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"Hotly anticipated after rapturous acclaim when previewed by the outstanding Channel One Soundsystem in recent months - this one is tried and tested the old skool way! Guaranteed to mash up yer dance. Ital business"

Airrica makes her Crosstown Rebels debut with ‘Hi Speed Lover’, featuring Nick Morgan and KinAhau remixes.

Balancing experimental musical curiosity with her playful take on house and techno, Los Angeles’ Airrica may only be two releases into her blossoming journey as a producer, but she has already showcased her growing sound and vision while aligning with her own powerful DJ sets. Following her collaborative release alongside Ashee on Diplo’s Higher Ground and building on her debut via Crosstown’s sister label Rebellion, Damian Lazarus now welcomes her to Crosstown Rebels for the first time ahead of her appearance alongside the label boss at Hï Ibiza as she unveils her ‘Hi Speed Lover’ EP - accompanied by remixes from Canadian-born DJ/producer Nick Morgan and hotly-tipped talent KinAhau, as both also make their label debuts.

Bumping and trippy, ‘Hi Speed Lover’ is a snaking, bass-heavy cut loaded with energy as warped vocals are accompanied by slinking drums, icy hats and resonant chords and strings, while Nick Morgan’s take brings a stylish, hazy glow to the track as dubby low-ends and delicate keys work amongst the mix. Second original ‘Cherries’ is another impactful production merging metallic drums with further vocal murmurs and an infectious acid-dipped bassline, while KinAhau’s remix strips things back to deliver a classy journey through rich textures with an ethereal trip to close the package.

Keith Hudson was a one-of-a-kind musical innovator with an impeccable track record from the start: his first studio recording involved former Skatalites, and his earliest releases provided solid-gold hits for Ken Boothe (“Old Fashioned Way”, 1967), John Holt, Delroy Wilson, U-Roy and the others.

With Pick A Dub Hudson produced one of the best dub albums ever, and with The Black Breast Has Produced Her Best, Flesh Of My Skin, Blood Of My Blood he released the first concept album in reggae history, bringing his all-around talents to full fruition as early as 1974. Thematically dedicated entirely to Black history, the latter of these two albums is a masterpiece that captivates with an atmosphere that is as dark as it is deeply spiritual, charged by Hudson's eccentric vocals. Like Lloyd Bullwackie Barnes, his splitting from tradition was dynamic and all his own.

As his career moved on, Hudson found himself working outside of Jamaica, more frequently in London and New York studios and for transatlantic audiences, his dark experimentalism becoming increasingly better suited to the LP than the cardinal 7” reggae format.

Playing It Cool & Playing It Right was released in 1981 on the Joint International label, in NYC, with Lloyd Bullwackie Barnes as the executive producer. The Love Joys and Wayne Jarrett, stalwarts of Barnes' record label, Wackies, would also inimitably feature Hudson at the microphone. Like Bullwackie, Hudson was a devotee of Coxsone Dodd’s Studio One and Playing It Cool & Playing It Right follows Dodd’s then strategy of overdubbing his signature rhythms. The Studio One sides were aimed at the dancefloor and Hudson’s reworkings of tracks like “Melody Maker” are more psychological. Here, deep Barrett Brothers rhythms are made deeper with reverb, filters and distortion; everything pitched down and overlaid with new recordings of guitar, percussion, keyboard, and voice, often heavily treated.

Playing It Cool & Playing It Right continues Hudson’s psycho-acoustic journey into the abysses of existence, and overwhelms with the beauty of artistic self-empowerment. "Too much formula," sings Hudson, whose voice is occasionally reminiscent of Sly Stone or even Tom Waits. "Darkest night," answers an echoing background choir elsewhere. Even more fascinating is Hudson's production, which reflects Black history in even the smallest sound detail, the flashing whip of the slave driver still echoes in the sound of the snare drum. Rarely has a roots sound been made so electrifying, so expansive in all directions, so crystal clear, so bass-warm and echophonic as on these 30 minutes of music.

Playing It Cool & Playing It Right is legendary, strange, utterly compelling music that has possibly never been more topical than it is today.

London, UK – May 23, 2024 – The Original Gravity Label proudly announces the release of "Gravity Dubs Vol.1," the highly anticipated new LP from label boss and chief musician Neil Anderson, a.k.a Prince Deadly. This pioneering collection sees Prince Deadly masterfully dubbing some of the early Original Gravity Reggae releases, transforming them with his signature early dub style. "Gravity Dubs Vol.1" is a testament to Neil Anderson’s deep-rooted passion for reggae and dub music. As Prince Deadly, he has meticulously reimagined and remixed classic tracks from the Original Gravity catalogue, infusing them with a fresh, vibrant energy while staying true to the genre's authentic roots. This LP is set to be a landmark release, bridging the gap between the past and present of reggae music. Neil Anderson, the creative force behind the Original Gravity Label, has long been celebrated for his innovative approach to music production. With "Gravity Dubs Vol.1," he continues to push the boundaries, offering listeners a rich, immersive experience that honours the traditions of early dub while introducing contemporary elements. "Gravity Dubs Vol.1" features an array of reworked tracks that highlight the versatility and depth of the Original Gravity Label's early reggae releases. Each track has been carefully crafted, showcasing Prince Deadly's expertise in blending hypnotic basslines, echo-laden rhythms, and atmospheric effects. The result is a collection that not only pays homage to the genre's pioneers but also sets a new standard for modern dub music. "I've always been deeply inspired by the roots of reggae and dub," said Neil Anderson (Prince Deadly). "With 'Gravity Dubs Vol.1,' I wanted to take the ethos of the formative years of Dub, where studio creators re-visited the classic Studio One rhythms to create a completely new sonic landscape. "Gravity Dubs Vol.1" will be available on all major streaming platforms from 1st June and the vinyl is now on pre-order and will be shipping in early June.

A deep, zouk/electronic dancehall crossover track from Cameroonian artist Maréchal Papillon, including a brand new dub version from Canadian producer Poirier Ferdinand ‘Maréchal’ Papillon was part of the makossa wave that moved from Cameroon to France and across the African diaspora in the 80s and 90s, bringing the sounds of rhythms of Douala and Yaoundé to the clubs and dancefloors of Paris. Although best known for his Sakissa style - his own uptempo take on the makossa of Cameroon - Papillon also regularly featured zouk and reggae influenced tracks on his albums, combining Caribbean and African influences into a unique sound that has stood the test of time. ‘Moulongo’ originally appeared on Papillon’s highly sought after 1995 album “Homme fort….je suis sérieux” and was recorded at Studio de la Madeleine in Paris. The Moulongo session features a who’s who of the Paris scene of the time - Aladji Touré and Toto Guillaume from Cameroon as well as Congolese guitar greats Ngoma Lokito and Nene Tchacou - and combines dancehall, zouk and makossa elements for a pan-African dancefloor sureshot.

Love Wonderland - The Best Twilights of Love Wonderland (CAM027)

Formed in 2018 by Takujuro Iwade, film director and drummer Kaya Koike and Mayumi Sakurai with the theme of " Lovers Rock from the other side," Love Wonderland performs reggae with a unique interpretation influenced by psychedelia and synth-pop.

The Best Twilights LP compiles tracks from three demos released between 2019 and 2024 and reflects their full spectrum from electronic dub to pop tinted reinterpretation of their peers.
Considered as the best kept secret of the Japanese dub scene, they continue to grow at each live performance with faith and passion.
Love Wonderland's main aspiration is to keep their motto alive.

Mastered by Krikor Kouchain and limited to 400 copies.

Legendary band SOFT, the driving force behind Kyoto's party scene and underground music culture, releases their new album "Passing Tone" from their home base "softribe" to commemorate their 30th anniversary!

This release marks the first time since the 2018 album "Tokinami" that Soft has released new music. It also comes on the heels of the 2021 vinyl reissue of their 2010 album "Tam (Message To The Sun)" on the labels 17853 Records (headed by CHEE CHIMIZU), TUFF VINYL, and Crosspoint (headed by J.A.K.A.M.).

Guest appearance by former member PRITTI. The album was created by the three founding members: guitarist SIMIZ, drummer PON2, double bassist UCON plus engineer and electronic musician KND, a mainstay of the Kyoto music scene.

Evoking the energy of a live performance, the music pulses with psychedelic soundscapes and dub influences. The 30th anniversary live shows in Osaka and Kyoto were met with resounding success, and the Asian tour followed suit.

Experience the enchanting sounds of music born from Japan.

text by Saito (Newtone Records)

EELS veröffentlichen ihr 15. Studioalbum mit dem Titel 'EELS TIME!', das über E-Works/Play It Again Sam erscheint!

Die Albumankündigung folgt auf ein arbeitsreiches Jahr 2023 für EELS, die endlich ihre lang erwartete 'Lockdown Hurricane'-Tour durch Europa und Nordamerika antraten, und der Veröffentlichung ihres zweiten Compilation-Albums 'EELS So Good: Essential EELS Vol.2' mitsamt eines brandneuen Weihnachtssong 'Christmas, Why You Gotta Do Me Like This', mit der sie ihre drei Jahrzehnte währende Bandgeschichte feiern.

'EELS TIME!' wurde in Los Feliz/Kalifornien und Dublin aufgenommen und enthält zwölf brandneue Tracks und einige von E's introspektivsten und persönlichsten Stücken der letzten Jahre sowie Kollaborationen mit dem amerikanischen Musiker und Schauspieler Tyson Ritter, Frontsänger der Rockband The All-American Rejects.

Das sich ständig verändernde Projekt um Sänger/Songwriters E (Mark Oliver Everett) hat seit seinem Debüt 'Beautiful Freak' aus dem Jahr 1996 insgesamt 14 Studioalben veröffentlicht. Im Jahr 2008 veröffentlichte E sein hochgelobtes Buch 'Things the Grandchildren Should Know' und spielte die Hauptrolle in dem preisgekrönten Dokumentarfilm 'Parallel Worlds, Parallel Lives', der sich mit seinem Vater, dem Quantenphysiker Hugh Everett III beschäftigte.

- Col. LP: (Translucent Neon Pink Vinyl, Gatefold Sleeve, Printed Inner Sleeve)

On Board Music returns for its sixth installment of the Various Artists EP series, but this time with a different approach. Five fresh remixes breathe new life into Point C, originally released in 2021 and consisting of tracks from Foreign Material, Hironori Takahashi, Hiver, Sylve and Alan Backdrop.

For the 2024 update, On Board enlists five of the finest deep techno practitioners to twist the originals into bold new forms. US artist Patrick Russell dives deep into his signature, tripped-out zone, with dub and half-time sensibilities grounding the remix in an eyes-down headspace. Estrato Aurora, who remixes Hiver’s cut, goes equally subterranean, perfectly setting up the nimble drumming and bright melodies of Polygonia’s contribution.

Don’t pretend like you didn’t know that this was coming. Yes, our first vinyl release from the mighty DeepStitched is here, and we have one of the longest standing artists on DeepStitched, Forteba. After having not released on vinyl for such a long time, we felt that Forteba will be the best option to open up this vinyl catalogue, that promises to change how we listen to deep house and dub techno on vinyl.

Shall Not Fade welcome the legend Harrison BDP back to their Lost Palms sister label for his NINTH release with the Bristol label!

'Third Time Lucky' EP is four deep, dubby, spaced out, meditative jams perfect for those late night rave moments!

Piezo’s Ansia imprint returns for its 8th outing ‘Imago’, inviting Berlin’s Unity Vega for a split EP of uptempo dancefloor explorations that mine that fertile space between footwork, drum’n’bass, dancehall and experimental contemporary club sonics.

Unity Vega leads the charge with ‘No Body No Mind’ - a waterlogged darkside skanker that sits somewhere between the half-stepping jungle of the UVB-76 crew and the kind of oddball dancehall deconstructions often peddled by Ansia's extended circles. 
Appearing again on the flip, Vega ups his pace on ‘Set Em’ - a nervy footwork roller that pits gully hip-hop vocal chops against rising bell chords and washes of delayed noise. Think Rashad dubbed out by Kevin Martin and you’re in the right ballpark.

Label head Piezo’s contributions continue along similar lines, albeit in his own unmistakable style. ‘Toughts, Heavy’ also finds the midpoint between d’n’b and dembow, this time marrying a gurgling acid bassline with a euphoric-turned-paranoiac trance lead. 
Up next, ‘Nel Frigo Ah’ strips things back to the raw, banging basics: a looping vocal call pinned down by a frenetic crescendoing drum workout.

To close, Japanese legend Foodman delivers a pots-and-pans rework of ‘Thoughts, Heavy’ - a true curveball tool for the adventurous DJs amongst us.

The wait is over and the underground viennese label Leap Records serves a brand new international VA vinyl record and celebrates its 10th release. On board are Federsen, Anton Kubikov, Mantsche and co-chef Alexander Wirth.
Side A is opened by viennese dub techno producer Mantsche. He released a 4-track EP on Leap Records in 2021 and is known for his timeless and reggae-influenced records. Ras Tawny accompanies him vocally.
In addition, the internationally renowned artist Federsen, based in San Francisco, is featured on the A side. Federsen is a household name for everyone in the scene and
with his analogue equipment and wide music knowledge he brings the Maurizio flavor back to the present.
Side B represents Anton Kubikov. His music career started in 1994 and Anton Kubikov has many vinyl releases to date, for example on the labels Tracks, Trapez,
Salo and many others. At this time Anton Kubikov shares the beauty of dub techno chords, accompanied with a crisp and juicy bass drum.
The last track is a mix of the co-founder of the well-known Innsbruck club Tante Emma Alexander Wirth and Mantsche. In this case, the Alpine Innsbruck and Vienna
meet and the result is a mix of sunrise dub house with soulful vocals and the extra vibe of the Round one to five series, which has its origins in the 90s.

2024 Repress

Repetitive Rhythm Research mainstay Frequency returns to the series with "Turn The Light". Taking cues from classic Detroit influences but taking it even deeper with trippy vocal edits and tight production. Alden Tyrell & Serge turn the lights up with a bottom heavy remix. "Space Dub Work" closes in style with it's deep dubby breakbeat.

PARKWAY PRESENTS
WPKY JAMS
8 EXCLUSIVE HOT JAMS

A compilation featuring all new JAMS from The Whole Truth, T-Kutt, Trey Risqué and more!

Repress!

Radio Slave drops ‘Strobe Queen’ this June, complete with Eric Kupper and Kirk Degiorgio Remixes

Following a string of massive singles over the course of 2022 and 2023, in tandem with the continued success of his acclaimed Rekids and RSPX imprints, Radio Slave prepares his latest single ‘Strobe Queen’, a 12-minute, slow-burning house epic landing this March.

Eric Kupper and Kirk Degiorgio remix Radio Slave’s ‘Strobe Queen’ this June.
Heard in clubs courtesy of Honey Dijon, Laurent Garnier, and Sean Johnston, amongst others, and on the airwaves via the likes of BBC Radio 1, Radio Slave now recruits two legendary remixers for thw remixes of ‘Strobe Queen’. Requiring little introduction, Eric Kupper and Kirk Degiorgio both turn in
exceptional versions of the original, while Radio Slave contributes a stunning reprise of his own, continuing to explore his love of slower tempos and long arrangements of golden era NYC, as seen in subsequent singles ‘Wild Life’ and ‘Wake Up’.

Radio Slave aka Matt Edwards is one of dance music’s undisputed heavyweights. Having made his name as a DJ in the 90s, he went on to become the king of edits, twisting pop, R&B and indie cuts into essential versions that consistently set clubs alight. Since the mid-2000s, Edwards’ originals have helped define modern dance music, tackling techno, house, breakbeat, minimal and disco whilst exploring dub, balearic sounds and ambient across the myriad of other aliases and projects.

Marking one year following Phase Fatale’s (aka Hayden Payne’s) last EP on his label BITE, ‘Love Is Destructive’ is a clear shift into true techno territories, integrated with his distinct curation of narrative and sonic framework, imprinted with a musical diet of sleek, synthesised storytelling.The 4-Track EP reflects the turbulent ebb-and-flow found with emotional conclusion - a genesis soundtracked by raw energy and driving undercurrents. The Berlin-based DJ, Producer and Label-owner’s propensity for creating a symbiotic harmony by blending seemingly divisive elements from his genre defying repertoire, demonstrates his masterful understanding and control of the listener’s borderless, auditory journey. Exemplified by his marathon closing sets at Berghain, as well as techno arenas such as Khidi in Tbilisi (both of which he is a resident), Phase Fatale’s recent DJ performances and production endeavours reflect his fresh approach to pure techno sensibilities. The title track sets the tone with imperative grooves, energetic vigour and intrepid attitude. Following a progression of techno propulsion in ‘Magma Driver’, infused metallic textures and trippy, headier elements add depth, whilst the body of work’s cutting edge sound design echoes spacey vivacity and purification in equal measures. Dichotomy comes forward with tracks ‘Ambivalence’ and ‘Introjection’, processed vocal samples with dub techno leanings and hints towards broken rhythms are sculpted by Payne’s focused approach, resonating a feeling of hopeful resolution akin to resurgence. These romantic sensibilities offset by cold mechanical nuances are reflected in the EP’s artwork, depicting roses against the backdrop of engine-like machinery. ‘Love Is Destructive’ is dedicated to Juan, Simone and Luis. Featuring artwork by Silent Editions.

Dave Angel’s 'Revolt' EP on Rekids Special Projects is an emotionally steamy and intense offering with jolting drums and outspoken words. The title track, ‘Revolt’, brings subtle funk while the synths are imbued with plenty of Detroit-inspired soul designed to light up any dancefloor. Angel’s 'May I Have This Dance' shows a different side, with zippy lead synths amplifying the vibes as hunched, dubbed-out rhythms march down low and keep you locked into the groove.

Following up his 2023 ‘Glide’ EP on Radio Slave’s Rekids, Dave Angel now makes his debut on its RSPX sister label with the ‘Revolt’ EP. From remixes for the likes of Carl Cox, Orbital and Underworld to underground classics on labels like R&S, K7!, and his own Rotation Records, Dave Angel’s ever-evolving sound has made him a core part of the scene for over three decades. With ‘Revolt’, Dave once again shows his uncontested production skills with an infectious double A-side record oozing character.

Over the past decade Tuccillo has steadily honed his craft as a producer and is now widely known and beloved for his contemporary twist on raw groove driven House music which has found a home on the likes of Nu Groove, Kwench, Melodeum, Holic Trax his own Unblock label and of course Kaoz Theory where he returns here following 2023’s ‘The Waves’ EP.

Title-cut ‘Sundown’ leads the release on a deep house tip with a swinging drum groove, airy chord sequences, intricate filtered vocals and a funk-infused bass line. ‘Holding On’ then shifts gears into Chicago House territory via a bouncy bassline and dubbed out vocal chops, intertwined with a playful organ melody, tension building strings and skippy percussion.

‘Whatever’ then opens the b-side with a more stripped-back feel, laying focus on crisp, low-slung drums, hypnotic atmospherics, choppy dub stabs and an amalgamation of vocal murmurs. ‘Velvet City’ then concludes the EP, encapsulating the core aesthetic of deep house with wandering jazzy keys, ethereal pads, organic drums and rumbling subs all silkily ebbing and flowing amongst one another.

Favorite Recordings presents Faché, a new long awaited EP by Voilaaa, including 3 brand new tracks from the Afro-Disco maestro, and tasty exclusive versions. This is also a first taste of the upcoming 4th album, which is planned to be released in September this year. The EP opens with “Faché”, and it includes all the elements of Voilaaa’s famous style and skills: killer Afro-Disco production with heavy bass, hot percussions and playful horns and keyboards, coming with French spicy vocals by longtime partner Pat Kalla. A dub version is provided then. Next track is “Trouble Travel”, which is displayed in a “Garage Version” fully exclusive to this release and perfectly tailored to kill any dancefloor. It features upraising singer Nai-Jah collaborating for the first time with Voilaaa. On the B-side, you’ll find a surprising and blowing version of Jamiroquai’s “Too Young to Die”. The classic hit taking a new life in a Tropical perfect suit, with stunning Creole vocals by Olivya (Dowdelin). Voilaaa is back and ready to delight your summer!!



c A3. Trouble Travel (Garage version) feat. Nai-Jah

ZamZam 95 is a link with the enigmatic French producer Hiss Is Bliss. We’ve been fans since the very first drop on their 777Hz label and these two sides drive straight to the heart of the dub techno galaxy.

Little is known about Hiss Is Bliss beyond the fact that they hail from France, are steeped in esotericism, and create tunes as masterfully grounded in roots reggae as they are in techno and related strands of electronic music. Their releases are utterly free of hype, beautifully crafted 10” vinyl plates that let the singers and tracks speak for themselves.

At the risk of being cheeky, “Nope” is absolute dub techno bliss. The 808 kick propels the track relentlessly forward, saturated washes of color streak the night sky, while syncopated hi hats and warm, soulful chords bring life- dare we say funk- to a style too often stiff and clinical, too in thrall to the past to truly step forward. Matching Hiss is Bliss in mystery, Ras Lys’ vocal brings a Dread perspective on music and the sometimes shady business of music, a grounded contrast to the deep inner space explored by the tune itself. The B-side version “Abbadia” splits musical atoms through the desk, focusing squarely on the stripped 4/4 elements and gloriously distorted pads that echo and cycle like tides in a darkly shimmering sea.

Elusive Italo duo Maurizio e Dandolo return with Demin, a dreamy disco dancer celebrating the iconography of 1980s Italian summer and the heydays of Italo Disco.

Unfolding over an equally suave and hard-hitting tapestry of synths and drum machine, Demin plays with the authors’ nostalgia for the hazy and sun-drenched summers on the Italian eastern coast of their hometown of Pescara.

In the unmistakable and unmatched tradition of Italo Disco, Demin strikes a balance between the irrepressible desire to let loose on the dancefloor and the touching nostalgia for a past that, perhaps, was never lived but only dreamed of. That of the halcyon days of Italian design cars blasting synthy bangers from the radios, beach establishments with their candy-striped umbrellas, neon-lit discotheques and dancers in outrageous designer shirts, teenage flirts, and denim bracelets, the true icons of that era which Maurizio e Dandolo tribute in the song title.

Demin is set to become one of the ultimate dancers of the summer of 2024, an anthem for cheeky disco riviera flirts and boogies.

After being originally released on digital platforms, Demin is now finally out on 7” vinyl format too, accompanied on the B-side by an unreleased scratch version: a dub mix by Rome DJ and establishment Francisco.

Daydream is back with its first V/A in almost 3 years. Four tracks crafted by historical talents - Valen and Ali Demir with Valde - alongside two great additions to the crew - Thomas Wood & Venda. Top producers who deliver deep and dubby house filled with dreamy punchy groove.

French house music crew Kumquat is thrilled to team up with the unstoppable Atree for their first release. The EP kicks off with sun-soaked "Happy Bout That" hitting the perfect blend of vintage synths and flowing tension. Huerta is up next on remix duties, dubbing down the title track for maximum groove. On the flip "Handshake" is sure to elicit maximum stank face with its growling bassline and "Righteous Funk" hits that future-retro aesthetic in a way only Atree can pull off.

very dope.

With this EP an attempt is made at documenting the vibrant action happening during the late 1970s and early 1980s in the Pioneer Valley area of Western Massachusetts, US. The story is richer than the snapshot we present here, and a more detailed account is to be found in the accompanying book that can be purchased separately.

The Five Colleges in Hampshire County congregated a vast student population that inevitably interacted with the towns in the area. Bars, music and record stores, live music and a lot of experimentation and free thinking. Hampshire College, especially, promoted new approaches to teaching, subjects that might be considered radical by some even today, although a more favourable context would now surely exist for openly debating such topics as American Indians, Kayak Design, Black Oral Tradition, Food Management, etc. And the music? The immediate "punk effect" motivated the creation of numerous bands, many short lived, others evolving into New Wave / Power Pop territory, eventually crossing into Post-Punk experimentation. What is captured in "Noho EP" is a more electronic disposition, favoured by the existence of EMS gear and other equipment at Hampshire College and University of Massachusetts. We chose to focus on a group of musicians who, for a time, played together in different combinations under the loose umbrella of the Tekno Tunes label and the structure around it.

These musicians come from very different backgrounds and the nucleus portrayed here consisted of Christopher Vine, Elliott Sharp, James Whittemore and Nicholas Brown.

Of the several line-up changes The Scientific Americans went through, it was actually only the duo of Chris Vine and Jim Whittemore who recorded "Among Bodge Watt". Never before released, it is a companion piece to their track "El Salvador" available on the 1981 ROIR tape-album "Load & Go!". The Sci Ams were founders of the Tekno Tunes label and also created the Tekno Tours "concert promotion agency", under which name they exposed local audiences to bands such as The Stranglers, The Slits, Pylon, Pere Ubu, The Psychedelic Furs, The Bush Tetras, Steel Pulse, etc. Their own sound kept progressing but at its best there's a solid dub undercurrent, pretty obvious in "Among Bodge Watt".

Human Error was born out of a collective jam by Chris Vine, Elliott Sharp, Jim Whittemore and Nick Brown. Elliott Sharp had moved to Northampton in August of 1978 and naturally became involved in the local music scene, hooking up first with Whittemore at a hi-fi audio store where he worked at the time. Basement jams followed stimulating conversations, and other musicians joined the sessions. "Clandestinator" sounds gorgeously loose, an effortless groove coming from a quasi-dub set-up. Nothing here seems calculated, the music just flows, contagious and irregular as the handclaps in the mix.

The Higher Primates later evolved into a "proper" band but started as Nick Brown's solo project. The Primates only ever released a (now sought-after) 7" single in 1980 (on the Tekno Tunes label, precisely). Both tracks on "Noho EP" were recorded the following year and never released until now. "Auto Music in the Disco Dub Style" is self-explanatory, with a steady, mid-tempo TR808 beat running through, supporting synth squelches, echoes and reverbs, a fat bassline, dissonant melodic lines and odd vocal snippets. Kind of a DJ tool when the concept was barely in place. The more uptempo "Teresa Variations" adds a Fender Jazz bass and Selmer sax to the electronics. It actually sounds more "Disco", even with the robotic, unintelligible vocals. On top of this, the vibe is sealed by the overall Radiophonic Workshop analogue strangeness applied to a dance beat.

'Comrade Detective' ('Tovaraul Detectiv') is an
American buddy cop series created by Brian
Gatewood and Alessandro Tanaka.
Each episode is a different 'lost' episode from a
fictional Romanian television show that had been
commissioned by the Communist Party to promote
communism during the Cold War.
The episodes were filmed in Romania with local
actors and later dubbed into English for effect.
The episodes feature the voices of Channing
Tatum, Joseph Gordon-Levitt, Nick Offerman,
Jenny Slate, Jason Mantzoukas, Chloë Sevigny,
Jake Johnson, John DiMaggio and others.
The soundtrack features rare versions of
'Flashdance, What A Feeling', 'Obsession' and the
smash hit 'I Can't Wait' by Nu Shooz along with
Joe Kraemer's original score

Moonwalk X continues with ZK Bucket’s debut album mirroring his wide musical influences and production techniques from early detroit to UK wave and dub music. Techstar Liner is powered by a drumbrain and flying on ringing spring-reverbs. Stripped down rhythms, sequenced synthesizers and wide atmospheric pads with a spooky touch. Zoned-out machine music from the gritty side of town. Make sure to check the wavey vocal track “Natural Peeling”. 200 copies only.

Big tip!

Revised eight track re-issue of Maria Somerville's much lauded debut album. This new edition features an additional cut 'Lakes' - a 5+ minute blown out instrumental recorded live on tour in 2019.

" Stirring and beautiful songs, with a consistent optimism underlying even the murkiest of moments."

Recorded in Connemara and Dublin. Mixed by Brendan Jenkinson. Mastered by The Bastard.

Fat french drum & bass release. A huge production for those who wants some good banging unusual breakz. Efficient and powerfull. A real pleasure for us !! Killaz'

A sparsely documented yet iconic era for Ted Milton's psycho-funk afro punk fake no-wave pogo jazz group Blurt has been brought to life with an expansive collection of restored versions of live performances. Captured on early camcorders during the frenzy of counter-cultural activity that characterised Europe around the fall of the Iron Curtain, these recordings of Blurt, recently posted by fans on YouTube, are a visceral reminder of a scene whose influence is writ large on today's alternative music culture.

Ted Milton's trio have produced an impressive string of albums, not to mention his numerous solo recordings. Featuring 15 tracks spanning their extensive discography from their 1980 debut single – also the title of this collection – “My Mother Was A Friend Of An Enemy Of The People” to 1999’s “Eat Up Your House”, this live collection of performances have been digitised by whatever means available. The original sound captured by the inbuilt microphones of these camcorders and the videos concerned are in many cases the only documentation of an iconic era whose zeitgeist was so masterfully epitomised for many by Blurt.

Refurbished / restored/ repurposed using new AI tools there is a spectral roughness to them but surfing on these reconstructed waveforms, the inimitable machinations of Blurt ride out once again, emerging from a pixilated oblivion to put into perspective the peculiar absurdity of our human condition.

Freddy McKays "Creation"-Album, das von Ossie Hibbert produziert wurde, enthält eine gut gewählte Mischung aus Originalen, die bald zu Klassikern werden, sowie eine Auswahl inspirierter hymnischer Neuinterpretationen. Es spricht für die Qualität dieser Veröffentlichung, dass sich diese inspirierten Interpretationen mit den Originalen von Burning Spear und Dennis Brown messen können. Die Auswahl an subtilen Dub-Versionen der enthaltenen Songs unterstreicht die Brillanz der Musiker, die im Stil der klassischen "Rockers" spielen, die die zweite Hälfte der siebziger Jahre dominierten.

Mousse T. soulbrother, DJ, producer, songwriter, entrepreneur and label owner of his currently
30years celebrating Peppermint Jam Records opened his archives for his longtime bro and producer
colleague Rob Hardt.
Rob chose Mousse T.’s 2018 single release Melodie featuring Cleah to become an exclusive release
on Sedsoulciety Recordings.
The twist from a soulful House track to a thriving Electro Boogie bouncer feels so organic, that you
hear it as natural and original as such a track can sound.
Punters will be Boogie bumping, Electro bouncing, Disco dancing and hip shaking, when they hear
‘Melodie’ (Rob Hardt Mix) on the dance floors worldwide.
Already a collector’s item and must have for DJs, in true Sedsoulciety Recordings fashion with a
smashing dub version on the flipside

LAKE's 2009 album Let's Build A Roof KLP213, produced by Northwest legend Karl Blau, is sweet, funky and nostalgic - a paragon of psychedelic pop. Originally, this landmark album had overlooked sonic anomalies now corrected by REMASTERING. Five bonus songs have been added to the DIGITAL ALBUM, creating a whole new Let's Build a Roof.Let's Build A Roof is LAKE's most popular album with many fan favorites, though every track is unique. After extensive touring in 2009, LAKE entered Dub Narcotic Studio (Olympia, Wash.) to record fresh with their live energy. In the studio they were able to fill out their jingly pop aesthetic, enhanced with the vintage sounds of instruments available at Dub Narcotic and the local community. Blazing synth solos, timpani, flutes, saxophones, cello, and marimba, are just some of the featured sounds on Let's Build a Roof.Some of the album's most requested songs: "Madagascar," a dubby, slow-groove track; "Christmas Island" a surfy Phil Spector-sounding song used as theme music for the television in show Adventure Time; and "Don't Give Up", an upbeat motivating dance song with Blau performing the hook on harmonized saxophones; "Gravel" is the first single and has that a driving intensity that we can all deeply relate to - trying to keep up.

Lock on for a legit excursion into 140 realness as Sneaker Social Club welcomes Silas into the fold. The breakthrough Oxford beatsmith has been on the bubble-up for a minute, facing off with the likes of Trends and Boylan on Mean Streets, remixing PRAGA and throwing down for repeat appearances on Rinse and elsewhere.

The sound Silas pushes on the ‘Wot’ EP - his debut solo 12” no less - is steeped in the original dank pressure of OG grime and dubstep, where moodiness and minimalism create the perfect storm for all-consuming soundsystem immersion. There’s a wavey swing to ‘Know Yourself’ which contrasts with the strict, claustrophobic drive of ‘Wot’. ‘Ubuntu’ on the flip teases an evocative sound world just past the edge of the mix, but manages to hold down the stripped back approach on a skippy 4/4 rhythm which nudges garage into a kind of tech-house-funky amalgamation. ‘Make It Happen’ offers yet another subtle slant on Silas’ style, crooked and gritty but still executed with
an unrelenting, austere focus.

Consider this an essential pin dropped on forward-leaning bassweight sounds which carry the torch for grime and dubstep’s ice-cold origins, maintaining maximum presence without even a whiff of derivative wobble.

A heavyweight astral shower of rhythm and vibes, Ash Walker’s third album ‘Aquamarine’ is set for release on
19th July via Night Time Stories / Late night Tales
An avid collector of jazz, blues, soul, funk, reggae, and all things in-between; Ash has DJed far and wide... from the infamous
Royal Mail squat party to the canals of Venice, spinning vinyl in Brixton with The Specials to scattering dub across San Francisco and LA.

Remotif is a fast-rising star with a sound being called 'trance fusion.' He makes his mark again to that end with a new one on Especial that brings more of his modern-day ethnic styles to the driving breaks of techno following outings on the likes of Coymix and Space Lab and sets everywhere from Fabric to Berlin's Warning parties.

This one kicks off with 'U 15' which is a busy blend of shimmery timbres and sharp perc, spaced-out pads and psychedelic synths that are ever on the rise. More trance overtones define 'Glint's Pursuit' and 'The Elevated Place' is slick and sleek, ascending and always rising. 'The Sunken Place' shuts down with more slow and percolating dub mutations to round out a superb EP.

Joe Armon-Jones veröffentlicht zusammen mit Reggaesänger Hak Baker und Jazzmusikerin Nubya Garcia die neue EP "Wrong Side Of Town", die das Thema der Vertreibung von Migranten behandelt, etwas, das Hak Baker aus erster Hand im Osten Londons erleben musste. Weitere beteiligte Musiker sind Morgan Simpson (Black Midi), Luke Wynter (Nubiyan Twist), James Mollison (Ezra Collective) sowie Horseman, Prince Fatty hat abgemischt, Noah Priddle gemastert. Mit der EP beginnt eine neue Dubs-Serie von JAJ auf seinem Aquarii-Label, in der jede Ausgabe einen exklusiven Vinyltrack enthält.

“Heart of the Dragon” is part of a series of dub albums by The Mighty Upsetter, showcasing Lee “Scratch” Perry’s groundbreaking sound explorations. Having previously delved into Western themes, Perry now turns his attention to martial arts films. With “Heart of the Dragon,” especially notable for its innovative use of sound effects, echoes, and studio manipulations, Perry demonstrates his ability to push the boundaries of music production. Long unavailable, here it is again in a limited-edition yellow vinyl release, featuring an entirely new cover design!

Official reissue! :)

Trowback to 1991 with a mega timeless wax via Orange Wedge. Diamond Dimension E.P. is the perfect fusion of House, Techno and Trance rhythms.

For fans of Duster, LSD and The Search for God, The Microphones. Double LP (NO BOOKS!) First official physical copy of fan-made compilation of alternate tracks and demos from cult phenomenon album Deathconsciousness. Freshly remastered. With the broader adoption of the internet around the turn of the century, how people would engage with and discover underground music would change forever. As a result of the new digital era, DIY was now worldwide, and no band embraced this new frontier better than Have A Nice Life. Formed in 2000 by duo Dan Barrett and Tim Macuga, the Middletown, CT-based pair would, throughout the 00s, self-release and share a number of demos and home recordings via early social media channels as well as establish its in-house label ENEMIES LIST HOME RECORDINGS. These first steps set in motion Have A Nice Life’s rise to renown as an icon of underground music in the internet age, culminating with the release of its pivotal 2008 debut album, Deathconsciousness. Through word of mouth and online discussion, Deathconsciousness became subject to viral praise thanks to its synthesis of bleak post-punk, lo-fi shoegaze, and carpets of hypnotic drone music. Eventually, this humble self-released project would attain the status of a post-internet cult classic, amassing Have A Nice Life a fervent online following that the band would interact with in kind. In an effort to thank and continue to engage with Have A Nice Life’s internet cult following, Barrett and Macuga would regularly share links to old demos, works in progress, and outtakes from the recording of Deathconsciousness. Over time, a group of fans would compile these demos into an unofficial release. Dubbed Voids, this fan-made compilation several alternate takes of tracks from Deathconsciousness, as well as a handful of early versions of songs that would appear on Have A Nice Life’s two following albums, The Unnatural World and Sea of Worry. While undeniably reminiscent of their final album version counterparts, the earlier versions of these tracks each feel distinct in a way that makes the moody, decidedly lo-fi aura of Voids an essential slice of the Have A Nice Life discography. Hungry for more from the enigmatic duo, fans swarmed around this compilation, accompanied by loud calls for it to receive a physical release. Seeing that demand and with the band’s blessing, a pair of fan-made tape pressings of Voids would be released via Music Ruins Lives, a DIY label run by Have A Nice Life superfan Thom Wasluck, also known for his band Planning for Burial. Between both instances of the tape swiftly selling out and the compilation’s long absence from streaming services, Voids has historically been an elusive release to track down, only available in the obscurest corners of the internet or physically on the secondary market at eye-wateringly high prices.
Over a decade since its initial, unofficial release in 2011, The Flenser is proud to reissue Have A Nice Life’s Voids for the first time ever in an official capacity in physical form. Originally released digitally in early 2023 and freshly remastered for the occasion, this reissue of the beloved compilation will receive its first-ever wide release on physical formats (CD/LP/Cassette). This release also marks the first time fan-favorite tracks from Voids “Sisyphus”, “I’m Doctor House”, and “Human Error” will be available on vinyl and CD. Like a symbolic passing of the torch, the physical versions of the 2023 Voids reissue come with a foreword essay written by Wasluck, the previous custodian of Voids during the Music Ruins Lives days.

Eszaid imagines the sonic paranoia of discovery with Brumes, a 9 part movement for FELT that coalesces industrialised murmurs from the currents of cavernous creep.

An electronic complexion shaded dusk haunts Eszaid’s output. Previous releases on L.I.E.S., Worship and his own Collapsing Market label exemplified a shutters-closed style of rhythmic and melodic variance that teetered on techno-related realities with the lights kept firmly off. The Avignon-based artist lands at Fergus Jones's FELT stable to further the imprint’s unpredictability, coaxing some of his most perturbed oddities yet with Brumes.

The mythologized voyage of Pytheas to the island of Thule provides the abstracted blueprint for Brumes’ 9 parts. Each movement is born of soundscapes inspired by envisaged scenes of his trip to the North, an aural construction of interpretation. Eszaid unwinds tense metronomic rhythms within sparse sound environments, sprung with globular textures of motorik warbles and darkside atmospherics. Its minimalist beat complexions are buoyant by an abstracted fear of the unknown, tracks defined by bobbling industriale, Gregorian dub and atonal menace. It’s an alternative experience to the often faux-jubilance of expeditious revelation, and something that will resonate long after Nord’s beatless modulation fade out.

repress !

Almost a year on since his Blueprint Records debut, the London-based Brazilian, Vinicius Honorio delivers the follow-up to "Sem Rumo".

With a storied history in DJing and producing, starting in Rio de Janeiro as a D&B selector before settling into London's techno sphere, the Brazilian producer pens dark and dubby textures. Delivering releases on his own label, Liberta Records as well as the likes of Modularz, Mord, Token and of course, Blueprint he has displayed his penchant for trippy and foreboding techno whilst encapsulating the energy and passion that have come to be synonymous with his style. A style that also permeates his DJ sets which he's taken around the globe.

"Ominous Music" features four hard-hitting Techno tracks characteristic of his style.

Dennis Quin is making his Eastenderz debut with an impressive four tracker. Bringing his signature sound with this masterclass EP, Dutchman delivers a timeless record that's guaranteed to work on the dancefloor. Limited run, Vinyl Only.

Essential business as always from Eastenderz.
DJ Support: East End Dubs, Prunk, Archie Hamilton, Kerri Chandler

Source 02 is the second release from the Uruguayan label New Source. We are pleased to have the debut of Lorenzo Batlle, Uruguayan producer and DJ.

Track A1 - IDRIS:
Opening the EP, IDRIS invites you to a disorderly dance through time, weaving dub influences, atmospheric acid lines, and fragmented vocals creating an eclectic sonic landscape.

Track A2 - MEDEA:
MEDEA emerges with a soft and hypnotic embrace, drenched in hypnotic bells and delayed acid lines.

Track B1 - SIRIUS:
Inspired by Cyrus, woods, and '80s shades, SIRIUS is a blended journey guided by a pulsating baseline—an invitation to move forward on the dancefloor.

Track B2 - God works in mysterious ways:
Closing the EP, God works in mysterious ways leaves a moody imprint, resonating with house vibes and playful synths bringing joy to the dancefloor.

The Finnish composer, producer, and pianist Otto Taimela is ticking at 6000+ monthly listeners on Spotify with streams in the 100s of thousands. His discography covers everything from avant-garde piano to breakbeat, ambient-dub techno back to cinematic contemporary classical music, with releases on labels such as Cold Blow, Ultraääni, Cudighi Records, Reflections by Anjunadeep and Finite Source. Otto has performed in festivals such as Ilmiö and Solstice. Kimmeltie LP, the 2020 predecessor to Inner Beauty has become a rare collector's item.

His rendition of Clouds together with Olli Aarni received praise from Gigi Masin himself, commenting "Maybe the BEST cover ever".

On the 24th of May Otto was the "selector of the week" on the largest radio station in Finland, YleX, playing a track from Inner Beauty.

The Samosa label gets its Re-Funk Head on once again with Part 2 of the exciting sonic laboratory project.

Opening this outrageously good EP are Samosa alumni Dirty Elements & Drunk Drivers feat E.M.E and their all-powerful and energy blasting ‘Disco Ball’ – a track that never even attempts to hide its sassiness. The brass ensemble fanfare (which is truly one of the best disco riffs in the known universe) acts as a victory parade through Samosa City – all tickertape and confetti raining down on smiling faces. A serious, serious groove which has featured in sets by Art of Tones on his Ultimate Mix Show for Glitterbox Ibiza and by Folamour in his Amsterdam gigs in March 2024.

Track 2 is respected Italian Maestro, Moplen and the wonderful ‘Ain’t No Doubt About It’. There’s an immediate dance floor lure to the disco beats and bongo rhythms here. Take a good helping of ‘pew-pew’ laser bolts, cow bells and hand claps; add a masterful bassline and you have some serious, serious disco business. You could be sipping evening cocktails in Club Coco Bongo or taking in a beach at sunrise - this track would make you want to dance regardless.

On the B-side the disco theme continues with the most aptly titled ‘Sexy Thing’ by Jazzyfunk. At 122bpm, this heads quickly into soaring, heavenly strings and punchy bassline territory, enveloping your ears like a warm duvet. The melody is a dance floor dream – it demands that you join the hands-in-the-air crowd and there really is no point in resisting. ‘Sexy Thing’ is one of those rare ‘moment in time’ tunes that could either kick a night off or act as the grandest of grand finales. Pure, unadulterated disco pleasure.

Closing the EP with Track 4 is DeGama himself and ‘Feel The Groove’. Make no mistake, this is a powerful, brooding beast of a tune that bursts out of the traps in no time at all. At a very deceptive 120bpm, ‘Feel The Groove’ starts with a warm, housey vibe that quickly breaks into a jumping, blues inspirerd guitar battle. The solid beat bounces gorgeously in tandem with the filthy rhythm guitar riffs and sultry saxophone in a knee-slapping, somersaulting, backsliding explosion. A seriously filthy tune from DeGama.

Re-Funk Head Part 2 acts as a perfect companion to its predecessor – featuring an all-star cast of some of the best talents to grace Samosa. A must for all serious record collectors.

Active since 2001, Ayyuka was one of the first bands to look back at 70’s Turkish music to find a new voice. Not caught up in the Retromania but reincarnating Turkish Psychedelic within their own style, the band managed to develop an unmistakeable unique sound. Inspirations of Dick Dale, John Frusciante, and local heroes like Erkin Koray, Orhan Gencebay, make their music more guitar oriented but their fascination with film music and improvisation creates unexpected twists within their songs. Right after their eponymous debut in 2007, the band shared stage with Sonic Youth and Jonathan Richman. Heading to a completely instrumental music, their 3rd studio recording “Sömester” had already become a cult album for record collectors. They’ve collaborated with Orlando Julius, Ilhan Ersahin and had guests on almost every album. Their latest full length “Maslak Halayı” was a creative collaboration with Calibro35 genius Tommaso Colliva. The worldwide hype of "Yukadans” will now be followed by their upcoming EP "Zaman Ziyan”, showcasing four brand new instrumental tracks that will transport listeners through a kaleidoscope of musical landscapes, experimenting with techniques of music writing and flirting with genres like afro-beat, funk, dub or arabesque. Save the date for their very first performance of these, live at babylon, as a part of Akbank Jazz Festival.

The last, and previously unreleased, recordings from the legendary and world renowned Swedish psychedelic organist Bo Hansson before he passed away. (Jimi Hendrix was a fan and recorded his song "Tax Free"). Here you can listen to Bosse in fine form together with his lively organ student and keyboardist extraordinary; Eric Malmberg, joined by drummer Niklas Korsell, creating mesmerizing and ethereal space jazz. The music seems to contain information about a deep perspective that questions both time and space and recognize the universe unfolding its abstract process of creation.

For Twice Infinity’s second solo release, the London and Geneva-based DJ and producer GFX – one of the most active newcomers of the past years – makes his vinyl debut with the aptly named Vibing The Groove EP. His three original tracks span a wide array of playful, groovy, punching and driving techno that perfectly showcase GFX’s musical vision for the near future and mark a preliminary goal in his search for a unique musical expression since his release debut in 2020.

The B-side accompanies two remixes by equally exciting members of the next generation of producers; while the approach by Cuban techno activist Hioll is more to the point and made straight up for peak time sets, Manchester-based trance wunderkind Faster Horses explores his not so well know passion for funky and stepping contemporary techno.

Following the resounding success of Rythm by Nature's first release by Nail, the imprint's second outing, "Deep Cuts", builds upon the previous momentum and introduces label owner SaPu for his first solo EP. "Deep Cuts" features three groove-drenched original works and a foot-stomping remix from Berlin-based groove master and sound wizard Tripmastaz.

Drawing from his 15+ years of experience in the scene, "Deep Cuts" displays SaPu's impeccable production skills and evident passion for deeper house grooves and hypnotic rhythms — the ideal music for extended dancing marathons. The EP's first track, 'Roll Out' (A1), is a classic, tech-house-infused banger: funky bass, filtered samples, and snappy percussion elements. Tripmastaz's version, 'Don't Let Joe Change the Name Dub' (A2), adds new layers of depth to the original, infusing it with dubby, sample-based elements and warm chords. SaPu's inclination for old-school grooves shines through on 'Clappin Iron' (B1), delivering Detroit tribal vibes punctuated by stabby synths and rolling basslines. Closing off the EP, 'Keep it Trill' (B2) provides a relatively stripped-down approach, allowing SaPu to demonstrate his innate skill in dubby sample manipulation.

2024 Repress!

Limited 10 year anniversary repress. In May 2014, Icelandic producer Yagya released his fifth album, Sleepygirls, across three slabs of vinyl on Dutch label Delsin. It's a deep, spacious and dubbed out affair that stays locked at a pleasingly sedentary tempo throughout. Since 2002 the definitive member of the Thule Musik collective has been crafting lush electronic albums under his Yagya alias and always manages to find pure bliss and beauty and his simple, nature inspired soundscapes. "I wanted to create an album that's atmospheric, repetitive, and easy to listen to over and over again," says the man himself. "Something that works well in the background (e.g. when concentrating on work), as well as up close in a big sound system. I also wanted to learn how to make my music sound better than before, since I'm a huge sound-nerd, so that was a part of the goal for me personally." The album is a fine fusion of tropes from Yagya's earlier albums, features jazz instrumentalists that improvise beautiful melodies over monotonic, almost drone-like, techno beats and also uses live recordings of Japanese vocals, saxophone and guitar to counter the repetitiveness of the rhythms. Right from the rolling bliss of the opener, you're suspended in a womb like pillow of sound that is soft, warm and serenely beautiful. As tracks roll on, the pace stays the same but themes vary from upright and summery to more elongated and insular. This is natural, organic dub that is a delight and a pleasure to listen to. The vinyl versions of each track have been specially mixed with random LFOs, sonic quirks and unique fingerprints making them the subtly different to the CD version, but overall this is a brain soothing and mind melting album that can soundtrack lazy days, long summer afternoons and warm winter evenings in equal style.

Largely recognized as their breakthrough album, Khanate was confident enough by the two-song, forty-minute Capture & Release (2005) to peel back its layers of thick mossy droneand reveal the minimalist underpinnings, a change either interpreted as maturity or an implied threat. "It's a grim, avant-garde exercise in tension and paranoia. Dense, leaden drones fill up the spaces between O'Malley's sparse, deeply sustained guitar chords. Vocalist Alan Dubin's anguished vocals seem to convey the tortures of the damned as if there were not a shred of hope left for existence in this world. Capture & Release is not dissimilar to black metal in how it so violently conveys such a bleak and ultra-nihilistic world outlook. But while the standard tempo on a black metal album typically strays into the triple digits in terms of beats per minute, Khanate's plodding pace keeps the BPM soundly within the single-digit range." (Tiny Mix Tapes).

Born in Beirut, Lebanon, Rami Gabriel has been a motive force in rock n' roll, jazz, Arabic, and experimental music communities across North America for over twenty years. In that time, he has released numerous projects across genres and under many names. On his debut LP for Sooper Records, Rami trips all the breakers. In his own name and voice for the first time, That's what I been sayin' is not so much a debut as a conflagration in Rami Gabriel's worldly underground. Drawing on Punk, Krautrock, Dub, No Wave, and lo- fi, the territory occupied by That's what I been sayin' is astringent, minimal, and buzzing with the sound of machines dancing in the wind. "I'm used to putting out records based on genre," says Rami of his multiple endeavors. "I was listening to one of the `70s Brian Eno records where he took his experimental work and his songs and put it all together, and I was thinking, `Why don't I try to put all the different ways I've been working for the last couple years onto one record?'" That's what I been sayin' ignites this vision with an album that ranges from the motorik-driven krautrock of "Like a monk" to the unexpected trance-like pairing of "Buzuq synth." That's what I been sayin' is a furnace of Rami's insuppressible impulses, where he undertakes to ask and answer: what is left of punk but making do with what is at hand? At times direct and scorching, at others meditative and wandering, That's what I been sayin' compresses Rami's understanding as a composer, musician, and singer into a restless, 11-track love letter to the underground. For Fans of The Fall, Haruomi Hosono, Brian Eno, and Scientist.

Largely recognized as their breakthrough album, Khanate was confident enough by the two-song, forty-minute Capture & Release (2005) to peel back its layers of thick mossy droneand reveal the minimalist underpinnings, a change either interpreted as maturity or an implied threat. “It’s a grim, avant-garde exercise in tension and paranoia. Dense, leaden drones fill up the spaces between O’Malley’s sparse, deeply sustained guitar chords. Vocalist Alan Dubin’s anguished vocals seem to convey the tortures of the damned as if there were not a shred of hope left for existence in this world. Capture & Release is not dissimilar to black metal in how it so violently conveys such a bleak and ultra-nihilistic world outlook. But while the standard tempo on a black metal album typically strays into the triple digits in terms of beats per minute, Khanate’s plodding pace keeps the BPM soundly within the singledigit range.” (Tiny Mix Tapes).

Largely recognized as their breakthrough album, Khanate was confident enough by the two-song, forty-minute Capture & Release (2005) to peel back its layers of thick mossy droneand reveal the minimalist underpinnings, a change either interpreted as maturity or an implied threat. “It’s a grim, avant-garde exercise in tension and paranoia. Dense, leaden drones fill up the spaces between O’Malley’s sparse, deeply sustained guitar chords. Vocalist Alan Dubin’s anguished vocals seem to convey the tortures of the damned as if there were not a shred of hope left for existence in this world. Capture & Release is not dissimilar to black metal in how it so violently conveys such a bleak and ultra-nihilistic world outlook. But while the standard tempo on a black metal album typically strays into the triple digits in terms of beats per minute, Khanate’s plodding pace keeps the BPM soundly within the singledigit range.” (Tiny Mix Tapes).

Original print from 2002

ECHOLTD009: 12" EP 180g Gold / Blue marbled vinyl.

We are incredibly excited to release Xena, KLE-KLE's debut EP. Although this is the first release from their new project, GWD and Spok are veterans of the electronic underground. Both have been active in production, as well as live shows and DJ performances for at least the past decade.

They come out guns blazing with music that is focused, mature, and irresistible. Blending breakneck IDM beats with elements of machine-dub and post-punk mutations, the EP maintains a captivating momentum, accentuated by dissonant washes and melodies that will tickle the reptilian part of your brain.

For the stellar remix work, they enlisted fellow scene veteran Dead Janitor, who delivers a glacial, splintered, data-poisoning piece, showcasing his junglist tendencies. Wrong Collective stalwart, Trauma, comes in with his hydraulic twerk monster, to close the EP.

London outfit Kassian continue their broadly- evolving yet highly detailed journey through and beyond sound towards something ever more expansive. Their second release for !K7 Records comes in the wake of creating a dedicated hardware-forward studio in a Northeast London container complex, where they have the freedom to interlink their machines. This renewed focus brought them to Supercontinent EP, named for the ancient geological era when Africa and South America were joined as Pangea.

A reformulation of rhythmic ideas inspired by South= African Amapiano and South American Baile Funk governs the two hemispheres of the record. The pair examine and deconstruct dancefloor material, eschewing 4/4 for interlocking shaker patterns, searing acid lines, cracking breakbeats, and vocal samples in Zulu and Brazil Portuguese.

The immediacy of the restless rhythm and bass-led funk of “Yena” (the word Yena translates to ‘he/him /man’)forms a sweet spot where double-time and half-time can coexist. “Yami” (‘mine’ in Zulu) is a slinkier proposition which sheds prominent percussion in favour of a weighty, fluid, acid-informed bassline undulating from below.

An ascending percussive riff marks the arrival of “Pulgueiro”, followed closely by break beats and the nostalgia of distinctly British acid electro; it is an intentionally future-forward retelling of a vintage sound, replete with a mind-melt breakdown of rave pads.

A dubbed-out groove dominates the bottom-heavy “Sistema” – a groovy, steady roller that chugs and propels and chugs with head-nod hypnotism through an intricately minimalistic approach.

2024 Repress

Released on Cherry Red in 1981, Threat To Creation spotted the collaboration between two mystical entities: Creation Rebel and New Age Steppers. Forerunners of the british dub scene the two bands shared several members, a who’s who of the On U-Sound school and key figures of the Bristol and London scene. Adrian Sherwood is – obviously – the man behind the desk a craftsman on its own, a character with no borders and one of the most sought after producer of the time. The supergroup is ran by post-punk stalwarts Bruce Smith (The Pop Group) on drums and Keith Levene (PIL) on guitar. Ari Up of The Slits sits on piano and organ, while masters Crucial Tony is both on bass and guitars. Members of African Head Charge – bass player George Oban, Eskimo Fox and Style Scott on drums – are welcomed addition to the line-up. Threat To Creation is still recognizable as an album ahead of its time, a futuristic blend filling the gap between the Jamaican heritage, the so-called (post) industrial revolution and the studio witchery of the whitey man.

Placenta is the fourth collection of broadly imaginative and highly collaborative Carlos Niño & Friends music released on International Anthem since 2021. But perhaps more notably for the zeitgeist of today, it is the first new music to be released by Carlos Niño & Friends following the November 2023 release of André 3000’s New Blue Sun – an album which Carlos produced alongside André, while co-writing, performing, and co-mixing every song. The announcement of Placenta also comes while Carlos is in the middle of tours with André to support New Blue Sun, where Carlos wields an immense presence as music director, bandleader, and percussionist, and performs alongside many of the same musicians that are present on his recent & Friends albums, including this new one.

Placenta is announced on the 1st solar return of Moss Niño, of whom Carlos and his partner Annelise are Earth parents. Their experience of pregnancy, labor and delivery were all profoundly impactful for Carlos. Becoming a father again (a whole 25 years after the birth of Azul Niño, who has become a regular artistic collaborator for Carlos) he felt total Inspiration for this set of recordings, and hence it is perhaps the most conceptually-grounded Carlos Niño & Friends album we've yet to present–fully connected to the spirit of family, birth, and "how we get here."

In Niño’s words, Placenta is “dedicated to Mothers, Children, Babies, Aunties, Doulas, Midwives, Birthworkers...,” and a short list of track titles includes: "Love to all Doulas!," "Some Rest for the Midwives," "Real Vital Organs," and "Generous Pelvis." The centerpiece of the album, the sprawling "Placenta, Nourishment, New Home, The Galaxy," is an unbelievably vivid immersion in the sonic architecture of Niño's memory-scape...like being present in his energy field...or being present in a birthing room, or maybe even being born yourself. And it just might be the most powerful, unique piece of music Niño has ever created.

Featured artists on Placenta, in order of their entry on the album, include: Nate Mercereau, Jamire Williams, Sam Gendel, Jamael Dean, Dexter Story, Brandon Eugene Owens, Maia, André 3000, Jesse Peterson, Ariel Kalma, Surya Botofasina, Annelise, Haize Hawke, Aaron Shaw, Devin Daniels, Tiffany de Leon, Michael Bolger, Michael Alvidrez, Moss, Iasos, Photay, Deantoni Parks, Adam Rudolph, Andres Renteria, and Cavana Lee.

"Return Of The Super Ape" was the final revelation from Lee Perry’s Black Ark Studio, a psychedelicized dub journey into uncharted sonic territories. The longplayer is now state-of-the-art remastered by Pete Norman (Finyl Tweek) and restored with original press artwork complete with inner disco sleeve!

The album from 1978 is the final chapter in the trilogy of albums in the period from 1976 - 1978 following "Scratch The Super Ape" (aka "Super Ape") and "Roast Fish & Cornbread". Produced, mixed and arranged by Lee Perry at the Black Ark Studio featuring on all tracks the skills of The Upsetters and additional vocals by The Full Experience on "Dyon-Anasaw" and "Tell Me Something Good". The frontsleeve artwork image was created by Lloyd Robinson (also known as the singer of the Studio One classic "Cuss Cuss").

Reggae expert Jeremy Collingwood says: "The Return Of The Super Ape that surfaced later in the year 1978 saw Perry way off the mainstream with a set that owed much to jazz with its loose structure and horn breaks. The title track took an early production from Perry, U-Roy's " OK Corral", and reshaped it into another futuristic outing - just like the original that had been a decade earlier. At the time few knew what to make of it and over the years its lack of proper re issue had meant it's remained a hidden Perry gem. It also marked the end of a hugely creative period at the Black Ark."

Tracklisting / side-split
Side One
A1 Dyon-Anasaw
A2 Return Of The Super Ape
A3 Tell Me Something Good
A4 Bird In Hand
A5 Crab Yars
Side Two
B1 Jah Jah Ah Natty Dread
B2 Psyche & Trim
B3 The Lion
B4 Huzza A Hana
B5 High Rankin Sammy

• Follow-up to the highly acclaimed dub album Super Ape, the album like its predecessor, was produced by Lee ‘Scratch’ Perry. This was the last album recorded by The Upsetters before Perry closed down his Black Ark Studio.
• The remastered album showcases the production skills of undisputed dub master with insanely layered textures and technical wizardry. With musical backing The Upsetters – Boris Gardiner, Mikey Richards, Sly Dunbar, Benbow Creary, Earl ‘Chinna’ Smith, Winston Wright, and Keith Sterling.
• Remastered by Pete Norman at Finyl Tweek
• Coloured Inner Bag

* A dig into the vaults leads us to the lesser-spotted Jah Free, a stalwart of the 90’s dub scene and purveyor of all things musically DIY.
* This 12” comprises of slices of `Lightning Clap’, the lead cut being a vocal.

* A dig into the vaults leads us to the lesser-spotted Jah Free, a stalwart of the 90’s dub scene and purveyor of all things musically DIY.
* A vocal cut from Jah Free with a brutal bassline backed with alternative dub mix to the version that was originally released on Zion Train’s Deep Root label in 1998.

Late Night Load Out is the debut LP from Dublin five piece band Papa Romeo.

The release is a collection of work which catalogues their first two years of rehearsing and gigging together around Ireland, a process which has forged their sound. The tracks journey through sound palettes which variously touch on dreamy spaced out indie rock, moments of ambient contemporary jazz, and rougher post-punk influenced sounds.

The ‘Late Night Load Out’, became the term to describe loading gear out of venues late at night after a show, which is a moment to both dread and cherish, the (sometimes) hard work which follows elation.

Now primarily based in London, Papa Romeo’s music has connected with London based DJs and broadcasters. Their debut single ‘Yellow Magic Orchestra’ was supported by Flo on NTS, as well as Avalon Emerson, and appeared as the A1 on a vinyl compilation from All City Records Dublin. Singles from ‘Late Night Load Out’ have also gained early support on BBC 6 Music and from Ross Allen on NTS.

In the meantime the band have been busy on the Irish circuit with appearances at Cork Jazz Festival, Other Voices, All Together Now and Another Love Story, as well as repeat sold out shows at Dublin’s Sugar Club. They have built a reputation as a versatile band who can bring the energy to a packed room, and were named an Artist to Watch for 2024 by Hot Press Magazine.

‘Late Night Load Out’ will be released on digital and vinyl in May 2024.

Papa Romeo is Paddy Rogers, Mark Rogers, Dan Coyne, Rob de Boer and Chris Wong.

Radio Support:

Ross Allen - Soup to Nuts NTS

Colleen Cosmo Murphy - NTS

Lauren Laverne - BBC 6 Music

Esk - Rinse FM

District Magazine (Ireland)

Peter Curtin - RTE

New Music Fix on BBC 6Music

Bill Brewster

LTD 260 copies pressed / printed sleeves / Sealed

Jungle master Krak In Dub’s new album Catleya is a vibrant hommage to Colombia and its incredibly diverse musical culture. Entirely recorded in Bogotá with the who’s who of today’s Colombian music scene, the album casts a brand new light on the fusion of beats and Latin-American traditional rhythms and instruments, blending reggae, hip-hop, breaks and house with cumbia , afrobeat, ska, and bullerengue.
Standing out on this sun-soaked yet heavy-on-the-beats-and-bass adventure is the appearance of female modern folk trio La Perla, the Afro-Colombian combo Absalon & Afropacifico, and Bermudian singer Troy Berkley.

* A dig into the vaults leads us to the lesser-spotted Jah Free, a stalwart of the 90’s dub scene and purveyor of all things musically DIY.
* This is a raw melodica-led instrumental backed with an even rawer bongo-frenzied cut.
* Originally released on the Jah Free Music label in 1993.
* Those were the days when some producers where using cassettes to record on home studios.

Tm Shuffles very own label with his next head shackin release. Amazing groovin dub techno 4 tracker by artists like Star_Dub, Altone, Poro, Tm Shuffle & Monoder. Colored Version is limited. Be fast to get your hands on it.

Continuing their quest, the Treasure team has unearthed another enchanting bunch of gems. Introducing a new compilation of revamped classic tracks from F.R, meticulously tailored to meet the refined preferences of today's dance connoisseurs.

Matching his signature melodic futurism with enduring club music structures, Pev brings the Pulse series to a natural conclusion with the Pulse Phase EP. On this third release he underlines the broader approach to tempos and styles he’s taken across this latest period of his output, soon to be coalesced into a new live set.

If there’s been a nostalgic streak detectable amongst the crisp modernism of the Pulse series, it comes through clearer than ever in the looped-up house jack and starry-eyed techno synth hooks of ‘Pulse IX’. ‘Pulse TEN’ pares back for a lean soundsystem workout driven by a strafing arp and fractured drums while ‘Pulse XI’ revisits 90s bleep techno with a deep, dubby intention. ‘Pulse XII’ completes the picture capturing the skeletal pressure of 2-step at its most slender and deadly.

There’s never a sense of over-familiarity — the exacting angles of the drums and alien hue of the synths maintain Pev’s distinctive sound first and foremost. But this series has also been an opportunity to hear some of his musical DNA more explicitly than before, cast in universal rave motifs propelled by the unrelenting pursuit of new forms for the dance.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Tm Shuffles very own label with his next head shackin release. Amazing groovin dub techno 4 tracker by artists like Star_Dub, Altone, Poro, Tm Shuffle & Monoder. Colored Version is limited. Be fast to get your hands on it.

not many artists are able to develop a distinct sonic identity releasing just 5 solo records. through his selective output in the course of 5 years on nina kraviz's Trip, vladimir dubyshkin gained not only an army of loyal fans analysing his live sets for new music, he also inspired many who followed and continued to develop his unique sound.

his tracks, many of which became underground hits like "lady of the night", "ticket to childhood" or "russian porn magazine", always stand out and are immediately recognisable. be it weird syncopated euro dance reminiscent bangers with crazy vocal snaps or haunting hypnotic beauties on a techno side. his music always has that genius dubyshkin groove, a pinch of irony and the ability to make just anyone dance, from a small underground club to a huge festival dancefloor. this universal appeal ensures his tracks resonate across sound systems of all sizes, embedding themselves in the listener's consciousness long after the music stops.

on "ivanovo night luxe", his first double ep on Trip, vladimir sounds as amazingly unhinged as ever embarking on a surreal journey, from the eerie echoes of a haunted funfair ride to the core of a peak-time set.

"ivanovo night luxe" continues to captivate and intrigue, solidifying dubyshkin's standing as an artist of unwavering integrity and reminding us that sometimes 'less is more'.