, in the bright synth tones that animate its tracks, in the yearning saxophone lines that pour into view and whisk the narrative onto a new path. The format of a one-person “band” carries a different weight in a landscape of solo artists crafting modernist productions that don’t allude in the slightest to various twentieth-century rock-related traditions. Fire-Toolz exists on both sides of this divide. The music of Fire-Toolz draws energy on a moment-to-moment basis from the constant fluctuation between seemingly disparate styles, yet Marcloid repeatedly pulls off the impossible feat of making chaotic deviations and improbable jump-cuts between ideas sound holistic, as if such compositional gambits were already logical to begin with. Bursts of harsh textural noise cut into drifts of new age synth bliss, while screamo verses bookend passages of hyper-technical jazz fusion.

There are two versions of the vinyl - classic black and triple-color limited Indie Shop edition.

Both have special insert inside with the bands bio and photos.

Generacja JAZZ is a project showing a fragment of the new wave of Polish jazz, treading its own path, creating, touring and jamming across Europe. Borders don't exist - especially musical - the new generation is engaging with nightclubs, festivals and playlists. The time has now come to show its broader perspective. We created a project which involves a handful of groups that have already racked up debut albums and festival wins, as they set out on their musical odyssey. The groups also have other things in common, like their passion, originality and, for the needs of the project, age - all the artists during the recording of this album were under 30 years old. This is the new generation - the Jazz Generation.

For the Jazz Generation record we invited five bands who had already released debut albums: Immortal Onion, Klawo, Rejoin, Twoosty Mayonez and USO 9001. We also reserved two spots on the compilation for the winners of our open call competition, whereby on the basis of the jury's choice (jury: Monika Borzym, Paulina Przybysz, Envee, Wojtek Mazolewski i Marcin Groh Grośkiewicz) we met the winning bands: Kosmos and quietet.

The sleeve artist is Kornelia Nowak, who won our open call for young designers and graphic artists. Here once again we could rely on the opinion of a prestigious jury comprised of: Beata Śliwińska Barrakuz, Bovska, Maciej Animisiewasz Grochot, Grzegorz Forin Piwnicki i Marcin Groh Grośkiewicz.

Generacja JAZZ LP is also a start of the new imprint - U JAZZ ME, which will be focused on jazz from Poland.

And here are the bands from the album:

1. Immortal Onion - A band from the Tri-City playing a broad spectrum of instrumental music.

Band members: Wojtek Warmijak (percussion), Tomir Śpiołek (piano, synths), Ziemowit Klimek (Upright Bass, synths).

The band Immortal Onion has already established itself as one of the most interesting projects of the new wave of Polish jazz, and is consistently being labelled as such abroad. After two well received albums ("Ocelot of Salvation" (2017) and"XD Experience Design" (2020) U Know Me Records) they released their third album "Screens" in 2022, which was recorded with the well known Tri-City composer and saxophonist - Michał Jan Ciesielski.

The inspiration behind the band's formation were such artists as: Esbjörn Svensson, Hiromi Uehara, Tigran Hamasyan and Tosin Abasi.

The group's guiding principle from the very beginning was the fusion of often disparate musical styles, which bore "post instrumental aggressive gay pop". Despite the stylistic discrepancies, between which they swim, the group has forged its own identifiable language, characterised by complicated rhythmical structures, energetic riffs and trance beats with lyrical melodies.

The trio has performed its original material at many venues and festivals around Europe and Asia.

2. Klawo - seven adventurous adventurers from Gdańsk, who were brought together by their love for music, halvah and throwing Frisbee. Their self-named début album, released in 2022 on the local label Coastline Northern Cuts, is an amalgam of the inspirations of each of the team members and played backwards contains tips on how to reach the Kashubian pyramids. After a win at the international competition Jazz in the Park, held in Cluj-Napoca in Romania, the band began work on their second album. Meanwhile, they were also travelling the length and breadth of Poland on a mission to infect people with the idea of Baltic Funk.

3. Kosmos is a Łódż based jazz quintet. It was formed in 2020 by Pianist Stanisław Szmigero, Saxophonist Iwo Tylman and Trumpeter Jan Ostalski. However, it wasn't until 2022 that Kosmos found its true form when Kamil Gużniczak (Upright bass) and Kacper Kuta (Percussion) joined the line-up.

Their compositions are influenced by Polish yass bands, electronic music and hip-hop. Kosmos music is a mix of lyricism, space, intensity and elements of experiment.

The band members are all eccentric characters possessing different means of musical expression - looking at them, one could even argue they are a group of oddballs. Despite this, for reasons unbeknownst to themselves, the members of Kosmos complement each other on stage and form a unified artistic vision of the world around them.

Kosmos officially released their début single "Ja" in June 2023. They regularly play concerts across Poland and recently were selected as distinguished artists at JAZZiNSPIRACJE (JAZZiNSPIRATION) - a competition held during the 13th Lublin Jazz Festival.

4. Quietet (formed at the beginning of 2023) is the result of meetings between five talented musicians with a deep passion for musical creation. Its sound is a unique blend of Jazz and classical music with a hint of hard rock. The band is inspired by the Scandinavian approach to making music, which brings a characteristic atmosphere and melodies to their work. Their music captivates listeners with its originality, refined improvisations and flawless technique. Both classical and modern musical trends feed their inspiration when creating passionate and emotional compositions.

Their works are full of sound experimentation, which equally surprise and expose new musical horizons. Through their compositions, "Quietet" aims to share their emotions evoked during performances, creating a musical journey that affects and inspires.

5. Connecting jazz with electronic music in fresh interpretations, six young musicians make up the group Rejoin. The group re-formed in 2020 after a four-year break, playing their debut concert at Lotos Jazz Festival Bielska Zadymka Jazzowa. The musicians in Rejoin have performed alongside such artists as: Urszula Dudziak, Krystyna Prońko, Marcin Masecki, Szczyl, Kuba Więcek and Paulina Przybysz.

Most of the members of Rejoin are students from the Katowice Music Academy, where they also develop their own projects. Rejoin was a recipient of the Fabryki Norblin Music Masterclass Foundation scholarship.

6. Twoosty Mayonez is something your grandad would listen to with his younger sister. The non-standard approach to jazz alongside a pursuit of strange sounds, culminated in the conceptual album entitled "Carmin". The material was created by Bartosz Wolerta (percussion) and Dominik Kaniewski (bass guitar/synths). "Triceradiplodocus" tells the story of a mechanical dinosaur that lives on the yet undiscovered planet Carmin.

EP compilation of essential UK house cuts recorded between 1987 - 1990. TIP!


Before British house and techno found its’ distinctive groove at the turn of the 1990s, one act led the way: Bang The Party, a trio who emerged from London’s vibrant underground party scene in the mid 1980s and proved, beyond any doubt, that UK producers could make music every bit as magical as the pioneering productions put forward by their counterparts in Chicago, Detroit and New York.

By the time long-running DJs and party promoters Kid Batchelor and Leslie Lawrence joined forces with trained engineer Keith Franklin at legendary North-West London reggae studio Addis Ababa in 1987, they’d spent years as DIY dance music activists in Britain’s capital city. They channelled these experiences and their love of imported house and techno sounds into a new project, Bang The Party, in the process becoming the first British act to appear on Transmat, a reflection of the quality and authenticity of their music.

The latest Rush Hour Reissue Series release offers a snapshot of some of the numerous gems nestled in the Bang The Party catalogue, delivering a much-deserved celebration of one of Britain’s most significant early acid house collectives. It features four fully remastered cuts recorded and released between 1987 and 1990 – on-point and far-sighted club workouts that sound as fresh and timeless now as they did when Britain was sweltering under its infamous ‘second summer of love’.

Fittingly, the EP begins with ‘I Feel Good All Over’, the group’s ground-breaking debut single. Dedicated to their home city and one of the earliest UK interpretations of house music, the track exists in the grey area between Chicago house and New York ‘garage house’ – all jaunty organ stabs, jacking Windy City beats, restless bass and soulful vocalizations. ‘Jacques Theme’, which follows, originally nestled on the B-side of that single release. An early, acid-flecked expression of hip-house with a British twist, breakdance-friendly bongo patterns and a dose of Larry Heard-inspired deep house dreaminess, the track remains an under-appreciated classic whose rap verses reflect the popularity of hip-hop in London at the time.

1988’s ‘Release Your Body’, Bang The Party’s most celebrated early release, was reissued in the United States by Transmat, reflecting the strong working relationship between Derrick May and Kool Kat Records’ Neil Rushton. A hypnotising affair propelled forwards by sweat-soaked drum machine beats, jacking fills and an addictive bassline, the track offers another near perfect distillation of the band’s Black American musical influences while delivering something genuinely new and fresh.

Rounding off the EP is a choice cut from Bang The Party’s sought after 1990 album Back To Prison. Doused in the star-lit synth sounds of the Motor City with jaunty organ stabs inspired by the kind of New Jersey jams championed at East Orange institution Club Zanzibar, ‘Let It Rip’ is a superb slice of deep house soul featuring a lead vocal every bit as emotive as anything laid down by Robert Owens. Like the rest of Bang The Party’s output, it has stood the time better than anything laid down by their London contemporaries.

Four essential cuts from Ghana & Cape Verde, compiled by Arp Frique...

Music is a great connector, bringing people together in many ways. On his journey in music so far, Arp Frique has been fortunate to meet many beautiful artists. The songs on this first edition of "Radio Familia" are deeply connected to the musicians he performs with. Join the music family on a trip through exciting sounds from Ghana and Cape Verde and listen to their story in both words and music.

Arp Frique never played a show without including Americo Brito’s epic song “C’est Dudu”. The song originally appeared on his album “Fidjo Di Mizeria” from 1989 but he had been performing his anthem for years and it came in many shapes and forms. After spending a lot of time in Paris, he (like many others in those days) got inspired by new records from Guadeloupe and Martinique, especially “kadans”. Incorporating latin piano motifs borrowed from salsa and merengue and a bold choice to sing in French, the song and album became an instant success for Americo in and outside the clubscene (note: DJs were not the primary source of dance music in those days, bands played all night to keep the dancers moving). The addition of C’est Dudu to this compilation became especially relevant since Americo recently passed away. Fortunately, his anthem just like all his other music will remain with us for decades to come.

While going through the archives with Americo Brito for the Radio Verde compilation, he introduced Arp Frique to a band called Imilux Star, of course again well connected with Americo. This Cape Verdean band residing in Luxemburg (where there is a substantial Cape Verdean community) definitely added a different flavor to the musical pallet the islands are famous for: heavy syncopated rhythms coming from the drum computer. They released two albums which both became very popular in their scene and the track “Yolanda” from their 1988 album “Jota Dê” got to Arp Frique’s attention too late to add to the Radio Verde comp. The band is still performing to this day in the Luxemburg-Cape Verdean live circuit.

While Arp Frique was on the road with his lead singer Mariseya, they talked much and deep about Ghanaian music (especially highlife) and he learned a lot about the community from Ghana in the Netherlands, mostly in Amsterdam and The Hague. Mariseya’s dad, Nana Adomako Nyamekye, came to see their liveshow while in the UK which was very special to them considering he is one of the highlife artists Arp Frique has grown to be very fond of. His deeply funky and bubbly bass driven song “Obra Twa Owuo” is about life and death, telling us we should all love each other as we still have life to live. Originally released on “Ano Plan” from 1982, the album is filled with philosophical advice. In his own words: “A message to all humans that something awaits us all at the end of life. Let’s live together with love.

Bnnyhunna, from the Ghanaian community in the Netherlands, joined Arp Frique’s live experience several times playing keyboards and synthesizers. His dad Elvis Kwasi Ankomah, just like him, developed a high level of musicianship while performing regularly in church. The song “Fa Wokoma Mame” (give me your heart) from his only studioalbum “Mfa Menko” released in 1995 is about showing his love to a lady but only if she puts her trust in him completely. The album talks about love, pain, relationships and life. Having worked with artists like Daddy Lumba, Nana Ampadu, Amakye Dede and many other hiplife and highlife legends, he still plays in church every week and has been doing so ever since he was 15 years young.

repress !

Leading The Future. Emmanuel Delivers These Three New Cuts Of Pulsating Body-Moving Techno.

Legendary Jamaican songsmith Gregory Isaacs' 1995 album 'Private Lesson' on Radiation Roots. The set includes laidback cuts 'Preacher Boy', 'Feeling Sad Tonight', Diplomatic Fool', 'She Doesn't Want Me', 'Slave Master' and many more.

SOURCED FROM THE ORIGINAL MASTER TAPES: 2LP SET PRESENTS 1991 ALBUM IN 45RPM SPEED FOR FIRST TIME.

PCM Digital Master to Analog Console to Lathe.

Dire Straits never made a big to-do about its final run. In classic understated British fashion, the band simply let its music speak for itself. And how. Originally released in September 1991, On Every Street became the group’s swan song – a lasting testament to the influence, musicianship, and integrity of an ensemble whose merit has never been tainted by cash-grab reunions or farewell treks. It remains an essential part of the Dire Straits catalog and a blueprint of the distinctive U.K. roots rock the collective played for its 15-year career.

Sourced from the original master tapes, housed in gatefold packaging, and pressed at RTI, Mobile Fidelity’s 180g 45RPM 2LP set of On Every Street presents the album like it has always been meant to be experienced: in reference-grade audiophile sound. Recorded at AIR Studios in London and produced by Dire Straits leader Mark Knopfler, it features all of the band’s sonic hallmarks – wide instrumental separation, visceral textures, seemingly limitless air, broad soundstages, atmospherics that you can almost reach out and feel. Each element is made more vibrant, physical, and lifelike on this collectible reissue, which marks the first time this 60-minute work has been available at 45RPM speed.

Afforded generous groove space and black backgrounds, the songs from On Every Street burst with nuanced details and vibrant colors. Dire Straits’ playing appears to float, their intricate performances organized amid hypnotic, fluid, three-dimensional arrangements. Mobile Fidelity’s definitive-sounding set also brings into transparent view Knopfler’s finely sculpted guitar lines, expressive tones, and laid-back vocals – as well as the balanced accompaniment from his band mates. Here’s a record on which you can hear the full blossom and decay of individual notes, and imagine the size and shape of the studio. It is in every regard a demonstration disc. And it happens to be filled with timeless fare.

Remarkably, On Every Street almost never came to light. Dire Straits initially dissolved in September 1988 after touring behind its blockbuster Brothers in Arms and suffering the departure of two members. At the time, Knopfler professed his desire to work on solo material; bassist John Illsley also explored side projects. But Knopfler’s decision in 1989 to form the country-leaning Notting Hillbillies reignited a spark to reconvene his primary band and craft a fresh batch of songs. Six years removed from Brothers in Arms, Knopfler, Illsley, keyboardist Alan Clark, and keyboardist Guy Fletcher teamed with A-list session pros – steel guitarist Paul Franklin, percussionist Danny Cummings, saxophonist Chris White, guitarist Phil Palmer included – to create what still stands as an unforgettable farewell.

The platinum record brings the band full circle in that it returns Dire Straits to a quartet formation; finds the group refreshingly out of step with the era’s prevailing trends; and sees Knopfler and Co. knocking out song after song with the deceptive ease of a punter tossing back a pint at a pub. That subtle cool, clever poise, and innate control – signature traits that no other band ever matched – dominate On Every Street. Knopfler’s clean, virtuosic six-string escapades unfurl with dizzying melodicism and economical efficiency. Led by his winding fills and focused solos, Dire Straits traverse a hybrid landscape of rock, jazz, country, boogie, blues, and pop strains with near-faultless prowess.

More than any other entry in the group’s oeuvre, On Every Street welcomes quick detours down back alleys and into the depths of human souls. What makes it more brilliant is its staunch refusal to cater to commercial expectations or take advantage of prior successes; every passage feels true, every measure echoed in the service of song. It’s evident in the humorous satire of “Heavy Fuel,” closeted desperation of the witty “Calling Elvis,” and shake-and-bake bounce of “The Bug.” It pours from the album’s darker corners, as on the high-and-lonesome melancholy of the title track and bruised emotionalism of “When It Comes to You.”

Hinting at the open-minded approaches and boundless curiosity he’d embrace as a solo artist, Knopfler doesn’t limit himself when it comes to style or subject matter. Look no further than “You and Your Friend,” a shuffle whose all-inclusive lyrics encourage an array of interpretative meanings. Another of the album’s deep cuts, “Iron Hand,” comes on as one of the band’s most memorable moments – the narrative addressing the abuses of power at the 1984 Battle of Orgreave during the U.K. miners’ strike. Given cinematic heft by the expert production, the true-fiction account puts into perspective the richness, poetry, and depth of On Every Street.

“Every victory has a taste that’s bittersweet,” sings Knopfler on the title track. At least that bittersweetness seldom sounded so damn good on record.

About Tonder:
Match made! Between poet Alex Deforce and Azertyklavierwerke more specifically. Over a runaway beat, they seem intent on taming the search for love, or anything that smells like it from far or near. "Swiped right, match made" dictates Deforce as rhythmically and unflappably as if he were a Chat GPT controlled computer: more mechanical and cold love has never sounded. What follows would not have been out of place on the soundtrack of Fritz Lang's Metropolis: an industrial drum computer gasping for breath in an attempt to ward off an epileptic fit.
Contemporary yet headstrong, cryptic yet unapologetic: Tonder is an intriguing song full of contradictions that leaves you orphaned but also addicted.

About Soort Van Nerd:
A hearty dash of tristesse rubbing up against the best work of such masters of Weltschmerz like Sufjan Stevens or Spinvis: "Soort Van Nerd" translates as "Kind of nerd" and is a kind of genius underground pop song.
Melancholy and sincere emotion, it is still allowed. Melancholy but above all thoughtful: Azertyklavierwerke handles words and sound extremely sparingly but cuts deeper into his or anyone else's skin as a result. On a nostalgic but austere bed of a drum machine, a naive piano line he pokes Eternal-sunshine-of-the-spotless-mind-wise where it hurts: "I wish you could melt, like an ice cube in the sun."

Here comes the 2nd release on our imprint from the classy duo, this time on vinyl.

The Robinson continue their personal voyage into the shades of house never forgetting their roots deeply linked to the second wave of Chicago House and the distinctive sound of Italo House. This new effort consists in two tracks per side: two original cuts and in as many powerful remixes by the U.S. legends of the game Fred P and Trinidadian Deep.

Taste Rec. keeps the pressure high with an EP that unleash pulsating beats and groovy bass lines merged perfectly with soulful melodies, tribal percussions and a special Kora solo recorded live. Dreamy atmospheres alongside a four to the floor rhythms is the philosophy we chase and we prove it still delivering a record suitable both for clubs or private underground events.

Volume 4 of Krust's career spanning collection is here, boasting some serious deep dives into his archives alongside some serious classics that every DJ and listener should own! Once again, this collection shows the breadth of Krust's anachronistic style and original flavour. Often imitated, but never bettered, this latest instalment once again shows it should be done. Truly original and engaging music from the streets of Bristol.

'Irrational Numbers' is a meticulously curated collection of five parts, available on both vinyl and digital formats. The compilation is a treasure trove of hand-picked records and archival gems from Krust's extensive discography, thoughtfully remastered and presented anew for both devoted fans and newcomers.

'Irrational Numbers' features a dizzying array of self-released 12" cuts, exclusive unreleased VIPs and dub-plates, alongside epic major label widescreen classics. It's an unmissable journey through the sonic output of one of the UK's most distinctive and forward-looking producers.

Volume 4 offers up the dubplate only mix of 'Asian Love Dance' for example, the anthemic 'Jazz Note II' for the heads and futuristic roller '21st Century' as well the groundbreaking 'Coded Language' featuring the stellar vocal talents of NYC poet and MC Saul Williams.

For longtime Krust enthusiasts, this project serves as a fond reminder of the boundless creativity and originality that flourished during the early 1990s and beyond. For those new to his work, it presents an enthralling introduction to innovative electronic music that has comfortably set the tone for generations to come. Get ready to experience the evolution of sound and immerse yourself in the visionary artistry of Krust.

For fans of post-Chicago post-"Second Summer of Love" acid; Chris & Cosey, Terekke, Cabaret Voltaire, Anthony Naples, JTC, D.K., Luke Vibert, Khotin. The latest by Texan-turned-Angeleno progressive vaporwave producer Carlos Ramirez aka AURAGRAPH finds him shifting focus to the dance floor across eight chrome clockworks of cosmic acid house and liquid rave glide: New Standard. Inspired by lessons learned during a 5K mile American road trip tour in the summer 2022, he set to work in his Simi Valley Tuff Shed of synths and hardware, pursuing an explicitly DJfriendly muse: "I realized I wanted to make a record where every track could go off in a live setting." These cuts do just that, revved and rhythmic, peppered with slap bass, Madchester whistles, filtered acid, gated snares, baggy cowbell, and sample pack classics - record scratches, orchestral stabs, the "Yeah! Woo!" from Lynn Collins "Think (About It)." Ramirez describes the process as immediate and instinctual: "I'd turn on the MPC, pick a tempo, and just improv - it was incredibly fun." From sleek freeway techno ("110 Cruising") to arcade lurker acid ("Coast 2 Coast") to big room bangers ("666 Ambience"), the tracks time-travel across the canon of club music, sifting tricks and styles to fashion fresh anthems of hypnagogic jack. It's an album channeled as much as crafted, tapping into the decks of mythic warehouse infinities past and present, where the system rips all night and acid never dies.

Impex Records is celebrating the 35th anniversary of this seminal audiophile classic with our final and finest collaboration with long-time partner and raconteur Jennifer Warnes. This ultimate authorized production of Famous Blue Raincoat is getting the complete Impex 1STEP treatment! After Bernie Grundman cuts the last lacquers, Jennifer's analogue master tapes will return to her personal vault for good.

Impex has always treasured our work with Ms. Warnes, from the original Famous Blue Raincoat 45 Box, The Well, The Hunter, and her latest LP, Another Time, Another Place. Each of these releases celebrates Jennifer's singular legacy of musical excellence combined with exceptional craft in coordination with the original production team of Jennifer, C. Roscoe Beck, and Bernie Grundman.

For FBR's ultimate release, Impex returned to Jennifer's first-generation analog "slave" master tapes and let Bernie work his magic within the laborious 1STEP mastering process on BG Mastering's tube-cutting lathe. We will cut as many refs and test pressings as needed to get the quietest surfaces and intimate detailing. Final discs will be pressed at RTI on VR-900 super vinyl, illuminating every note and nuance of this cherished masterwork.

The three 1STEP LPs and the elegant new 24-page booklet are housed in a deluxe four-sleeve Monster Pack tip-on jacket and booklet with metallic accents and spot gloss applications. Even if you have every version of this pop classic, you will find considerable value and new benefits from this unbeatable production!

The 1STEP Process:
The Impex 1STEP process relies on short, tightly controlled runs that require a new lacquer after each run of 500 pressings. This unforgiving format has the lacquer skipping the regular father-mother process, going right to a single convert and then pressing. Though this dramatically increases mastering and production costs, it also assures each run is more consistent from disc to disc, with less noise, clearer details, and deeper bass.

Reducing production complexity to just a single "convert" disc between the lacquer and the press greatly improves groove integrity, diminishes non-fill anomalies, and increases signal integrity from the master tape to your system.

1STEP Process 180g 45rpm Double LP Pressed on VR900-Supreme Vinyl!
Mastered From The Original Analogue Master Tapes by Bernie Grundman!
Super-Luxe "Monster Pak" Jacket with a Rich 36-Page Booklet & Striking Outer Slipcase!

New lacquers cut for every 500 pressings!

Strictly Limited To 7,500 Numbered Pressings!

There have been more than 40 U.S. releases (and hundreds more worldwide) of Stan Getz's cultural touchstone album and for good reason: few recordings better capture the breezy warmth and easy-going sophistication of Brazilian bossa nova for an American jazz audience. Fewer recordings can replicate the you-are-there presence and flawlessly tight studio acoustics. Only Getz/Gilberto has Billboard Top-10-charting singles like "The Girl from Ipanema." When Impex Records jumps into this densely-populated fray with our own production, we need to bring maximum value and prestige to it. Challenge accepted. We worked directly with Stan's wife Monica Getz and their son Nicolaus to create the most authentic, best-presented Getz/Gilberto ever.

Exclusive to Impex's 1STEP Getz/Gilberto includes an insightful new interview/essay by Charles Granata featuring Monica reminiscences of the making of this record, the subsequent cultural phenomenon, and Stan's battles with some pretty heavy demons. Also unique to this release are two bonus tracks: an alternate mono 7" mix of "The Girl from Ipanema" (without the added echo, thank you very much) and a live recording of "Corcovado" from Carnegie Hall. Finally, the large-format, 36-page booklet features dozens of rare photos, the original album notes, and a fascinating personal remembrance from Monica Getz herself, celebrating her late husband's work and an inside look at Stan's family life while making the record!

Using the original analog master tapes and no computers at all, Bernie Grundman at Bernie Grundman Mastering sought to keep the sense of space and tone on the master tape intact without unnecessary embellishment. Impex 1STEPs get you closer to the source, not the ideal.

We know you have many choices when it comes to enjoying this singular album. The Impex 1STEP of Getz/Gilberto cuts above all other releases with added-value content that takes you deeper into Stan Getz's life and process in a way never previously possible.

The 1STEP Process:



The Impex 1STEP process relies on short, tightly-controlled runs that require a new lacquer after each 500 pressings. This unforgiving format has the lacquer skipping the regular father-mother process, going right to a single convert and then pressing. Though this dramatically increases mastering and production costs, it also assures each run is more consistent from disc to disc, with less noise, clearer details and deeper bass.

Reducing production complexity to just a single "convert" disc between the lacquer and the press greatly improves groove integrity, diminishes non-fill anomalies and increases signal integrity from the master tape to your system.

Features:



The only release of this fundamental jazz classic crafted with the full participation of the Getz family, including never-before-seen photos and notes from Monica and Nick Getz
Exclusive new interview essay about Getz's life and the recording of the album by noted producer and historian Charles L. Granata
Exclusive ultra-luxe Impex 1STEP packaging featuring a deluxe 36-page booklet within a heavy-stock two-sleeve Monster Pack jacket and striking colour-matched slip case
Two all-analogue bonus tracks: an alternate mono 7" mix of "The Girl from Ipanema" and a live recording of "Corcovado" from Carnegie Hall
Limited to 7,500 copies

For this edition, we present to you a selection of works from an enigmatic producer hailing from Pescara, Italy: Yu.

Four cuts of relentless, live hardware jams of dynamic club-oriented techno, touching on electro and trance, and packed full of analog richness.

Following the due process of artistic exploration, Yu has been recording music incessantly while remaining underground, sharing it with just a lucky few. In fact, it’s quite likely that you’ve heard Yu’s music before, unknowingly.

We’re excited to present his third official release to date.

The French feel good maestros over at Treasure, dig up another haul of glorious gold for ears to wrap around. F.R dusts off the goods on this find, delivering three functional and fearsome reworks of certifiable classic cuts, that will have the dancefloor in the palm of your hands.

With its tenth record from Fortunato Durutti Marinetti, Quindi continues to celebrate songwriting and storytelling framed by curious musicality. In keeping with the label's trajectory to date, this is an album which draws on a universal human sentimentality and presents it with an uncommon flair. In the case of Toronto-based Daniel Colussi, the man behind Eight Waves In Search Of An Ocean, his melancholic poetry cuts through with a clarity which calls to mind all-time greats from Anette Peacock through to Lou Reed and Leonard Cohen.
Turin-born Colussi has drifted through various bands, guises and styles over the past 20 years, but since settling into Fortunato Durutti Marinetti as a vehicle for his songs, he's found a strong expressive impetus which transcends genre to become entirely hinged on the power of his words and melodies. The first album under this alias was a 2020 cassette album, Desire, later pressed on vinyl due to demand in tandem with the release of 2022's Memory's Fool. On each record, Colussi has found distinct arrangements of players to set the mood, ranging from gently lilting art and folk rock through to orchestrated balladry, but Eight Waves In Search Of An Ocean widens the palette of Fortunato Durutti Marinetti to create an album in which each song feels like a tale unto itself.
Colussi's renewed approach is instantly apparent as album opener 'Lightning On A Sunny Day' unfurls, informed greatly by producer Sandro Perri's input pursuing a hybrid electro-organic sound. The addition of drum machines and synths to the musical palette bring with them the strong connotations of pop while the sax and violin sounds similarly smooth and silky, and one can't help but think of John Martyn's slide into the digital sound of Sapphire or Kraftwerk's bittersweet synthetic tenderness.
Within this sound, there's still space for the energy to fluctuate according to the whims of songs. 'The Flowers' turns inward with a soft-touch composition as delicate as the petals Colussi describes falling to the floor. 'Misfit Streams' and first single 'Clerk Of Oblivion' savour the fluid, luxuriant tone of fretless bass with all the 80s connotations intact. Colussi remains the central focus whatever happens around him, in possession of the kind of unforced charisma which drives a song deep into the listener's heart. It's at once entirely his own style and yet comforting and familiar. The lyrics might sweep you into the singer's inner world, similarly to the experience listening to late 60s Tim Buckley, or you might well inhale the mellow jazziness of the harmonic movement like you would Joni Mitchell on Hejira.
The emotional direction of each track is never linear - 'Smash Your Head Against The Wall' snarls its rhythm section before the strings sow their aching beauty to cool the song's temper, winding up as a track of distinct halves jabbing at each other. "I Need You More' leaves space for spiralling flute solos and strangely stiff, militaristic drum rolls in the midst of a sweet, slightly sad synth ballad, the final wave receding back into the tidal undulations of Colussi's unique exploration of his muse.
The artist himself dubs his musical expression as "poetic jazz rock" with a sideways glance - it's not exactly poetry, far from trad jazz and it doesn't really rock, yet the tag feels uncannily like it fits, just like the curious music it's used to describe.

2023 Reissue

Berlin based HipHop producer S. Fidelity presents his sophomore and full packaged concept album “Fidelity Radio Club” via Jakarta Records.

Four years after his Jakarta Records debut “A Safe Place to Be Naked” S. Fidelity has matured as a producer and as an artist: working and recording in London, Los Angeles, Paris and Johannesburg while building up his Manolo Purple Studios in Berlin with longtime collaborator, labelmate and soul brother Bluestaeb.

In 2021 S. Fidelity finally returns to the main program with his brand new solo album “Fidelity Radio Club” shaped in form of a genre crossing radio show exploring HipHop, R&B, Jazz, House and Funk in all their depths, creating the multi-layered album he always dreamt to do as he orchestrates a stoking line-up of equally talented friends and fellows like Bluestaeb, Melodiesinfonie, Suff Daddy, K, Le Maestro, Àbáse and many more while still delivering that very personal note every classic producer album needs and comes with. Or as the artist himself would put it: “17 different artists, producers and instrumentalists from all over the world helped me to bring this vision to life.”

According to that the albums 1st single features Singer NDO from Florida, giving life to the hard hitting R&B gem “Mixed Signals” where warm neo soul harmonies meet with classic R&B vibes of early 2000. The song made it to Spotify’s Butter Playlist right away and was picked for Deezer’s “Date Night” Playlist and Apple Music’s New Music Daily as well and received shout outs and further Playlist-placements by music blogs like Stereofox or MOW Mag.

The 2nd single comes as a double single featuring pianist, producer and main protagonist of Berlin’s prog-jazz scene Àbáse on “Me At The Zoo” (reminding its listeners of London’s new wave of jazz around Kamaal Williams or Yussef Dayes) on one side and the energetic, funk influenced disco tune “Something Good” on the other side.

The 3rd and final single “Love International Inc.” then comes with a bumpy up tempo drum beat, which develops into an energetic and jazzy lo-fi house/deep house loop, featuring none other than Zürich’s finest Melodiesinfonie as well as Paris-based Bluestaeb, marking this supergroup’s 2nd appearance and giving a glimpse of what’s yet to come.

Each of the album’s single cuts comes with a visual treatment by HipHop’s favorite photographer Robert Winter and his team (The Ottos), matching sound and artwork accordingly while the record’s amazing and unique artwork comes from the Swiss based creative studio HOMI. The record itself contains a sticker sheet with customized S. Fidelity and “Fidelity Radio Club” stickers as well.

The whole album campaign is further accompanied by the Fidelity Radio Show hosted by S. Fidelity himself, sitting down with his featured guests talking about the music they love and they draw inspiration from – broadcasted via S. Fidelity’s own youtube channel releasing its episodes in between the album’s single drops.

Coming back to the label after his successful Studio 42 EP, New Yorker Coral O’Connor delivers 4 delicious cuts designed for the dance floor and sure to make the room shake. Typical of his sound, expect warmth, groove and absolute thunder to get the people moving all night.

The moroccan wizard is back once again with 4 efficient club cuts! Tested and approved!

C Powers (Cecilia Powers) promotes the power of community organizing in many facets of her life. She’s an interstellar producer and DJ as well as an active tenants’ rights activist in Portland, Oregon. Intersectionality is at the core of Cecilia’s perspective as a trans woman and is reflected in her organizing practices and her musical activities. Whether planning actions against unethical landlords with tenants & regularly hosting solidarity benefit parties in Portland, or fostering safe dancing spaces with her queer family when she lived in Savannah GA, Cecilia has found ways to expand upon the notion of a “community in motion”. She has released on Sorry Records, Sweat Equity, CGI Records, Proper Trax, and Niche N Bump to name a few.

This EP is four cuts of C Powers’ signature touch applied to a hybrid blend of electro, breaks, and bass. There’s high-octane energy as well as a power in the spaces between. These four tracks balance “maximum” and “minimum” and will slap the fascism right out of any environment they’re dropped in.

Four choice cuts of deep house across this new EP on Jovonn's Body N Deep. Rising teenage talent MAXJAX returns to the label after his Born To Music EP and demonstrates why he's one to watch.

Luigi Madonna is back on his record label Contempo and continues to showcase the darker and more underground side of his sound with the analogue grooves on this hypnotic release.

This four-track EP blends raw sound design with industrial percussion and modulating synth lines, to create dance floor focused cuts in the style that Luigi Madonna has previously championed via Contempo.

Previous releases on Contempo have also featured tracks and remixes from the likes of JSPR, Alarico, Lobster and Marc Faenger.

"Yakamoz" opens the release with its rumbling bassline tense synths and thrashing hi-hats, before the ominous synth stabs, trippy vocals and brutal percussion of "Hydratonic" take control. "Slow Sigh" has a stripped-back style with murky atmospheric, high-speed rhythms and sinister vocal tones. "Ikigai (Jam Edit)" is an experimental track that closes out the release with its breakbeat rhythms, heavy sub-bass and glitching synth lines.

Tape

Vestigios, Aeondelit’s second full length record after recently releasing an EP of shifting club music influenced by postmodern philosopher Leotard on Tel Aviv’s Sadan records, tells a lucid, captivating story of heritage, transformation, vulnerability and healing. It will be released via Berlin-based art platform and record label Unguarded as a digital and tape release with an artwork created by Petra Hermanova, and will be accompanied by limited textile pieces by Diane Esnault. Aeondelit’s music is strongly influenced by the rocky surrounding of his hometown Manizales and fuses electronic sensibilities, ambient streams and avant-percussive rhythms that build his sound identity. Aeondelit's evocative music has previously been released via the Insurgentes imprint, Vienna-based Ashida Park and was recently featured on the 'Unguarded 2 – Entangled' compilation. Cortés describes the meaning of Vestigios as such: “The memories of past generations: the lives that burn within me, are the pillars of who I am. They constitute longings and traps, sin and strength, the temple that breaks down and rebuilds. The different dimensions of consciousness converge in the mind, which constantly tells us who we are, synthesizing and projecting our contradictions. The pain that comes with getting in touch with our vulnerabilities opens the doors to healing through confrontation. This lays the foundation for a more honest relationship with our past, present and future. 'Vestigios' is the bridge between the temporal and the eternal, the crystallized remnant of pain caused by transformation and recognition of the convulsive underworld of our psyche.” Aeondelit, birth name Sergio Cortés, is a Colombian music producer who explores themes related to technology and human condition in sound. He focuses on the creative use of sample manipulation techniques and digital sound synthesis to deepen the idea of a dialogue between computer and human, and how both influence each other. Deep in Colombia's Andes, surrounded by big mountains and the sacred Nevado del Ruiz, Aeondelit has been forging his own sound identity, exploring the intersection points between sparkly experimental club music and melodic ambient electronic. His first release Editing Destiny on the Colombian label Insurgentes was well received by the public and DJs, named one of the best albums of 2020 on Mixmag. His last release on Sadan Records, Anima Minima, was reviewed and premiered on platforms like DJ Mag, THE BRVTALIST and Orb Mag. He is also the co-founder of the independent record label Nvrclose, where his debut album as Æon Series: Dualidad, was released. About Unguarded: Unguarded is a Berlin based experimental electronic music label and art platform. In 2020 long-term collaborators Tim Roth aka Sin Maldita aka 1k Flowers and Phillipp Hülsenbeck founded Unguarded to foster forward thinking artists with a focus on exploring cross-disciplinary collaboration and embarking on sonic adventures. Unguarded was founded in a time of turmoil and uncertainty for artists and music, trying to keep personal connections alive through shared personal and collective experiences between doom and destruction and glistening hope. Amongst their own contributions, Hülsenbeck and Roth gather a collection of genre-defying works by longtime collaborators as well as artists they bonded with in recent years. Their releases constantly escape from definition but through entangling their unique artistic marks, this diversity remains absorbing and compelling throughout their sprawling sonic miasmas. Combining earth-shattering club cuts, equally elegant and bouncy, Unguarded contributes to and connects the experimental music scene in and outside of Berlin. We invite the curious to a deep, tense but rewarding experience.

Leo Zero finally gets some of his much sort after edits onto the black wax, with some classic cut-ups that have all been road tested for max dance-floor detonation.

On this first EP a set of classic soul / disco groovers that have been meticulously remastered and extended for the modern floor.

One for the dancers and romancers, ‘Love Affair’ hits you square in the heart - a big spin at the Faith parties. Next up, a classic mid-tempo Soul weekender cut gets a nice chunky re-version.

The flip kicks off with some new live drums and chunkiness added to a huge underground gem, then we head off into more bulletproof dance-floor disco territory with a souped up version that’s been given maximum wallop to compete with house cuts when played out.

After a stellar release on Saoirse's label trUst—which caught the attention of DJs like Ben UFO, rRoxymore and dBridge—Ryan Aitchison aka Mella Dee is back on the dials for another outing of quality tech ‘aus fodder.

Rug Cutters Vol. 1 kicks off a slew of upcoming dancefloor weapons from the Warehouse Music boss. Visually underlined by his own original artworks, the EP shows off Mella Dee’s signature flair for whipping up raw, no-nonsense ingredients into irresistibly infectious grooves.

Vol. 1 starts strong with ‘Cutting Snakes (Keep on Moving)’, a track that screams instant classic with its shuffling beat and fat, sassy synthline. A2 track ‘Bumps (You Say)’ dives deep into those bassbin vibrations—it’s big, rude, and dead set on shaking up even the swampiest of dancefloors. Together, these cuts are not messing around.

On the flip, ‘Cutters (They Don't Get It)’ plays with the more futuristic, percussive end of the techno continuum. Drum breaks slither over each other, while a minimal vocal and bass hook locks everything down. Finally, ‘Pay No Mind (Who Am I)’ pulls the EP back to euphoria. This one will have the club cruising to its cocktail of flirty chord stabs and soulful house vocals—you’ll never want to go home.

Luckily, it won’t be long before we get one more tune from Ryan Aitchison—with plenty on the horizon, ‘Rug Cutters Vol. 1’ is also a taste of what’s to come. Stay tuned!

Fourth in the ‘Kanlab’ series of 7" vinyl releases on Posthuman’s Balkan Vinyl imprint - focused on celebrating underground artists from the label roster, are London duo Echaskech with two cuts of crisp sci-fi electro. All artwork for the Kanlab series is by I Am Human Design.

This 1957 release, the third in a series of albums expanding on Bird’s 10” Clef releases from the early 1950’s, Now’s The Time boasts some of Parker’s purest recordings and strongest playing, featuring two different quartets. His lyrical and fluid improvisations on cuts like “The Song Is You” and “Laird Baird” are on full display, prime examples of his unmatched genius. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

For the first time ever you can now own a copy of Jam Baxter's legendary  'The Gruesome Features' album on limited edition double vinyl! Up until now the long sold out EP edition of 'The Gruesome Features' was the only wax available of this title, which only contained a few choice cuts from the CD version. Now you can have it all! Be sue to make your order sharpish as these are going to fly off the shelves!

More bangers from man like Cromby, this time with a slightly darker twist. Support from all the big guns, plays on BBC Radio 1, etc. Don't miss!

Next in the Potency series, Cromby shows his darker side with 3 cuts of his brand of House and Techno.

Altered Circuits' next release comes by way of Bologna-to-Berlin transplant Jacopo Latini. On the Motherboard EP he combines stubby drums and sultry, efficient basslines with richly hued synth work. Once the cuts get going, a tapestry of melody reveals itself: gated leads are accompanied by burbling arpeggios, momentous chord progressions and bright pads that crawl in and out. The patches often incline to the bright and dreamy but are deployed with restraint; in the same vein, concealed and aloof vocal samples get sprinkled in. These techniques - staples for the artist - add an inscrutable quality to his work's mood. It is dance music that feels direct on the surface yet hides more ambiguous emotions underneath. Being a DJ was Latini's first approach to the electronic genres, and it arguably still is his main inspiration - it even occurs he writes tracks with a specific venue in mind. Since starting over a decade ago, and having meanwhile swapped the local Italian stages for the international ones, he has amassed a ton of analogue gear to help him do so. On this occasion, he plugged in his Roland D-50, Moog Sub 37 and microKorg XL, among other favorites, to take on progressive, trance and tech house. "Motherboard", "High Voltage", "It Comes In The Morning", and "Dual Effect" make for a diverse selection but have indeed the same objective: the club floor.

Bryan Adams, der preisgekrönter Singer/Songwriter, hat sich als einer der besten Rocksänger und Showman etabliert. Seine Live-Konzerte und sein einzigartiger Stil aus Wohlfühl-Rock'n'Roll und Hit-Balladen sind weltweit bekannt.

Im Jahr 2022 trat er in der historischen Royal Albert Hall in London auf und präsentierte an drei Abenden seine klassischen Alben "Cuts Like A Knife, (Abend 1)" "Into The Fire" (Abend 2) und "Waking Up The Neighbours" (Abend 3). Diese bemerkenswerten Live-Auftritte werden nun in einem Vinyl- und CD-/Blu-Ray-Box-Set veröffentlicht.

Bryan Adams' Musik hat in über 40 Ländern Nummer-1-Status erreicht, und er ist Träger zahlreicher Auszeichnungen, darunter 3 Oscar-Nominierungen, 5 Golden-Globe-Nominierungen, einen Grammy Award und mehrere Juno Awards. Mit der Veröffentlichung dieser Live-Alben aus der Royal Albert Hall setzt er seine beeindruckende musikalische Reise fort.

Unfiltered and raw, Basement's colourmeinkindness, cuts with the emotional honesty of a personal diary backed with a flawlessly representative soundtrack. Featuring the iconic Basement songs "Covet" and "Spoiled."

STEP INTO THE TWILIGHT ZONE…
UK RAP LEGEND RAMSON BADBONEZ DELIVERS HIS UNIQUE FLOW WITH RAZOR SHARP PRECISION OVER ANOTHER CLASSIC KNOCKING BEAT FROM ACCLAIMED PRODUCER HOWARD STEVENS.
THE TRACK HAS A DEEP SINISTER FEEL YET STILL PROVIDES A CATCHY CHORUS TAKING YOU TO ANOTHER DIMENSION…
THE RECORD FEATURES CUTS FROM SCRATCH SUPREMO DJ GRAZZHOPPA. WITH A VIDEO DIRECTED BY RINGZ OF SATURN/TRIPLE DARKNESS
THE 7” IS LIMITED EDITION, SHRINKWRAPPED & AVAILABLE NOW.

Last year's superb Pura Lempuyang album has been pulled apart and served up on a couple of separate 12"s and this is the second one. It comes on limited turquoise vinyl and offers four cuts of stylish deep dub and techno. Fletcher's 'It's A Virtue' goes first with taught, twanging bass and grubby basslines then Mike Schommer's 'Kingmaker' offers liquid dub funk with watery pads and hissing static. Nicolas Barnes picks it up a little with a darker but still warm dub techno roller in 'Sonic Dial' and Redrop's 'Genesis' is the more driving of the lot but again exists right on the ocean floor.