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Three years after their critically acclaimed and sold out Abrada LP the great and joyful Japanese afro groovers Ajate are back with their much awaited brand new album Alo!

Ajate is a Japanese band who plays a unique blend of afro-groove dance music mixed with Japanese traditional festival music called "Ohayashi". Formed in 2011 by the band-leader John Imaeda, Ajate consists of 10 Japanese musicians.

Another unique feature of the band is the use of hand-made bamboo instruments as well as traditional Japanese percussion. The "Jahte" is a bamboo-made xylophone or balafon with a piezo pick-up mic attached to each key, connected to a pre-amplifier to obtain a loud sound and to add some touch of dirty distortion to its warm and natural acoustic sonority.

The "Piechiku" is also a bamboo-made string instrument inspired by the west-African "Ngoni" or Moroccan "Guembri" instruments. The Piechiku uses strings of the Japanese traditional "Shamisen". This instrument is also played through a pre-amplifier and John sometimes adds some wah-wah effect to it. All these bamboo instruments are designed, made and named by John Imaeda himself.

On Alo you will also be amazed by the exceptional sound of the Japanese Shinofue flute, which was not on the previous Abrada LP. Now, add to this unique sound some well-crafted Japanese female and male singing and you get a killer mix of Afro-Funk flavored grooves with traditional Japanese music!

Since the release in 2017 of their Abrada LP on the 180g label Ajate has toured Europe twice and has played a memorable concert at the world famous Trans Musicales festival in France in 2018, which has been followed by another great KEXP Live session.

Here is some music you will not be able to hear anywhere else, by one of the most joyful Japanese band to hear on record and to listen live!

“…In The City Of Lights Where Nothing Is Grey…" In the City Of Angels by way of Prague, Pink Gloves channels classic Italo Disco on their Italians Do It Better debut. Petr Pliska weaves a tale of introspection on the neon soaked streets of Los Angeles.

Act 1 – Downtown. The title track is a hypnotic journey to the city center over a symphony of synthesis. He laments that he “Never Wanted To Come… Never Wanted To Stay… In The City Of Lights Where Nothing Is Grey”. It’s a place where nothing ever changes
& fantasy greets us in every direction. Beneath the sedated vocals, the synthesizers strike deep & dissolve quickly into a haze blanketing the strut of the heavy backbeat. The stage is set.

Act 2 – The Dancefloor. “Dancing on My Own” infuses Robyn’s four on the floor classic with it’s own cocktail of ethereal melodies & a rhythm section ala Ultravox. In the face of the Narrator’s lament, a mirror ball shimmers reflections of resilience.

Act 3 – The Highway. The downtempo “Wilderness” haunts us, bursting with silken synthesizers & spectral electronics reverberating like the ghosts of last night’s party. The tempered cinematic landscape blends with a mesmerizing sorcery as we drive into the unknown.

Act 4 – End Credits. Suddenly, the film is over. We hear the sunrise straight out of an ‘80s John Hughes film & the beautiful grit of Power, Corruption & Lies.

Produced By Johnny Jewel. Mixed By Lukáš Turza & Johnny Jewel. Mastered By Mike Bozzi At Bernie Grundman Mastering. Vinyl Cut By Bernie Grundman, Hollywood.

It is hard to think of many 7” singles where both sides are as heavy as this one! "Change The World" & "Try, Try" were released in 1977 by 'Solat', a Dutch-based funk group made up of Surinamese and Dutch-Antillian musicians.

Formed after ex-band members of Reality/Tony And Reality; Eddy Veldman, Franky Douglas, Ivor Mitchell and Glenn Gaddum teamed up with singer Billy Jones, Solat went on to release two singles for Poker records. With it's crossover nature, it pleases disco, funk and modern-soul collectors and DJs alike, plus due to only been released in the Netherlands, the record has now become an extremely sought-after item with a high price tag to match.

Both amazing cuts are aimed straight for the dance-floor, but retain conscious and positive messages that are as relevant now as they were back then. 'Change TheWorld’ is an anthemic feelgood disco funk gem, whilst 'Try, Try ‘ is reminiscent of a Mizell Brothers golden-era production.

Mr Bongo present a replica edition with dinked centre- and original cover- and also label artwork, for all to enjoy!

Lucindo signs the 6th release on Nexe Records with a 6 tracks EP which includes also a superb Umwelt remix. In this release, the Italo-Brazilian Berlin based artist explores two sides of his exquisite multiface production capabilities range. The first side consists of unconcealed thumpy techno, and the second one, leaning towards high class electro.
“Act_99” is a beat-less intro track to begin with an intense noisy drone which act as prelude of “Act_2000”, a mental, straight and driving tune. “Act_186” is closing the A side, an epic and melancholic broken techno, delicious for advanced dance-floors.
B side continues with a fascinating, melodic, electro track named “AG6”, which is the track remixed by Umwelt who developes his magic and elevates the original to a new highs. The punk “AG4” is the last track of this release, delivering a faster beat, providing a dark, refined electro touch. Definitely a marvelous piece of art ought to be on the bag of any precious vinyl collector.

Theo Kottis continues his impressive run of form with the sublime ‘Nothing To Lose’ EP, released on his own Beautiful Strangers label on March 13th.

Following an Annie Mac’s ‘Hottest Record in the World’ accolade for ‘Turning Around’, a brace of Mixmag’s Big Tunes and 10/10 reviews in 2019, plus support from many leading tastemakers and DJs, Theo Kottis shows why he is one of the UK’s most exciting producers and regarded as ‘one to watch’ for 2020.

The three-track ‘Nothing To Lose’ EP includes everything from club focused sounds to smooth, soulful melodies. Carefully crafted, the title track ‘Nothing To Lose’ is ready for the dance-floor and described by Midland as “sounds like Floating Points making a record for Afterlife!”. '12 Months' mixes arpeggiated synths with pads and breakbeats to create a perfect peak-time moment. The more chilled sounds of 'Loyal’ showcases Theo Kottis’s impressive range, offering up another stellar groove.

With a forthcoming date at Berlin’s iconic Panorama Bar (22 February) and a Gerd Janson remix of ‘Turning Around’, 2020 is off to an excellent start for Theo Kottis.

Dom Trojga bounces into 2020 with an EP beautifully crafted by one of Warsaw's finest young talents - 2shy. Best known for his work as one half of the burgeoning duo Private Press (of Indigo Area & REKIDS fame), Night Conclusion is his long-awaited solo debut. Citing late 90s US house luminaries and Polish underground hiphop as some of his main influences (WSP's deep classic Faktem Jest was an actual reference during mixing), 2shy combines deep sensibility, great skill and genuine vehemence across the four tracks, telling a story that blends right into the greater narrative of house music, while adding to it its very own emotional touch. To use other words, Night Conclusion is a tender slammer, and does it good for DJs, dancers, lovers and night-time dreamers alike. The label art is an acrylic painting by Micha? Ratajczak, whose work we admire greatly. We've only just begun - look out for more Dom Trojga!

Ferrum is a large-scale exploration of inharmonic timbres, oscillating between brutal grinding textures and intricate percussive singularities, created by digitally transforming recordings of various metallic objects.

Susanne Kirchmayr's new album takes a close personal look at the spectral richness of iron and other metals, in various shapes and sizes, recorded, processed and arranged to a carefully curated selection of musical miniatures. Some of the results are an obvious nod to her Electric Indigo DJ alias, music that could be played on the dance floor of an alien cargo ship, both highly familiar and foreign at the same time. Others offer almost steady-state like meditative qualities, vibrations from deep within, on a sub atomic level, full of light and motion on the tiniest possible scale. The limitation in material opens up a seemingly unlimited world of colours and rhythms, oscillating, resonating and highly immersive.

After his last release on Dirt Crew in 2017 we are more than delighted to bring back the talented Harry Wolfman.
With impressive records on labels like Phonica, Omena, Outplay and Toy Tonics in the last years he has drawn up a fine new selection of music that spans across many genres and moods. This is also the first release for us in the new year after a lil break and it continues to explore the more eclectic approach we are following for a while now since the outings of artists like Dampé, S3A and Dan Only.

Harry presents an exciting opener for his new EP, together with vocalist Christian Crow he has made the blissful and breaks laden “poppy” good feel tune “A Way You Come Home to Me” that shines a bright light in these darker months. Followed by the deeper club tune “Step by Step”, building around yet another vocal recording. This time it’s Harry sampling his own voice and looping it into a repetitive piece of good feel House music.

We are getting deeper on the B side with “Speaking Raman”, one of these signature Harry tunes, a playful dusty lo-fi piece of music build around a piano theme and embedded in deep bass and driving beats, his sound trademark on all of these more floor orientated tracks on the EP. To close out the record we added two of his cinematic, ambient electronica works that we personally love so much. The haunting “Always 3” is a deep sphere that sucks you in a meditational and soothing womb of sounds. Ending with the electroid cut “Green Trees”, it’s broken and fragile and gives this indie-tronica track a warm and gentle touch.

We hope you enjoy these tunes and that they may be your soundtrack to the upcoming warmer months.

Ryan Crosson takes care of the fifth EP on tastemaking Detroit label My Baby Records with a fantastically forward-looking four-track vinyl offering. Ryan Crosson is a complex artistic creature who has roamed far and wide in his storied career. His always innovative music has come on groundbreaking labels including Wagon Repair, M_nus, Spectral Sound, and of course his own Visionquest. Each time he explores a new sound world and draws on things as diverse as musique concrète, Downtown New York funk, and East African jazz. Now he cooks up more beguiling brilliance on this fresh new EP. Opener ‘Speaker Dubs’ is a deep, bubbly rhythm track with dub chords rippling out to infinity. It’s a stylish track full of far-sighted reverence and supple groove that locks you in a trance. ‘Ogilvie’ is a piece of absorbing ambient with found sound recordings of muffled voices that sounds like you’re in an underground station. B-side opener ‘FutureTheory’ is another minimal masterpiece with glitchy sound design and eerie chords peeling off a tight, kinetic groove. Ghoulish voices add more late-night atmosphere and the whole track grows ever darker and more consuming as it unfolds. The excellent ‘OortCloud’ takes you back to the heart of a dance-floor with futuristic menace: the smooth drum loops are militant, the voices are dehumanised and the searching synths speak of a desolate landscape. It’s heady, brilliantly bleak stuff that is utterly infectious. This is another hugely inventive EP from one of the underground’s most consistent talents

Mix 1 (20:00)
1.1 Don Shelley– Dance To The Music 1:24
1.2 Lee Marrow– Cannibals (Baa-Bou - Baa-Bou) 0:37
1.3 Panorama – War In Love 0:37
1.4 Brian Auger– Night Train To Nowhere 0:54
1.5 Sylvi Foster– Hookey 0:39
1.6 Mike Cannon– Voices In The Dark 0:18
1.7 Steel Mind– Bad Passion 1:15
1.8 Brian Ice– Talking To The Night 0:39
1.9 Valerie Dore– The Night 0:58
1.10 M Basic– OK. Run 0:18
1.11 Mac Jr.– Elephant Song 0:26
1.12 Scotch– Disco Band 0:56
1.13 Koto– Japanese War Games 0:34
1.14 Miko Mission– How Old Are You? 0:51
1.15 Silver Pozzolli*– Around My Dream 0:36
1.16 Baby's Gang– Happy Song 0:17
1.17 Sky Creackers– You Should Be Dancing 0:12
1.18 Marzio Dance– You Can Do It 1:09
1.19 N.O.I.A.– True Love 0:28
1.20 Kano– I Need Love 0:25
1.21 N.O.I.A.– Stranger In A Strange Land 0:33
1.22 Miko Mission– The World Is You 0:45
1.23 Torrevado– Living In The Shuttle 0:35
1.24 Electric Mind– Can We Go 0:33
1.25 Kano– Another Life 0:34
1.26 Flexx – Love Theme From Flexxy-Ball (You´ll Never Change No More) 0:49
1.27 Duke Lake– Dance Tonight 0:26
1.28 Doctor's Cat– Feel The Drive 1:24
1.29 Cheaps– Moliendo Cafe 0:42


Mix 2 (20:00)
2.1 Koto– Visitors 0:05
2.2 Ken Laszlo– Tonight 0:23
2.3 Time– Shaker Shake 0:16
2.4 Diviacchi– Waiting For Heaven 0:33
2.5 Brand Image– Are You Loving? 0:38
2.6 Fred Ventura– The Years (Go By) 0:23
2.7 Koto– Jabdah 0:28
2.8 Capricorn – I Need Love 0:56
2.9 Duke Lake– Do You 0:37
2.10 Doctor's Cat– Watch Out! 1:13
2.11 J.D. Jaber– Don´t Stop Lovin´ 0:48
2.12 Marzio Dance– Rap-O-Hush 1:13
2.13 Tommy Bow– Dance Tonight 0:53
2.14 Ryan Paris– Dolce Vita 1:03
2.15 Stopp– I´m Hungry 0:24
2.16 Baby's Gang– Challenger 0:06
2.17 Charlie– Spacer Woman 0:21
2.18 Chris Luis– The Heart In The City 0:32
2.19 Fun Fun– Colour My Love 1:05
2.20 Stylóo– Pretty Face 1:11
2.21 Faxe– Time For Changes 0:34
2.22 Scotch– Money Runner 1:32
2.23 Nico Band– Let It Show 1:24
2.24 Baby's Gang– Jamin 1:03
2.25 Den Harrow– A Taste Of Love 1:24
2.26 Baby's Gang– My Little Japanese Boy 0:55

MIDTGAARD is danish Balearic DJ/ producer Anders Midtgaard. Sommerfugl (means Butterfly in danish) - the Original version was handed out to a few DJs in Ibiza last year. First up Italy's finest, Luca MOPLEN has in masterful style been re-working this piano driven groover that oozes summery flavour all over. The package here also comes with a great balearic re-rub from Denmarks Mike Salta (MFD) and the Original version. Support and kind words from the likes of Kenneth Bager (Music For Dreams), Francois Kevorkian, Phil Mison Colleen Cosmo Murphy, Willie Graff and many others.

“Take The Leap!” (1994) saw Toyah revisit some of her classic hits – “It’s A Mystery”, “Thunder In The Mountains” and “I Wanna Be Free” – as well as earlier punk material in a heavy rock style. Six original compositions also feature, written with Nick Beggs (Kajagoogoo), Cris Bonacci (Girls School) and Simon Darlow (Buggles). Includes previously unseen photography and adds five revisited classics on Side Four.

First ever release on vinyl, and pressed on 180 gram clear vinyl.

Repress

SUBEE, the sister label of Beeyou Records is back again with a super split EP from upcoming Russian talent b0n & t3x3. This groove infected mixture of house, garage and jazzy cuts has all your dance floor needs covered. b0n takes full control of the A side + mystery men t3x3 handle the B side.

What about to blend the best talents and skills of ebm totems (such as Front 242 or Armageddon Dildos) with some recent industrial funk influences (such as Valis or High- Functioning Flesh) and then add the energy & the rage of being 20 years old nowadays ... ?
THAT’S CHROME CORPSE (Seattle/USA).

Extracted from their first album “ANYTHING THAT MOVES”, “DETECTING MOVEMENT” represents their vinyl debut and for sure the beginning of a very succesful professional career.

All tracks have been specially remastered for LONG CUT vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

"ALEATORY CHAOS" is coming back with the third chapter, a very special edition because it will include the unreleased 1984 original version of “No Words” by 'XYMOX' , a very awaited “truly wet dream” for any early post-punk vinyl collector.

The record becomes just indispensable thanks to the contribution of actual proposals as Vacant Stares (Portland/USA), Oby Wolf (New York/USA) and Abu Nein (Malmö/SWEDEN). It's a delicious white wax.
All tracks have been specially remastered for 'LONG CUT' vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

»Alchemy« is the debut album from 22-year old singer-songwriter Tara Nome Doyle, following the singles »Heathens«, »Neon Woods« and »Mercury«. Doyle’s 2018 EP »Dandelion«, featuring her breakthrough-hit »Down with You«, has so far amassed nearly two million streams. Recently, two of her songs featured in Sophie Kluge’s feature film »Golden Twenties«. Doyle is a member of Kat Frankie’s choir on whose a capella EP she features.

»Alchemy« deals, in two songs each, with the four phases of development of the pre-modern natural philosophy, the alchemy. The album can be read psychologically or as a portrait of someone coming of age. Experience and reflection are closely entwined which is as beautiful as it’s threatening.

Doyle, whose middle name is pronounced just like »Naomi«, is from Berlin-Kreuzberg, her parents are from Ireland and Norway. She speaks (and sings) both languages without accent. Is it permissible to recognize the biographical background of these landscapes in her art? The stored heat and the fog from the Irish peat bogs, the magic of the the Norwegian forests?

The concept album was recorded in large parts with David Specht (bass player and producer of Isolation Berlin) and Doyle's newly founded band in Berlin. Specht remains reserved, keeping the band in check. It’s the interiors that we should hear – acoustically, but also thematically. The drums sound more like a knock on the window pane than the city noise outside the door, the guitar controls the harmony and not the power supply. The first instrument remains Doyle’s voice, which is always working and is looking for a way. Inward, outward. All songs were written by Doyle, for the arrangement for »Neon Woods« she worked with Max Rieger (Die Nerven, producer for e.g. Drangsal and Ilgen-Nur).

Amsterdam based Kid Sublime returns in 2020 with his new record: “The Umami EP” on his own Ballroom Radio Records .

Independent release pressed on 180 gram vinyl

A1 The Tool
The opener track of the EP “The Tool” has The MPC running steady with chopped up disco breaks and lush Detroit keys + Soulful vocal samples added on top to hype up the dancefloor.

A2 The London Bug
Inspired by his trip to London last year and a visit to the Bugz In The Attic studio, Kid steps up his game with a Broken Beat banger. A chopped up Jazz Funk breakbeat with a heavy Moog bassline lick and some keyboard action. This Bruk tune will definitely get the dancefloor moving.

B1 Left-Right-Dub
Soulful House action! Originaly released on his LP The Padded Room as “Heroes“ with vocals from Atlanta’s The Dangerfeel Newbies, Kid remixes this tune in a
stripped down Dub version. Smooth and Deep dancefloor vibes.

B2 The Force
A stripped down minimal Future Funk groove with a Seinfield-esque slap bassline and a spaced out sample. The MPC runs steady here for the deejays and the dancers!

Tartelet Records kicks off 2020 with the re-issue of a rare Discogs gem from the early 80s by the legendary Danish composer and music educator Lotte Kærså and her band of young musicians, "Græsrodderne."

The re-issued LP entitled Jubiiilæum (Anniversary) consists of songs taken from Lotte Kærså two first albums "Jeg Har Set Det Selv" (I've Seen It Myself) from 1979 and "Hjemme I Vores Gade" (On Our Street) from 1981 - both of which have long been sought after items among
diggers and vinyl collectors.

In the nascent stages of her musical journey, Lotte Kærså's music was already imbued with a new kind of sound. Weaving genres from near and far, elements of exotic sounds such as samba, jazz funk, and dub-reggae come together with a distinctly Danish cheerfulness in the songs' lyrics.

LTD editon - Orange vinyl and high quality download codes

Homemade synthesizers, banjo, guitar, recycled toys and broken electronic beats .. there’s more to Solo Moderna than just an unconditional love for analog tweaking. From his native town of Tilburg, Netherlands, Multi-instrumental virtuoso Bas Voorn is peaking in on all corners of the world, infusing Mento, ska, cumbia, Balkan, dancehall, dembow or afrohouse, into his minimal, joyful, 8-bit, approach towards electronica, to create strangely syncopated, ridiculously infectious grooves. It’s as if Kraftwerk and Señor Coconut went on a trip to Africa, the Balkans, the Caribbean and South America, and "Republica Moderna" emerged from these adventures. From the Balkan-Dembow of “Escúchame Como Soy” and the cumbia of the Washington-based Empresarios in “La Bandolera”, to the sun- kissed, afrohouse vibe of “Sonido SID Africano” and the west African “Republica de chonta”, Solo Moderna gleefully shifts from the acoustic to the synthesized to create a surprisingly coherent work. For Solo Moderna, life is not something to be taken so seriously. Instruments are toys, and Earth and it’s cultural diversity a playground. It is this unique lightheartedness and flippancy, moving you to smile, dance and enjoy life as it is, that makes Solo Moderna one of the few artists you can recognize immediately after an 8- bar snippet of a song heard in any club around the corner. Republica Moderna, his 3rd album to date, is a vibrant, delightfully upbeat, timeless homage to the world’s musical diversity.

This is GCLP157
It's an Orange LP and brings download Codes

No Bad Days is back with the weird and wonderful sounds of the Korean tropics for Closet Yi’s debut release ‘Tam Tam Land’. Opening with ‘Honeymoon Junction’ we are greeted by the signature floaty yet punchy sound that often comes with a No Bad Days record but then around the halfway mark, an almost abrupt eeriness ambience washes over the track, letting us know: this isn’t going to be quite what you expected. ‘Circle Dance’ is next on the A side which is more of a functional club track in its structure to it’s predecessor. Birds tweet and a female Korean voice creeps in and out of the mix, luring us deeper into the depths of the island.

Hopping over to the B side we arrive at the climax of ‘Tam Tam Land’ with the thumping ‘Basalt (玄武岩)’. Closet Yi flexes her skills in producing a peak time acid-tropische-prog-banger and doesn’t disappoint.

Welcoming the highly anticipated record label from the Reculture team following 2 years of successful London events. Reculture founder Hardt Antoine sets the tone with a 3 track instrumental EP.
The record holds 3 separate grooves and colours linked together by their analogue sound palate and grooving flow.

"The One" was written as Antoine's personal 'handover' track . It begins heavy groove with a powerful backbeat and electronic synths. Following the breakdown the sounds evolve into heavier patterns creating a special moment to let the dancefloor know - they are here to experience something memorable.

Ambre Noir is a sophisticated record with a breakbeat groove, evolving melodic touch. The name is inspired by the dark yet warming colours of the track. Redux's dark, modulated baseline hold in the listener while the progressive trip above takes them to another unique environment - a powerful weapon for a longer DJ set.

Limited edition 180g 12″ record featuring 5 bangers. Comes with high-quality gloss sleeve featuring Gobsmacked skull artwork.

Taking influences from underground spaces and dark clubs, the GOBSMACKED! 12” series kicks off with a bang, dropping a five track vinyl from Diarmaid O Meara. The Irish producer describes himself as “trying to push the boundaries of electronic noise” and he couldn’t be more right. It’s just 30 minutes long and hugely pulsing, but packs more punch than a gym full of heavyweight boxers. “While working on new tracks in the studio, I’m always trying to create my own personal rave, and when I find myself in the middle of a dark and twisted sound, then I know I’m on to something,” he says of the creative process in his Berlin bunker studio.

The 12” includes a number of previously released digital singles by Diarmaid O Meara, which have been his chart topping and most widely played tracks, that have not yet made it onto black gold until this point. Featured as multiple Beatport number ones, peak time festival big room sounds, countless Boiler Room recordings, the 12” is a collection of club belters, tried and tested over countless sound systems and DJs.

At Diarmaid O Meara’s touch in the studio, the technotic sounds released from his control become alive, while dark vibes take a stormy ride through intense rhythms. Track titles like ‘Selfish Bass’ convey the vibe of music that chews up and spits out razor-sharp techno and rave fusions that race to tempos upwards of 140BPM. There are playful techno tracks like ‘In Your Head’ next to euphoric rave ups like ‘Live In The Night’ and bass contortions like ‘Ripcord’ that are masterfully concise but utterly devastating. Not to mention the ever hypnotic, chugging sounds meets massive crescendo of ‘Improbable Strip’.

“Whenever something crazy emerges through a rig, enough for you to you hear people screaming in ecstasy, and you know the production has delivered”, he says. And it is exactly this momentum that GOBSMACKED! wants to deliver – it sounds loud and obnoxious but also fun that draws on real appreciation for dancefloor destruction as well as countless hours of studio work. Therefore, it is no surprise that the artwork for the series also features the style of the well known Gobsmacked bunker parties run in Berlin venues like the infamous Griessmuehle, where said music has probably been overplayed to crowds with goldfish length memories. .

Come Away With "ESG". 35-year anniversary release of the classic genre-busting debut album by the Bronx sisters ESG. The sample-friendly opus that's the inspiration for hip-hop, house and post punk. Music that falls outside of the no wave, new wave and post punk library, it's for the dance floor but it's not funk, there's no horns, no driving organ; it's the opposite of Sly And The Family Stone but no less cool and no less groovy. 'A lasting document of their unique brand of minimal funk that would influence subsequent post-punk, hip-hop, and dance music acts. Stripped down to the most basic of drumbeats and rudimentary bass lines, 'Come Away' confirms the notion that the real rhythm is what happens between the beats. - AllMusic // 'This is dub disco with a punk edge.' Paste // 'Uncut punk-funk straight off the streets of the South Bronx.' Record Collector // 'ESG are that rare thing' Guardian // 'Come Away with ESG sounds so shockingly current.' Paste // 'A musical snapshot of New York City at the beginning of the '80s.' - Allmusic.

The Star Beams album is a bit of an enigma. When we first came across their epic dance-floor monster 'Disco Stomp’ it was on a Disco Calypso compilation, so we assumed it originated from the Caribbean. Years later we worked out how wrong we were and that this nugget was actually from South Africa and taken off an ultra scarce album on JAS Pride records from 1976. The next problem was tracking down an original copy and we don’t think we’ve ever seen our Bongo team member Gary Johnson as happy as the day he turned up clutching a copy under his arm. 'Play Disco Specials' was produced by Ray Nkwe who also worked with Mankunku Quartet and The Soul Jazzmen, with all writing credits on the album going to Ray, the recording credited to engineer Robin Ritchie and the artwork to Carol Knowles. Other than this, the personnel of the record remains a mystery, but sometimes a bit of mystery is a good thing. Aside from the disco-jazz-funk of 'Disco Stomp’, which has found it’s way into the DJ sets of Theo Parrish, 'Play Disco Specials’ will appeal to fans of The Star Beams South African contemporaries The Drive, Batsumi and Pacific Express.

Following on from Myele Manzanza's acclaimed 2019 jazz album, 'A Love Requited', we have a 2020 addendum to that project; an EP of remixes by a set of diverse musicians from all corners of the globe.

Detroit legend Theo Parrish starts off the proceedings. Theo & Myele have previously worked together on various projects over the years, such as with live outfit, The Unit, whilst Myele's 'Surgery Session' of Theo's track 'Moonlight' was picked up by The Vinyl Factory last Summer as well. On his remix of 'Itaru's Phone Booth', Theo maintains the tempo & structure of the original track, whilst tempering the horns and adding some spaced-out keys & a little low end theory to the equation, making this a flip seasoned with Theo's unique flavour.

Mark de Clive-Lowe follows with the most uptempo track on the EP, a delightful bruk refix of 'Big Deal'. Fellow New Zealander, regular collaborator (notably on Manzanza's sophomore album 'OnePointOne') and hugely respected musician in his own right, MdCL delivers a hefty groove direct for the clubs; heavy drums & sci-fi synths lead the way atop of the original's powerhouse horns, switching up with some MAW-esque 4/4 tribal business to close out.

Cardiff's finest, Earl Jeffers & Don Leisure, aka First Word label-mates Darkhouse Family, kick off the flipside with their take on the appropriately titled 'Family Dynamics'. Fresh from their solo & combined projects (producing for Kamaal Williams, running house label Melange, and creating beat-tapes like Halal Cool J & Shaboo), the duo turn out some punchy boom-bap vibes which pulsate throughout the track, accompanied by some sweet vocal hooks, transposing the original into a plucky heads-down neo-soul tinged stomper.

Borrowed CS is another New Zealand artist that's been bubbling away in the underground NZ electronic scene for several years now, as a DJ and a musician. He ends this selection of remixes, taking the original jazz components of 'Pencarrow' and transforming it into a synth-boogie lead piece of brooding broken beat - a 'Clear Path Depiction' even.

Released on Worldwide Award-winning UK label, First Word Records, the original album was also co-produced by another antipodean label-mate, Ross McHenry, who released a new album recently.

The son of a Congolese master percussionist, Myele Manzanza's roots in jazz and African rhythm are well established. Adding his long-time influences of hip hop and dance music into the mix, this EP exemplifies his approach to fusion, and his persona as an ever-evolving artist, drummer & composer. Since his days as part of Electric Wire Hustle, he had his debut release on BBE, has released three solo albums, and done tours & collabs with folks like Jordan Rakei, Miguel Atwood-Ferguson, Recloose & Amp Fiddler. Since moving to London from New Zealand late last year, he has already shared stages with Hiatus Kaiyote, The Bad Plus & Alfa Mist, rocked The Jazz Cafe & Ronnie Scott's, and ably demonstrated his DJ side-hustle chops at stations like Soho Radio, Worldwide FM & NTS, as well as behind the decks in a few danceries across the capital, and behind his drum kit daily.

Already hard at work on brand new material, expect to catch Myele Manzanza live at various shows & festivals across the UK & Europe this coming Summer.

'A Love Requited - The Remixes' is available on 12" vinyl & all digital outlets from March 6th 2020.

It's a Turkish Jazz-Funk Delight...!

Some hard-hitting rhythm section blending into a prime example of the swingin' sound of the cool influences of Jazz, Funk and Folk music, with a Turkish flavor. It's fantastic funk jazz groove built on a titanium synth bassline!

An instrumental library of traditional Turkish Jazz session reaching a great climax in drums and percussion sets + electro-bass break with moog and synthesizers from the beginning to the end.

Traditional Turkish songs are based on drums and synth bass over moody 5/8 fuzz guitars...

Album recorded & released in Denmark, 1979, and it has never been released in Turkey.

Primarily rooted in a live performance approach, the Melbourne quartet Big Yawn embrace sonic curios from far-flung corners of
the globe and display them with pride.

Affectations for vintage krautrock, esoteric percussion and experiments in steady dance grooves merge with heavy low end frequencies to 'explore and exploit' those in-between spaces.

Clearly championing a hybrid vision of inter-genre harmony, their music manages to capture the sweaty spirit of DIY basement shows as much as it works on record.

Disorientating dub FX, off-kilter synth squelches and live re-sampling. Stoned meanderings mix with grinding propulsion. Prior to great unveiling of Big Yawn, the members were involved in the majority of the projects associated with the Fallopian Tunes imprint.

On his third and album, Rainbow Doll, the New Jersey house mystic Joey Anderson speaks to us. Of course, like everything Anderson does, the message is encoded. On tracks like "Beside Me" and "Cindy," his voice rings out in dream incantations-on the latter, he repeats a Mark Hollis-like mantra over a perfect, minimalist house loop while the former sounds like the late, great Ron Hardy taking the razor-and-tape to Ike Yard.

It's his third record for the Berlin-based label Avenue 66, and graciously illuminates the dream logic introduced on his debut for the imprint, the 2013 leftfield classic "Above The Cherry Moon." While Rainbow Doll satisfies those outre impulses, the album's core comprises what are perhaps Anderson's most indelible dance tracks to date, like "Bounce With It," a jacking anthem which sees him at mission control, sending widescreen synth lines soaring through the atmosphere.

With the aforementioned vocals punctuating five of the eight tracks, Rainbow Doll is Anderson's most personal work to date. It's his first album in four years, but also his shortest, most concise full-length. Even with a more direct approach, the elusive, dreamlike quality which has made his work so intriguing remains intact. He speaks of dreams throughout the record, even as his uncanny methodology comes into focus. More than ever before, we understand the materials Anderson uses to construct his Escher-like tracks. We hear his fingers on the keys, the sturdy east coast house beats he learned to dance to. The dreams have become lucid. As he puts it deep in the album, they "seem so real."

It is with great pleasure that Public Possession and Cascine present to you the debut album of Bell Towers. Elev-en singles deep into his catalogue, his first LP is finally ready, an „Ode to escaping into (and out of) the emo-tional pits of dance floors – about finding a place in one night’s fantasy¹”. Musically it’s all we’ve ever wanted from a Bell Towers production: ear worm melodies, sharp baselines, wild cross-references in between genres and at last sees him explore his abilities as a singer/songwriter to full extent. Junior Mix is the sort of pop music that one is always looking for, but rarely finds - bright, charming and a little bit mad.

We sincerely hope you enjoy.
PP, Nov. 2019

¹Hayley Morgan, Oyster Magazine 117

Third time is a charm they say. But if the first 2 times were already so memorable, what more can you ask for?
Nebraska comes in with a bang for his third release on Heist after ‘Soften the Wireless’ EP in 2016 and ‘Metaphor to the floor’ in 2017. It’s hard to believe it has been 3 years since his last appearance on Heist, but with ‘Y’miss me baby?’, Nebraska takes back center stage with another releasefull of disco flavored electronics. Italian disco man-of-the-moment Giovanni Damico comes along for the ride and delivers a stunning 80’s flavoredremix.
It’s not to say that Nebraska (Alistair Gibbs) has been sitting still since 2017. He’s launched his own label ‘Friends & Relations’ where he explores his cut-and-paste style even more with some seriously cool disco dubs and other sonic adventures. Furthermore, he made a guest appearance on Aaron Dae and JKriv’s Razor ‘n tape Reserve. Apart from his regular musical explorations, he has also published a book (Surprise party every week) where we get a glimpse of how Gibbs sees the world.
His view is one of humor and positivity and one of creating new meaning through rearranging context. This is certainly true for his music and this new EP on Heist. The title track ‘Y’miss me baby?’ oozes funk with a clever combination of samples from different contexts put together to create something altogether new, yet familiar. The track has a real 80’s disco vibe to it and the vocoder adds even more to the ‘Zapp & Roger’ flavor of things. It’s a laidback track that feels like it was recorded on a gloomy Sunday evening with no pressure on anything and just room for fun.
The vibe takes a complete left-hand turn with ‘Dip and Flip’, a high energy house track that rattles, loops and bleeps into a full-on disco frenzy.
The b-side kicks off with Italian disco wizard Giovanni Damico remixing the title track. He’s had a great run recently with releases on Lumberjacks in Hell and more recently on Star Creature, where he’s found a home to explore his own view on modern day boogie. His ‘jam’ remix flips the track into a freeform arrangement where guitars, disco claps, delays and retro synth licks all work together for a great taste of Italian boogie.
The EP finishes off in true Nebraska style, with yet another curveball. ‘Xia long bao’ sounds like a lost Nick Holder track from the 90’s with its loopy island style Rhodes and lazy chanting. The choice of samples along with the catchy groove makes this a signature Nebraska track and a quality closer for this single.
We are super happy to have Nebraska back on Heist and with this amazing EP, you are certainly going to create smiles on your dancefloor of choice.
Yours Sincerely,
Lars & Maarten

After releasing two records with the quintet Fazer, German guitarist Paul Brändle presents his solo debut on Squama Recordings.
Paul's minimalist compositions move in slow-motion between Straight Ahead Jazz, Folk, and Blues, only subtly disclosing their musical origins.
The album was recorded in Vienna during the annual 'Hundstage', a period in the summer during which the whole city succumbs to the sweltering heat. Short on oxygen, but not on ideas, Paul created 9 tracks of soothing excellence that are worth calming down for.

Sary Moussa is an electronic musician who has been active in the Beirut underground scene since 2008. He released his first full-length album Issrar in October of 2014 under the moniker radiokvm. His latest record Imbalance, finds Moussa revisiting the soundscapes of his childhood; from the echoes of political unrest, to Greek-Catholic chants, and the quiet nights of a secluded Southern village. The album combines sound design with intricate melodic arrangements to create a choir of synthesizers and noise singing in and out of sync.
In addition to his solo work, Moussa has also composed music for theatre and dance performances, short films, and museum installations.

It has been a LONG time since Bushwacka! released any music on his original label, Plank Records. Its apt that the label started 25 years ago, and now, for its 25th 12 inch release Bushwacka! has delivered a killer 4 track EP, pushing boundaries of time signatures and paying homage to his rave breakbeat days as well as turning up the heat with the electro cuts.

A1. All Night in Heaven actually started out as a rave house track, with the killer breakbeat drop in the middle, but Bushwacka! changed the arrangement specifically to play the track at the Return To Rage event at Heaven, where he first went raving every Thursday from 1988 to 1992. The track sounded so massive on the dance floor that he decided to keep the breakbeat vibe throughout the track and release it on his Plank Imprint.

A2. It’s The Five O is a piece of music that defies gravity. Its a fusion of percussive assault, tribal chanting frenzy, and a bassline from the depths of Hell… but the magic of the track is its 5/4 time signature. Incredibly challenging to mix in and out of, yet so unique in its rhythm that people bust shapes they didn’t know their bodies were capable of.

B1. Feng Shui is a piece of filthy Electro Breaks that pulls you inside out and upside down. Bushwacka! has his signature Plank sound all over this, with raw rhythms and deep melodies and twisted warped sounds.

B2. Whiplash was written three years ago in Bushwacka’s Ibiza Studio. Its a cross between Electro and 4/4 dance music, with a beat so powerful the floors feel like an earthquake has hit them. This is the most pure of the tracks in its direct line to the early 80s Electro sounds, yet sounds like it was made yesterday. It has been destroying the clubs in his sets since 2017 and now needs to be shared.

Plank Records has had a devoted cult following and second hand the tracks have been changing hands for big bucks, and many vinyl labels have been re releasing some of the cuts. It’s so exciting that the label is launching again for 2020, with a sound often imitated, yet never replicated.

"Regeneration" is the new EP by Marcelus, back on the Out-Er label with a 4 track EP consisting of loopy, hypnotic but driven techno. As you progress through the record you experience the different sides to Marcelus' current sound, from tribal focused and stripped back dance music to complex beat patterns, deep psychedelic grooves and IDM style computer noises. The EP is a true testament to the style that Marcelus has cultivated up until now, and fits neatly alongside Out-Er's back catalogue.

Vermonische Melodien is a collection of compositions by DJ-producer M.RUX, made with old VERMONA machines from Eastern Germany. The nine Electronica tracks can’t conceal their influences from Exotica records of the 1960s as well as their fondness for vintage music technology. We hear voices singing lullabies (“Magische Time”), mumbling chopped up syllables (“Seelnatrax”) or reciting a Shakespeare quote (“Bakelit”) - are they real? Yes! But they are mostly generated by the world’s first speech synthesis hardware, the IBM 704 from 1954, and processed into off-key melodic beauty with vocoders. "I’ve always been curious about musical visions from the 1970s", says M.RUX about his inspiration for Vermonische Melodien. "Those nifty Vermona machines can today be seen as future machines from the 1970s. They seem almost mystical to me. Like relics from an epoch long ago… and I wanted to find out how music from that time could have sounded." On the album M.RUX uses, above all, equipment by Vermona, a brand from Eastern Germany manufacturing electronic musical instruments until 1990. The drum machine VERMONA ER-9 (1976) was the first instrument M.RUX ever possessed. It forms the rhythmical backbone of his studio on this record. The melodies on the other hand have mainly been played on a Vermona Formation-1, a suitcase synthesizer from 1980. Although these two machines are joined by countless other instruments and effect units, their particular soft sound is present in every single moment of this soothing album. "I also take a deep bow to the late Reinhard ‘Lacky’ Lakomy", M.RUX adds. "His releases were the first electronic instrumental records on the Amiga label which has been a huge influence for my work in general and this record in particular." M.RUX has appeared as a solo producer with his “In the Hold“ EP (2016) on his own YNFND imprint. Before that he had become famous for his edits which gently transform songs by Nina Simone, Townes Van Zandt, Tom Zé and many more into slow, dancefloor-ready gems. Pingipung is proud to present this first full-length album by M.RUX. He is not only a talented multiinstrumentalist and original producer but also a skillful remixer - as he has shown twice to the Pingipung audience in the last two years with his touches on Umeko Ando’s Ainu folklore songs

After contributing with a remix in 2018, made of concrete invite Johannes Volk for a full-length artist release. A scene veteran, Volk is known for his releases on Jeff Mills’ Axis Records, Patrice Scott’s Sistrum or Steffi’s Dolly imprint or for his live appearances in staple clubs Berghain, Tresor, Panorama Bar, Golden Pudel, or Corsica Studios to name a few.

Opener 'Soldered Minds' introduces a dense, energy-filled dynamic that’s both impactful and intriguing. Label chiefs Rebar give the track a 'Hum' remix treatment, adding layers of sizzle and flow that transform it into an afterhours-ready alternative. Undulating basslines stand at 'Magma In Slo-mo’s base, a track that offers a solid anchor and great tool for the dancefloor. The haunting, glitch-laden 'Asphalt Flowers' brings unpredictability with its jittery, uneasy atmosphere that, if played at the right time, is the perfect trigger for a descent into dance delirium.

It's with great pleasure that we announce the return of New York's synth wizard Steve Moore to KOMPAKT - pretty much exactly 10 years after his much lauded first appearance 'Bayern Kurve' on our SPEICHER series.

Steve Moore is widely recognized as one half of Italo Disco-tinged horror-prog project ZOMBI, his numerous thriller movie soundtrack works (The Guest, VFW, Mayhem, Bliss, The Mind's Eye) as well has his clubbier output on Ron Morelli's L.I.E.S. imprint.

The title track of this 4 track EP, "Frame Dragging" sees Moore in full spine tingling mode. In case you've ever stepped into a hot bath on a cold day (in case you haven't you should try it) you should be well familiar with the phenomenon of being incredibly cold and hot at once. That's exactly what 'Frame Digging' does to the dance floor. Goosebump massacre.

"Gamma Quadrant" combines emotive balearic elements with a rolling minimal house track that reminds us of early Playhouse glory. Or is it early Kompakt?

'Gravity Well' and 'Protostar' are both taking a more chilled out route. They perfectly bookend both sides of the record and showcase Moore's stunning ability of creating suspenseful, spaced out beauty.

'Funky Music Part One' has been our most requested song from the Sons Of Slum 'Music Is the Message' album from 2019 so we've released it on 7". The song is an infectious horn led proto disco dancer that brings joy upon the horns first opening up. The 'Part Two' version sees the group getting down deep and funky as the song takes a change in tempo and direction.

Mirror Glaze Lavish” is Marc’s latest effort in trying to depict his cynical and disillusioned view of the present-day music scene, seen through a sonic magnifier that emphasizes its greatest controversies, by juxtaposing different electronic languages as a challenge to the current levelling artistic trends. The artist personality is nullified, standardized to a state of placid non-critical thinking. Everyday’s emptiness emerges as the structure of reality and only the cracks in it still lead to life. “Great souls suffer in silence”, once said Friedrich Schiller, but what if silence becomes an audible, danceable image? As if all these electro cuts, differently permeated with a balanced mix of playful darkness, were populated by eerie animals that cannot find peace with their habitat and keep dancing relentlessly until the very end of their miserable existence. Seen in this context, each of Marc’s tracks must be interpreted as an irreverent and poignant act of self-assertion vis-à-vis his contemporaries. Morah’s reinterpretation of “Celexxa” adds value to the original track, taking us for a dirty ride on a psycho-electro-charged rollercoaster.

The label is delighted to welcome Kris Baha with his first 12" for Especial. After killer remixes of Sfire and Red Axes for the label, his name as an artist, with his darker take on dance music, has risen and risen.

With releases on Bahnsteig 23, CockTail d'Amore and Pinkman, Baha has become a respected artist in just a few years. Building analogue equipped studios in Melbourne and Berlin, DJing, producing and mixing have all led to atonal ear, where success came through dedication.

Following his debut album Palais, Barely Alive acts as release from these years of sweat. A call to all in this modern world, the song exemplifies a move from club music to a freedom in sound and song, as vox crash against 808 and Arp 2600. Remixes start with Timothy J Fairplay a name synonymous with Especial. Here TJF laces his trademark echoplexxed wash for a cold wave mover. Next prodigy Job Sifre builds on his acclaimed debuts with a remodel that goes straight to 'that' basement, mixing his love of electro, new wave and industrial. To close, the legend of Das Ding creates a re-alternate remix, fusing his unique fuzz with Baha's ode for a brittle finale.

London based French producer Mondowski follows a spate of recent releases on Relish and Ombra with a new club-orientated vision for London label and clubnight SC&P. Following his remix services on label's debut and 4th releases, Mondowski makes his full lavel debut with an electro inspired turn. Dancefloor orientated lead track Sholay finds a mesmerizing path somewhere between extroverted 80's electro and celebratory spiritual transcendence and gets the remix treatment from Pinkman's Kris Baha who subverts the original by turning the electro backbone up to 11. The EP's B-side, Negative Space, voyages into darker electro territories with Kraftwerkesque synths, rolling pads and a motorik bassline, all of which provides the launchpad for Multiple Man to turn out a pitch black EBM banger.

Keita Sano continues to release from prestigious record labels such as "Spring Theory" and "Mister Saturday Night" and his delicate but bold music is garnering attention around the world. After moving to Berlin and further evolving as an artist, he is now releasing four-track NEW EP from his label 'MAD LOVE Records'.

This EP is consists of 4-tracks full of love and explosive power!
A1: Layers elegant deep house grooves over a raw beat in
impeccable balance.
A2: A party tune influenced by the original Chicago house scene.
B1: Disco and afrobeats mixed with obscure sampling.
B2: A striking floor killer tune.

A completely new frontier that combines the pleasure of disco music and the functionality of a techno/house dance track! The jacket photo is by a young Japanese photographer So Mitsuya. The design by ifax!

10” clear vinyl) Five years on since their last joint outing in Stroboscopic Artefacts Monad series, Speedy J and Lucy team up again as Zeitgeber on 'Seventeen Zero Four', a new three-tracker descending deep into the filthy, tenebrous outskirts of club music.

Five years on since their last joint outing in Stroboscopic Artefacts Monad series, Speedy J and Lucy team up again as Zeitgeber on 'Seventeen Zero Four', a new three-tracker descending deep into the filthy, tenebrous outskirts of club music. Torchbearers of techno as a life-affirming vehicle for human expression, as can be experienced through their multi-dimensional back catalogue of solo records and shared live performances at some of the finest clubs and events including Concrete, Goa Club and London’s E1, it's safe to say Jochem and Luca share a certain taste for taking things off the beaten path and into new perspectives. True to their bold approach towards production, 'Seventeen Zero Four' proudly continues the pair's tradition of chiselled floor-focused shifts and divagations outside the ringfenced domain of no-nonsense 4/4 mechanics initiated on their self-titled debut album in 2013.

Drawing first blood, the title-track 'Seventeen Zero Four' submerges us in a state of amniotic solitude as hell's all set to break loose around. Sonar bleeps drip and dissolve across invisible plateaux as thunder rumbles and roars in the distance, mirroring and shattering all linearity between the bars. 'One Zero Five' then implements a further straightforward groove, sequenced hats and kicks carving out a more familiar scenario for the dancers to appropriate, whilst maintaining that oddball, slightly off kind of minimal, dubbed-out blur. Rounding off the package, 'Twenty Zero Two' throws further jazz into the mix, letting its sine curves hula hoop into the upper layers of the outer-audio-space as a shrewdly engineered industrial swing drops the hammer for an epic last stretch.

Max D's latest LP is the first full length album on 1432 R. It's a milestone from the Future Times boss, who's been holding it down in his creative corner of electronic music for over a decade. The album opens fast and fierce with I Think Our Souls Are Other People, a storm of live percussion and widescreen drone. And then from track to track, it strips itself down, mellows itself out, and rides on hypnotic loops. Many Any Dolo Brush is something of a cameo from Max’s Dolo Percussion moniker, giving way to the first of three field recording miniatures that glue the album together and provide a sort of romantic center. Fly Around The Room is a true half-time float, with a melody that sits in your ear while drums zip past. Shoutout Seefeel, a 130 mind cleanser, is full of the namesake shoe gaze and thick hovering techno drums. Lullabiological features the keyboards of 1432 R's own Dawit Eklund, wandering off the deep end like some dream that can't be shaken. Cuz It's The Way rounds out the work with a groove made for the dance floor. Max D and 1432 R: we are always on some hopeful shit.

Herb LF’s legacy in the garage scene is immense. With his work retaining class and style over more than twenty years. He returns to this integral spirit and provides ‘International Extraterrestrial Music’ with their debut record - a two-part dancefloor orientated EP. On the A-side, Helicopter money slips and pulses between powerful pads and expertly crafted drum patterns, commanding instinctive movements in a club. On the flip, Payday provides a concoction of nostalgia and forward-thinking garage spirit, a result that is suitable for any rascal to dance it out both in the club or sat on the sofa

First vinyl reissue of this 1977 LP by one of the great figures of Brazilian music. Brilliant tracks like E necessario, Verao carioca, Venha dormir em casa or Musica para Betinha make it one of the strongest albums to come out of Brazil in the 1970s. Presented in facsimile artwork and pressed on 180g vinyl. TIP!

Tim Maia was born in 1942 in the suburbs of Rio de Janeiro and started his musical career at an early age, along with close friends such as Roberto Carlos or Jorge Ben. Carlos would eventually help him to get a deal for his first single at CBS.



During the 70s Maia started to incorporate soul and funk elements into his style. After a two-year period involvement in the Racional cult in Brazil, Maia's funky style was still at its best when he released this album in 1977. It was his first and only recording for Som Livre, the legendary label that became extremely popular due to the many soap operas soundtracks in its extensive catalogue.

Welcoming, 'Come Together' - a five track various artists EP drawn from our network of associates locally and internationally. With artists hailing from Japan, Italy, the USA and Australia the 12" features the sounds that bring our families together on dance floors around the globe.Italy's Matisa opens the record with a designer italo-house trip "Garbadine", armed with punchy drums, a warped guitar loop and hypnotic bass line. Melbourne group Polito's "Wallis Axiom" juxtaposes this with a guttural, gurgling outsider-techno piece. Frenetic percs and crunchy distortion collide with alien FX and bleepy modular synthesis for a dark journey.On the flip, New York City master producer Physical Therapy jumps into the deep end with "10000% Pure Love", a raw, hard hitting club weapon. The Allergy Season boss distils the pure, unbridled energy of a sweaty dance floor through a woozy bassline and manic cowbell action. Slowing the pace slightly, Berlin via Japan producer Yuzo Iwata delivers "Acid House" a rugged, growling beast which trips and chugs along as a monstrous 303 weaves in an out of the penetrating vocals "ACID HOUSE". The mysterious Serpent finishes you off with "In The Garden" a syncopated drum workout imbued with a ritualist, primitive energy by the heavily layered percussion and flickering synths.

• SPECIAL EDITION 200TH SINGLE
• FIRST EVER 7-INCH SINGLE RELEASE
• TWO STUNNING SIDES – “OVO”
• OFFICIAL SCEPTER STUDIOS ACETATE ARTWORK

To celebrate this historic landmark Outta Sight proudly present a unique 45 featuring two stunning sides by rare soul legends 'BETTY LAVETTE' and 'NELLA DODDS'.

First under the spotlight is Betty Lavette with her 1964 recording of “One Thin Dime”, popularised on the Northern scene by Holly Maxwell. Ms. Lavette’s version, unreleased at the time, with it's haunting brass and upbeat production is hands-down the superior version. It first came to light in 1993, thanks to Kent Records, on the rare sixties’ soul CD ‘Living The Nightlife’, and is now available, for the first time, on the premier division format … 7" single.

Next up is Sixties Soul sweetheart Nella Dodds with her Philly dancer “First Date” produced by the legendary Dyno-Dynamic production team for Wand Records. It was written by James Bishop and originally intended for a mid-Sixties album entitled ‘This Girl’s Life’. The album was rejected at the time but finally surface on a Kent CD in 2007.
However, like our A-side, “First Date” makes it's first ever appearance on a much anticipated 7" single.

Royal Torrence aka ‘Little Royal’, was the half brother of the legendary James Brown as they reportedly shared the same father and were close bothers throughout their adult lives. Both singers shared a vocal talent that drew music lovers to them. Little Royal grew a following in soul music from the 60's and 70's and made waves with the hit ‘Jealous’ in 1972 reaching #15 in R&B chart. ‘Razor Blade’ is also another highlight that created a mini dance craze and has since been sampled by Ice-T and J Dilla.

Danny Krivit's fine re-edit of Gary's Gang classic "Let's Lovedance Tonight" first surfaced on Nervous Records back in 2007, and has been something of an in-demand item with disco DJs ever since. This, then, is a more than welcome reissue. The genius of Krivit's scalpel job is that it merely emphasizes the sections of the original that dancefloors want to hear; specifically, the acoustic guitar and organ-heavy groove, killer drum breaks and winding saxophone lines. It's simple but devilishly effective.

"Let’s Do It" by Convertion is another era defining soul-infused disco classic from the Sam Records catalogue. Danny Krivit similarly works his magic bringing out those elements that make the track – originally produced by Greg Carmichael and featuring the legendary Leroy Burgess on vocals – such a must-have item for all collectors.

Hailing from Cluj-Napoca, Heion is a producer, DJ, songwriter, music production teacher and label head of Redolent Records. Throughout a career spanning nearly a decade, he’s shared bills with the likes of David Morales, Ray Mang, Session Victim and Kraak & Smaak, performed with the Hungarian Opera Orchestra and always stayed committed to being a true dancefloor eclectic.

Heion’s latest release is Make Believe, an energetic four tracker on his own freshly launched imprint. It blends a variety of meandering synth solos and quirky analog licks, all wrapped up in the programmed yet deeply organic rhythms that have come to define Heion’s sound.

The release also marks the birth of Redolent Records, a label dedicated to being a true home for sonic excitement while pushing boundaries and inspiring deliberate, well-rounded creations. It aims to pay homage to artists that paved the way musically and to the ones that still inspire across soul, funk and disco.

Four synth-heavy jams explore everything from gratitude and creative doubt to the bittersweet joy of balancing out different influences. Solid grooves and chunky basslines drive each emotionally colorful tune forward, whether it’s heard during a starlit night drive or a thumping warm-up in a large, darkened room.
Heion has spent the past three years composing and recording in several studios, all the while exploring new instruments and gradually leaving his comfort zone behind; you can hear the fruits of this labor in a swirl of modern funk, soul and disco that leaves you feeling refreshed and optimistic.

“Soul is My Salvation is a collection of dance friendly gospel songs. The mission is to simply uplift your spirit through music and word. Dance floor’s around the world mirror the reactions of Churches from the 70’s and 80’s when experiencing these recordings.” - Tone B. Nimble.

Released as a series of eight limited vinyl-only 45, when assembled together the covers reveal a beautiful design courtesy of designer Charlotte McCrae. A true collectors item.

Chapter 2 features a DJ friendly Al-Tone extended mix of the gospel boogie cut ‘Look Up’ by Moments Of Faith Singers, along with Lamont Butlers’ Ungodly War.

We really are excited by our new release. Taken again from the vaults of Mr Stu Gardner we have the next instalment of the Twinn Konnexion story. We released the single SDE17 way back in 2016, a double sided 45 of "dont fight the love", a blistering slab of modern boogie soul that sold out very quickly upon release. The single was first championed by Dj Jeremy Underground at many of his dj nights. Move on a few years and we have discovered the original studio reels from that session. And it doesn't disappoint!Pulled from those reels are another 3 amazing compositions where no doubt Mr Gardener called on his long list of musical associates. The information of the players and singers has never been divulged with us, not sure why the secrecy & frankly we don't care. What we do know is each song oozes class from start to finish and there is something for everyones taste.

A "Sunshine of you day" has an almost gospel feel to its rhythm, with the singer telling how his women lights up his day. And to be honest its lite up our HQ since we had it. Just ripe for the dancefloor!Moving on to the B side we have two incredible ballads/2 step songs for that connoisseur amongst you. B1 "love side facing up" Well as soon as you hear the opening guitar and horn section with the male singers sultry voice you just know this is taking you down that classic 2 step sound that was big on the London and rare groove scene. We know this is going to a be a big fave for years to come. B2 "Memories dont fade away" its pretty much as above. More 2 step action that you can fail to love

A Colourful Storm presents the first ever compilation of work by Velocette, the nom de plume of Jason Williams and one of the most unique producers from the '90s' wider ambient-techno landscape of the United States. Gathered from recordings originally released on Jonah Sharp, aka Spacetime Continuum's Reflective label and Williams' own Parallel Recordings, the tracks are sublime, sought-after and primed for modern audiences. "Bound in a Nutshell" and "Microcosmik" are chill-out room dreams while "Memories For The Future" and "Stumm" are pure dancefloor and after-hours euphoria. Dreamy selection for dancers and and stargazers alike. "Listening to Velocette is like gazing into a brilliant night sky - a blanket of stars shimmering like a kaleidoscope just beyond reach." For fans of Klaus Schulz, Stasis, Likemind. Full-colour printed reverse card sleeve with liner

From the moment of its release, Iñigo Vontier’s El Hijo del Maiz has become one of the most gripping albums of the moment. With South American and Middle Eastern sounds and his conception of music as ritual, the Mexican DJ keeps electronica in check as a valid mix of influences. The EP El Hijo Del Maiz (Remixes) marks the end of an episode which started, in good company, last autumn on the Lumière Noire label. The second track of his album, Bo Ni Ke, is distinguished by its original - almost implausible - universe, with a Japanese-inflected vocal filter and oriental flutes taking the beats into a crazy trance. Leaning on the 4/4 rhythm, Simple Symmetry’s remix of the track is also very playful (Iñigo Vontier recently remixed Nar for Simple Symmetry). The Moscow duo, noted in particular for the brilliant EP Plane Goes East released on Disco Halal (the Moscoman label which makes the link between east and west), pulls the track over to another - less terrestrial more psychedelic - universe, in their well identified ethno-underground style.

The remix of Bo Ni Ke by Nicola Cruz, French-born Ecuadorian producer, enlivens the track by playing on the sounds of voices and South American percussion. Also present in his fascinating album Siku released a year ago on the ZZK Records label, they overlap with the demonological whims of Iñigo Vontier but also those of Nicolas Jaar, who was revealed to him as he was starting out.

The inaugural track of the album Xu Xu (subject of the previous EP, only released as a digital version) has been remixed by Roman Flügel, allowing a vinyl release of this incredible track. You could pick out the science of this headliner in a million. Flügel has been on the electronic scene since the early days, learning the ropes under the aegis of prestigious labels Playhouse, Dial and Klang.
He has recently enhanced some emblematic tracks signed Daniel Avery, Koze, Âme, Radio Slave and C.A.R. and here once again the pioneer of techno is working miracles to create a more cerebral version of this track.

Concluding the EP with Thomass Jackson, his co-founder of the label Calypso Records, who we will soon be able to find on the compilation / family portrait of the label Lumière Noire From Above Vol. 2, Iñigo Vontier offers up a genre-busting version of the title Marijuana, like an ataxic play time, deliberately smoky for an explicitly licentious title.

Ruutu Poiss returns to International Major Label with two evolutionary,
spacetime bending dance floor hitters.
The Estonian sound artist revisits the psychedelic approach used for his first 7" release on the label (Halli / Uttu, 2016), expanding his refined palette with the use of modular synthesizers.

Pull / Push holds extraterrestrial, contemporary techno music. Off-kilter, but very effective.
These two powerful gems could easily be described as 'heavy' or 'weighty', but that seems very unfitting here. Where Pull immediately entraps us in a soaring vortex, Push takes a long intro
to launch us hard into a compelling stratosphere.

Release Text Info: After a brief hiatus, here we are once more for the third release on Black/Tuesday Limited. For this installment, we've invited the Ukrainian Kirik to take the reigns. Tried and tested on dance floors across the globe, this EP has a track for every mood.

The title track, "Shape Les" is a sun-bleached roller that's sure to spread smiles across any dance floor. The ever-talented Iuly.B takes "Shape Les" and drowns out the sun as he crafts it into the perfect late-night bomb filled with mind-bending sounds to keep people locked in. Over on the B-side, Kirik washes any pain away with "Bruce Lee Say" - a beautifully crafted cut that warms the soul just like grandma's famous soup. "After Touch" closes out the EP with a guitar-infused ripper. Steeped in uplifting synths, mesmerizing vocals, and a swinging bass line, this one can fit in perfectly during any set time.

Rune's ever dependable Drum Island return for a new decade with a life-affirming celebration of the sunset moments which underpin his always excellent output.
Hierbas has been causing euphoric dancefloor moments for a handful of selectors for over a year, but it's now - as the nights bristle with cold air - that we receive this warming hug of a track, a brief window into the promise of summer, the freedom of letting loose outdoors, and then basking in the glow of love with the celebratory chug of 'Mina Musica' and transcendent 'San Augustin'

Beautiful stuff from our favourite barefoot viking.

For years, Rhythm Buro and Zadig have maintained a special relationship. The French DJ and producer (real name Sylvain Peltier,) became involved with the Ukrainian institution when he headlined their first party in Kyiv back in 2014. In the few years since, both Sylvain and Rhythm Buro have developed into strong international brands that have become well-known and trusted. They are thus ready to present another form of collaboration: Zadig's debut record on the Kyiv-based label. "Takara-machi" EP is the sixth release in Rhythm Buro's catalogue, following previous releases by Haze, Na Nich, Cyspe and a few VAs on the imprint.

RB006 is particularly notable for its sonic diversity. Zadig, often known for his uncompromising and hard-hitting techno ventures, explores a deeper musical side here, and delves into his wide range of influences and inspirations. A good example of this is found in the manga series "Amer Beton", with the excellent soundtrack by Plaid, hence the Japanese name for the record's title track. At least three of the six tracks on the record follow this influence precisely and are rather cinematic: these are A and B sides' closing tracks; "Shores of Sorrow" and "Kuro & Shiro". Both of which play to a certain dreamy ambient field. The title track on B2 exemplifies Zadig's passion towards an old-school 100 bpm-ish tempo.

And then there's the more dancey side of the record. The EP's opener, "No-face" on A1, and its following tune on A2, "What We Become" are both a clear take, albeit more modern, to classic Detroit techno. Rich with melodies and 909 patterns, both A1 and A2 are conscious in their reference to Detroit, and pay homage to the master minds that spawned the genre in their studios 30 years ago and started it all. The B-side's opening track is another dance floor friendly stomper, although in a different way: "A World of Children" may be best labelled as "slower-electro". Its synth-heavy, almost naive essence, describe its name perfectly.

Despite its aforementioned diversity of sound and tempos, Zadig's "Takara-machi" EP still possesses and maintains a unique commonality and voice across the spectrum. It is dreamy, it is soulful, it puts substance over form. In other words, it has something the vast majority of today's techno palette is missing. Rhythm Buro doesn't miss the mark in unearthing and releasing pure quality for those who know and care.

When it comes to creating atmospheric soundscapes, rhythm and melodies Vick Lavender is a true master. Shifting Gears, the debut release for Local Talk is a lesson in deep and soulful house music, rich in organic instrumentation.

Opening track Shifting Gears is a bouncing dancefloor gem that's sure to turn heads from the get-go and have everyone smiling and dancing thru out the entire track. 'Here In Spirit Sid' is rhythm-driven affair with added solos that create fresh excitement, Vick shows his diversity as an artist and ability to produce a timeless vibe which we're proud to be bringing you on Local Talk

Delroy Edwards keeps the old school fire burning, returning to L.I.E.S. with a new 8 track lp titled "Slap Happy". Once again this is back to basics, no punches pulled Chicago House worship, hitting all ends of the dance specturm. Sparse beat tracks, 80s synth stabs, 727 latin percussion...the elements are all there and put together in perfect form...many try but few can execute the vintage sound like this. What may even be Edward's most mature release, it comes in a time when the roots of dance music have been forgotten to the grotesque trends of the day. This is a reminder of why we were drawn to this music in the first place and what it can sound like.

Shanghai-based music producer HUAN HUAN （aka Diamond Lil) is releasing her first 12” EP “One Big Bug” in Ran Music’s sub-label Ran Groove in November. The EP includes 3 dance tracks with influences from Electro, Industrial and Techno music. There’s also a remix from her good friend Fishdoll. Being deeply involved in Shanghai’s club scene, HUAN HUAN’s debut EP is a re-interpretation of her aesthetic towards club music. Her usual deep and exquisite sounds have turned into a more minimalistic and industrial direction which you can hear in the classic Electro grooves, aggressive modern sub-frequency sound design and random industrial noise in the background. The listener can find the trail of the modern techno direction as well as feel the smell of an electro revival, together with Fishdoll’s contrasting flavor remix, presenting us this amazing EP.

HUAN HUAN（aka Diamond Lil) is an independent music producer and DJ living in Shanghai. She’s one of the most appearing figures in Shanghai’s club scene. As an excellent music producer, she produces music and remixes for many other artists in the scene. She’s good at creating deep atmospheric soundscapes with a cinematic feeling. Her delicate sounds are glued together into vibrating grooves, with the synth sounds from the 90s forming her secret weapon conquering people’s ear drums on dance floors. Benefiting from Shanghai’s advanced club scene, HUAN HUAN’s performance and music work have reached wider platforms and have caught the ears of many overseas acts and labels

New year, new you, new crew! Another rising star from France, Marina Trench, joins the WOLF Music family, following up an inaugural EP on DJ Deep's highly acclaimed Deeply Rooted with this accomplished and diverse four tracker of house goodness.

Absorbed by house music from an early age Marina Trench is already proving herself to be a humble, yet highly talented, force to be reckoned with. Waterside EP is case in point. The title track is summertime ecstasy through and through. Undeniably catchy and packed with a club-ready punch, Trench sets off at pace, revolving the track around a pinging techy bassline as layers of percussion, echoing pads and delicate vocal refrains from Marina herself glide on through. Peak time, earworm business that bangs.

Get up, ‘Get In’. Moving through the downright ethereal to some tough, dancefloor darkness. Sweeping pads and glitching arps ease you in before the breakdown leads to an unleashing of brooding bass chords and reverberating top end counterparts that marry with a mean acid bassline. Tough, tactile and firmly focused on the club.

On the flip, ‘Train Call’ is a chopped jazzy deep house roller. Heavyweight piano stabs intertwine with deft twinkles as crisp hats dance around thumping kicks before ‘Straight’ eases you off into the depths of the night. A sumptuous little slice of deepness - meditative, trance-like calls from the ocean and pensive pianos provide a perfect soundtrack for the early hours.

Any botanist will extol the virtues of cross-pollination, and musical hybrids are a Growing Bin speciality. For the latest release Parisian outfit Maât splice jazz with Balearic, dub, house and Afro to create a free thinking LP dedicated to world fusion fore-runners Codona.

If Singu found calm amongst the chaos of Tokyo for ’Siku’ (GBR017), then Maât map out a Sunday stroll through the sun dappled streets of the Parisian banlieue on ’Solar Mantra’. Humming reeds converge into a pre-dawn chorus before dewy sequences and drifting syncopation signal sunrise over La Vilette, a perfect place to start ‘The Walk’. Skirting the Périphérique, the Parisian ensemble pick out a street percussionist by Boulevard d’Algérie then detour to Pré-Satint-Gervais to draw a bassline out of the Metro Area, adding an Environ cool to the uptempo ‘Jaki & Bryn’. With icy bells, brooding guitars and melancholic vocals, ‘Feuglace’ transports Miko’s garten to the 20th arrondissement while the polyrhythmic patter and micro-tuned guitars of ‘Solar Mantra’ see out the A-side with a fourth world hymn.

Chakras cleansed and ready for a B-side rebirth, Maât take us dancing through Père Lachaise via organic house bomb ‘Quetzal Pacino’, an emotive exploration of rhythmic mallets, dreamy pads and propulsive bass, which moves like the Innerzone Orchestra re-arranged by Jon Hassell. Rest comes with the soothing pianos and swelling sine waves of the pastoral ‘Clarière’, a hazy homage to the noon sun on a clearing. Circular motifs, limber grooves and dubby bass mean we’re on the move again, slipping into Montreuil with the echo-drenched scat and firm back beats of ‘Mount Beuvray’, before ‘Llomé Dub’ takes us home in time for a cool beer and much needed smoke on the balcony. Acoustic guitar, lilting piano and a gorgeous female vocal ride the punchy bass and clattering drums to perfection, keeping us company until the day fades into a contented haze.

Patrick Ryder

Container is the project of American noise veteran Ren Schofield, originally from Providence, Rhode Island, and now based in London. Container first appeared at the turn of the decade with a slew of freakish tapes for various small labels. In wake of thesereleases, Editions Mego offshoot Spectrum Spools –run by old friend John Elliott of the band Emeralds –took the punt to release his debut LP, a collection of mutated Techno tracks simply titled ‘LP’.

The record gained attention quickly in the Electronicmusic scene largely thanks to Schofield’s unique production style that separates him from forms of conventional dance music. Whilst the music of Container sits perfectly fine within the genre and is functional enough to blow apart the walls of any club, years on the US noise circuit have given Schofield’s brand of techno a rawness and direct intensity that stands out in the club and crosses over into other sub-sections of the underground.

His modest set up of Roland MC-909, a four-track porta studio and anarray of pedals allowed him to hone his scuzzy and bewildering beat music over the years, leading to three more well received, and literally titled, LP’s. Over this time period Container also released some EPs on Morphine, Liberation Technologies and Diagonal, did a variety of remixes for acts likeFour Tet, The Body, Panda Bear and Fucked Up plus maintained a healthy touring schedule that reached over every continent.

His exhilarating live show has hit pretty much every major electronic music festival andclub in Europe, as well as tours and gigs with a diverse range of acts such as Wolf Eyes, Zola Jesus, Daughters, Pharmakon and Ryley Walker.Almost a decade since his debut, Container arrives on ALTER with his first non-”LP” titled album called ‘Scramblers’. The title taken from both a Baltimore street drug and a Rhode Island Diner he used to eat at with his father.

Schofield elaborates: “The juxtaposition between these two Scramblers is a great one. I wanted to pay homage to a nice name that lends itself to both depraved and wholesome contexts and do my part to carry on the tradition.” The eight tracks have their origins in live performance and a more high-octane delivery is noticeable when compared with previous Container albums.

‘Mottle’ sits in a mysterious zone between the productions of EVOL and early Ruff Sqwad. Fierce electro cuts like ‘Trench’ and ‘Nozzle’ work alongside the nauseous slink of ‘Duster’, which in typical Container fashion morphs into a frenzy in no time.

A frenzy which may be linkedcosmically to the fact that ‘Scramblers’ was recorded, mixed and mastered in one day, reinforcing further his unorthodox and fun approach to club music.

MATHEMATICS RECORDINGS continues to push boundaries moving into boogie & funk territories with KELTON PRIMA'S "IN2" album release. The project is a fusion of Nubian synthetic textures with that popular Parisian R&B dance aesthetic of AIR, DAFT PUNK & GEORGE DUKE.

The tag team are back with another club-ready release bringing together their combined experience and production prowess. Dan Ghenacia and Chris Carrier are long-time friends who’ve been working together in the studio over the last few years, resulting in a series of EPs on labels like Apollonia, Adult Only and, of course, Music For Freaks, for whom this is their second release. On the A-side ‘Vocalized’ comes at us full throttle with a powerful bassline and crisp, punchy beats. The vibe is unrelenting with a neat call and response vocal clip and a simple, catchy melody in the top line, keeping it hypnotic. Funky, groovy and full of potent energy from start to end. On the flip ‘Burning’ has a similar aesthetic, with taut drums and bass, plus a range of unusual sounds to add depth and character. Indecipherable vocal clips pop up occasionally, and the pace picks up as the track hits the midpoint. A repeated siren-esque effect locks you into the groove, keeping you hopelessly hooked until the end...

”Are you ready to take your turn now?” asks a mischievous voice at the beginning of DJ Marcelle’s new album. But by this point you don’t have a choice: you better buckle up for a joyride through the wild, unpredictable imagination of a true electronic music auteur. ‘Saturate The Market, Now!’ is stuffed with the kind of raw, rhythmic workouts and playful humour we’ve come to know and love from the long-serving Dutch artist. Let’s start with the music: Marcelle pinballs between pumping outsider house, brilliantly weird acid and musique concrète experiments where anything could happen at any given time. Then there are her famous track titles, which take another aim at nightclub patriarchy (‘Technicians And Their Light Effects’, the successor to last year's 'Technicians And Their Smoke Machines') at the same time as displaying a keen sense of satire (‘I Fell In My Own Cesspit!’) and revealing a difficult relationship with the sour, massive rock that for her is ‘German Bread’. With artwork featuring a collage of puppets found in her Amsterdam house and Marcelle’s own on-the-road photography, this is yet another album that sets her a mile apart from the paint-by-numbers dance music producers - or “accountants” as she’s witheringly described them.

Marcelle arrived via punk, post-punk, avant garde and dub and lives by the independent, forward-thinking spirit inherent in those scenes. A sense of freedom is imbued in her work, unsurprising given that this album was written in two weeks and was made entirely on her own collection of machines (save a few choice vocal samples). It’s Marcelle’s eighth vinyl-only release for Jahmoni Music from Munich and follows on from last year’s ‘One Place For The First Time’ which swiftly sold-out and is now onto a repress. The vinyl is released alongside a 10” featuring extended and dub versions of triumphant album-cut ‘Everything Not Yet’.

So are you sitting comfortably? Well Marcelle would prefer if you weren’t. Because this is music for misfits to move to. The very opposite of business techno. A missive from a cult DJ with an enviable record collection and a fearless artist who couldn’t give a flying fuck about dance music norms. Saturate the market with pure energy – let’s do this!Seb Wheeler, Mixmag

'A product of living in an age where texture can make you dance, and popular music innovates for an audience with ears wide open' NPR
Nearly two years have passed since Niklas Paschburg presented his critically acclaimed debut album 'Oceanic' in February 2018. Niklas' musical ideas have crystalized and become cogent through a combination of extensive live performance - playing over 100 shows in the last two years - and experimentation in his Berlin Studio.
Written between 2018 - 19, his second album 'Svalbard' will be released in February 2020 via 7K!.
Niklas' use of the piano; electronics (synth and computer) and his Grandfather's piano accordion allow him to communicate via a number of musical traditions and languages. This versatility has allowed him to work on a variety of projects ranging from an inspired reinterpretation of Bach's Preludes in C Minor ("Blooming"), to well received remixes for pop artists such as RY X and Asgeir.

Marcelle arrived via punk, post-punk, avant garde and dub and lives by the independent, forward-thinking spirit inherent in those scenes. "Everything Not Yet" is Marcelle’s ninth vinyl-only release for Jahmoni Music from Munich and follows on from last year’s ‘One Place For The First Time’ which swiftly sold-out and is now onto a repress. The 10" vinyl is released alongside her latest album "Saturate The Market, Now!" featuring a shorter album-cut of ‘Everything Not Yet’ among nine other tracks. So are you sitting comfortably? Well Marcelle would prefer if you weren’t. Because this is music for misfits to move to. The very opposite of business techno. A missive from a cult DJ with an enviable record collection and a fearless artist who couldn’t give a flying fuck about dance music norms. Saturate the market with pure energy – let’s do this!
Seb Wheeler, Mixmag

Calum Gunn has spent the past few years becoming a key figure in the European electronic avant-garde. As well as releasing his own music through labels like Entr'acte, FLUF and Tsuku Boshi, the Berlin-based Gunn also helms Conditional Records, one of the most forward-thinking computer-music imprints to emerge in recent times.

Gunn's Addenda EP, his debut drop for Central Processing Unit, contains some of his most dynamic work to date. While his commitment to experimentalism remains, these four tracks represent a clear shift in focus for Gunn - namely that, for perhaps the first time in his career, he is making music that is club-friendly. A whole host of dancefloor innovators are recalled when listening to Addenda - particularly Autechre, Analord-era AFX and several of Mark Pritchard's projects as well as Gunn's contemporaries Rian Treanor and Renick Bell.

These tracks never sit still, their rhythms constantly evolving and turning themselves over. Addenda's first two cuts use metronomic hi-hats to keep these ever-changing grooves in check. With its thwacking kicks and snares, opener 'Esephony' enters the fray with the heft of an early Wiley riddim. Atop these drums we find squeaky half-melodies interlocking and breaking apart, meaning that the overall effect is not dissimilar to the tweaking beats that Pritchard came up with as part of Africa Hitech. 'Esephony' is followed by 'Moebu', another track that harks to grime through its fluttering lead synth. The way that this single-note line snakes above a slow, steady drum pulse pitches 'Moebu' halfway between Last Japan and rRoxymore.

Gunn increases the tempo in Addenda's second half. 'Ternenmarz' introduces itself with more blarts of bass, but whereas these were steady on 'Esephony' they now jump around unexpectedly. Gunn holds the erratic kicks in place with twittering hats and snares - indeed, when you factor in its gnarly synth lines, 'Ternenmarz' steers closer than any other cut here to the high-grade electro drops that CPU has made its name with. Closer 'Pins' supercharges the snap of 'Esephony' to 145 bpm before Gunn softens up the track with reverb-drenched synths that nod to the sombre post-grime of Mr. Mitch's Gobstopper Records.

With the Addenda EP, Calum Gunn has achieved something that proves elusive to so many producers - making club tracks that are at once innovative and immediate, their experimental tendencies serving to elevate their dancefloor impact.

RIYL: Rian Treanor, Africa Hitech, Autechre, Renick Bell, Brainwaltzera

Still deeper forays into the musical landscape of the Windrush generation. A dazzling range of calypso, mento, joropo, steelband, palm-wine and r’n'b. Expert revivals of stringband music, from way back, alongside proto-Afro-funk. An uproarious selection of songs about the H-Bomb and modern phones, prostitution and Haile Selassie, mid-life crisis and the London Underground, racism and solidarity, the Highway Code and a 100% West Indian Royal Wedding.
For example some frantic British-Guianan joropo music-hall about Eatwell Brown from Clapham, who starts out biting off a piece of his mother-in-law’s face at a party, then devours everything in his path… a chunk of Brixton Prison, a Union Jack, a policeman’s uniform. Or Marie Bryant — collaborator of Lester Young and Duke Ellington — taking time off from skewering the South African PM Daniel Malan at her West End revue, to contribute some arch, swinging filth about uber-genitalia. Superior sound, courtesy of Abbey Road, D&M and Pallas; lovely gatefold sleeve; full-size booklet, with full notes, and fabulous previously-unseen photographs, including a set from the family archive of Russ Henderson (who led the first, impromptu Notting Hill Carnival march, in 1966).

"The two Portuguese-speaking African islands of Sao Tomé & Principe, located in the Gulf of Guinea, created an unique music called Puxa : a refined mixture of various musical components from both sides of the Atlantic Ocean. A blend of Semba, Merengue, Kompas, Soukouss, Coladeira patterns, often pushing forward with a voodoo-like energy, solid bass lines, delicate melodies and backing harmonies of the rich Sao Tomean melodic traditions. Very first compilation focusing on the golden age of these island’s sounds, the 16 tracks selected will surely set fire on all dance floors !

Léve-Léve is the first ever compilation devoted to music from São Tome and Principe, two small islands situated off the coast of Gabon in central Africa. The album unravels a story of liberation where the music of Africa, Europe and the Americas unify with a carefree spirit personified by a phrase the islanders use all the time: “léve, léve” (“take it easy”). With echoes of Angolan semba and merengue, of Brazilian afoxê, of coladeira from Cape Verde and dance music from the Caribbean, it is a sound fiercely proud of its island heritage, sung in local dialects and using distinctive local rhythms.

On this record you can hear the cultural and social history of São Tome and Principe, and how live music represented its beating heart. Once known as the “Chocolate Islands” (remarkably, these two tiny islands were the largest cocoa producers in the world, though now this title acts as a reminder of its colonial past), through the years leading up to independence from Portugal, music would be a fundamental voice of liberation and conviviality. Os Úntués were one of the first groups to make an impression, releasing a couple of 7 inches in Angola – the litmus test of success for any of the islands’ groups. They united unique rhythms and dances like socopé, puita and dança-congo – borne from the islands’ largely slave-descendant population – with the sound of pop music beamed in on the radio from Europe, even adding in a little bit of soukous and Brazilian instrumentation. Their main rivals were Conjunto Mindelo, who fused São Toméan rhythms with rebita, an Angolan style, to create high energy puxa, a truly original island rhythm.

From the mid-1970s, coinciding with independence from Portugal in 1975, the islands’ groups featured an even stronger African influence and nowhere was that more apparent than with Africa Negra. They would listen to the latest records from Gabon, Zaire and Cameroon, taking inspiration and trying out phrasing from the greats of Central African guitar playing, developing a devoted fan base off the islands, as well as on. A score of other bands would follow a similar musical path, with a few getting their dues overseas in Angola, Cape Verde, Portugal and across Africa.

Os Leonenses (led by the iconic Pedro Lima), Conjunto Sangazuza, Sum Alvarinho and Conjunto Ecuador were just some of the other bands that formed a lively home-grown music scene that lit up the islands’ bars and open-air shows from the 1950s through to the mid-90s. Regardless of class or age, they were responsible for keeping the population entertained come the weekend, with Sunday matinee shows the highlight of the week, the music not stopping from midday until midnight.

As a Portuguese island colony that was for many years populated with slaves brought from Africa, São Tome and Principe has much in common with other Lusophone countries and boasts a richly complex and idiosyncratic musical DNA. Whilst the musical tapestries of Angola and Cape Verde are well known, São Tome and Principe’s secrets were assigned to the islanders themselves. Until now."

Available on vinyl for the first time since its original release in 1984, Outernational Sounds proudly presents Build An Ark pianist Nate Morgan’s second outing for the celebrated Nimbus West label – the conscious and spiritualised sounds of Retribution, Reparation.

Pianist Nate Morgan (1964-2013) was a central figure on the Los Angeles jazz undergound. A core member of the circle around the legendary bandleader, pianist and community organiser Horace Tapscott, Morgan had been part of Tapscott’s U.G.M.A.A. (Union Of God’s Musicians and Artists Ascension) since he was just a teenager, and was a key member of the Pan Afrikan People’s Arkestra, known as ‘The Ark’. Through the 1980s and 1990s he kept the PAPA flame alive, organising the Ark’s sprawling songbook, running legendary jam sessions, and keeping LA’s deep jazz roots well watered. By the early 2000s he was bringing hard won knowledge to a new generation as part of the Build The Ark collective. He was a musician’s musician, at the beating heart of the radical, community-minded Los Angeles jazz network that Tapscott and his associates had first put together in the early 1960s.

Retribution, Reparation was the second of the two LPs Morgan recorded for Tom Albach’s storied Nimbus West imprint. His first, Journey Into Nigritia (Outernational Sounds OTR- 008), had been a declaration of arrival laced with energies drawn from Cecil Taylor and Coltrane. One year later, with nods to Herbie Hancock (‘One Finger Snap’) and Ellington (‘Come Sunday’), Retribution, Reparation was a confident statement of purpose. Politically charged with pan-Africanist and Black nationalist sentiments inspired by Marcus Garvey, and titled with uncompromising directness, the album focusses the soundworld of the Ark into a surging, restless masterpiece of spiritualised modal jazz. With Danny Cortez on trumpet and Ark stalwart Jesse Sharps on saxophones the frontline is explosive (this set is also one of the few places the extraordinary Sharps can be heard in a small group setting), while Fritz Wise and Ark regular Joel Ector hold down the rhythm section. Morgan’s forceful, Tyner-like chords and virtuosic solos and bind the music together. From the poised drama of the opening dedication to Tapscott’s U.G.M.A.A. (‘U.G.M.A.A.GER’) to the propulsive militancy of the title track, Retribution, Reparation spreads the word: ‘Advance to Victory, Let Nigritia Be Free!’

One of the Italian soul-mod tracks that every DJ has always dreamed of having on 7-inch! Taken from GLI ANGELI DEL 2000 OST by Mario Molino, ASH is an ace uptempo dancefloor burner, provided by a great brass section, and sung by the fabulous Edda Dell'Orso.

On the flip-side is GLI ANGELI DEL 2000 - a lysergic Italian version of Pierre Henry's retro-futuristic "Psyché Rock" anthem, featuring bells, fat bass lines, wah wah guitar, and electronic effects. Limited Edition 300 of copies. Don't sleep!

Emerging this January with a duo of debut EPs, Black (Vegan Tinder Lord) and White (Hexxex) , Ϟᑢrəən ϟHAᗌ/W blends pummelling techno, industrial grit and experimental noise for a mood-spanning sound inspired by everything from Google Street View to visiting the dentist.

The Black EP gleans from the heavier end of the club music spectrum, plunging into a hardcore well of nosebleed kicks and synapse-frying synths that bang with raw dancefloor energy. The White EP pauses for reflection, transforming Screen Shadow's spiky reveries into tightly-woven technicolour dreamscapes.

Track highlights include the humour-spiced, pitch-shifted "Vegan Tinder Lord"—immortalised by its disembodied, Amnesia Scanner-esque voice—and the percussive, hardstyle-tinged assault course of "Scanna Hex".

On it's white counterpart ,"Hexxex" builds on a Drexciyan beat, while "Corridor" explores the sort of glitchy experimentalism that gets under your skin."Vaxuum" and "Time Orphans" mine deep ambient soundscapes, with the former constructed from a grainy loop and the latter built from rich orchestral tones.

Artwork and music go hand in hand, with logo designer Number III (Paul Nicholson, Aphex Twin logo designer ) cooking up the striking black and white imagery.

B-tracks, the duo of Soren Jahan and John Barera, return with their first release together in many years. Unfolding across these six tunes is an extended EP of hard rocking, raw and rough house trax in the immutable b-tracks style – with no weak links. This loop digging, spliff making, track building duo have always been trying to channel the vibe of “real” and “proper” house and techno. B-Tracks are known for very successful and out of print club bombs like ìSpecializeî and ìCome Backî – as well as many headier and more techno oriented tracks. Here, they make their much welcome return to producing together.
Recorded in New York City and Berlin across a period of five years, these musicians were in no hurry to make this record. Rather, as always, they sought to make something timeless and classy that will make a lasting contribution to listeners and dancers. This record is a celebratory occasion, centered around the energy that could only come with two old friends working together, having fun and letting loose. ìWhat a Shameî is the B-Tracks vocal club bomb for 2020, hardwired to go off, catchy and bursting with energy. ìAlwaysî is vintage B-tracks – thumping, goosebump inducing house that expands and contracts. “What You Areî closes out side A with an introspective, yet still bumping slice of music.
On the flip, “Earth” unpacks their refined sense of melody, drama, and groove. ìSend Cashî is a pure beatdown for the DJs, and “Witness” closes out the EP in high style, with a soaring leads and strings, a celestial tune and a perfect end to this chapter. Don’t expect new releases to come very often from this Transatlantic duo, but when they do – it is something to really savor.

Emerging this January with a duo of debut EPs, Black (Vegan Tinder Lord) and White (Hexxex) , Ϟᑢrəən ϟHAᗌ/W blends pummelling techno, industrial grit and experimental noise for a mood-spanning sound inspired by everything from Google Street View to visiting the dentist.

The Black EP gleans from the heavier end of the club music spectrum, plunging into a hardcore well of nosebleed kicks and synapse-frying synths that bang with raw dancefloor energy. The White EP pauses for reflection, transforming Screen Shadow's spiky reveries into tightly-woven technicolour dreamscapes.

Track highlights include the humour-spiced, pitch-shifted "Vegan Tinder Lord"— immortalised by its disembodied, Amnesia Scanner-esque voice — and the percussive, hardstyle-tinged assault course of "Scanna Hex". Inspired by the unpleasant act of a dentist drilling a tooth cavity, "Bodies" burrows deep into your brain, while the glitchy experimentalism of "Corridor" gets under your skin.

Across the two EPs, vocals are processed and reshaped into other sounds using the sculpture-primed Nord modulars. These '90s instruments have since been discontinued, but remain a staple in the Screen Shadow studio and the upcoming live setup.

Artwork and music go hand in hand, with logo designer Number III (Paul Nicholson, Aphex Twin logo designer ) cooking up the striking black and white imagery.

States of Fugue SF02 is the adventurous & uncompromising new record from Zoë Mc Pherson. It follows the success of her critically acclaimed 2018 album String Figures SF01, an audiovisual project that earned her invitations to perform around the world.

States of Fugue SF02 also inaugurates her new hybrid label SFX, a collaborative project with fellow multimedia artist Alessandra Leone. The label presents an opportunity for the pair to fully embody their creative vision whilst building bridges between, and for practitioners working at the intersection of different creative fields.

Zoë Mc Pherson's recent recorded work includes collaborations with Rupert Clervaux and Christina Vantzou, and a remix for Contagious, which was released on Rabih Beaini's Morphine imprint. SoF features collaborations with Elvin Brandi and dutch free improv scene singer Greetje Bijma, a cast which reveals Zoë's punkish & deviant taste and who's vocal work provides moments of both ballistic & mystic power.

Brandi features on Learn Ur Language with a rabid diatribe, somehow flowing through Zoë's staccato barricades. On album closer Bug, Greetje's alien annunciations are neatly vaporised into the year 3000.

The album relentlessly toys with typical dance music meter, creating complex organic structures that activate forgotten muscles in those exposed at sufficient volume, puppeteering the obedient dancer into new patterns of movement. Tenace is the prime example, where wormhole rhythms pull you in with the gravity of an unknown planet.

The album within it's singular feeling for electro-naturalism is rich in humanity and personality, aided throughout by the diverse terrain of Zoë's voice - a tool she uses for full spectrum expression, from whispers to screams. With the launch of SFX and a clutch of multimedia collaborations alongside, we are witnessing her evolve in all directions.

SFX is a new hybrid label from Zoë Mc Pherson and Alessandra Leone. After collaborating for three years on their multimedia String Figures project, the label will build on this foundation, continuing to develop and release objects and experiences across various mediums.

The labels first release will be Zoë Mc Pherson's sophomore LP
States of Fugue, released February 20th 2020.

'Postlude' is the second release on Solitary Dancer's new imprint, Private Possessions. After having released on some of the world's most esteemed underground labels such as Dark Entries, Graded, and Optimo, Private Possessions was borne out of a desire to control all aspects of output pertaining to the development, creation, and dissemination of their music, video, and other media. Following their debut LP 'Rites Of Passage', 'Postlude' is a three-track affair which juxtaposes two of the album's floor-focussed cuts with an extended version of 'Test Dream'. The latter has been processed into a 15-minute "Devisualization" using degradation techniques that slowly destroys the piece over time, harkening the ever-changing lucidity and memories of our own dreams.

Shcuro is the alias of João Ervedosa a DJ, producer and graphic designer based in Lisbon. He also runs the record labels Sombra and Paraíso, makes music as Jose Acid and hosts a show on Rádio Quântica. His first contact with a DJ setup happened at age 15, and that’s when Shcuro decided to buy his own turntables and mixer; and started producing his own beats, too. He’s since released music on Basal, Circus Maximus, Obscuur Techno, Golden Mist Records and his most recent collaboration with Photonz for Future Déjà Vu.

‘Particle of Memory’ is a hypnotic 6-track EP that explores new territories in contemporary dance music. Sonically Shcuro paints his sounds blending moody techno with industrial noises alongside fast, apocalyptic electro and breakbeat. He is influenced by Portuguese rave culture that was born in the mid-90s at Lisbon clubs Alcântara-Mar and Kremlin and the country’s first electronic label Kaos Records. Shcuro continues to expand and morph this rich dance heritage to create something entirely different. The bouncy, lead track “Afterlife” features vocals and lyrics by London's ELLES followed by a Decadent Dub rework. All songs have been mastered by George Horn at Fantasy Studios. Housed in a die-cut jacket designed by Eloise Leigh reminiscent of ‘90s escape/sci-fi films with futuristic bright pink pop flourishes

After a year of preparation on new project, we are back to Boogie your Butt again, this time is on a Samm Culley Band reissue. We are happy to bring back to your ears this giant artist, who across decade of music, with great personality had giving us so many groovy songs. Samm Culley is an R&B, Soul & Funk keyboard player, a dope songwriter. His music career started within the band « Tiny Tim & The Hits » with « Tom Price & Bill Collier ». This trio soon left Tiny to form them own group « The Diplomatics » with « Irving Waters » as lead singer. They later on became the legendary « Skull Snaps » (One Lp on GSF Records)… Over The Time Samm co-produced and (or) played with many unforgettable famous artists such as The Fatback Band, George Kerr, Patrick Adams, Vaughan Mason, Reggie Griffin, De-De, Van Mc Coy, Lloyd Price & even later in Hip Hop music with Marley Marl or Freddie Foxxx. Back in 1982, the original issue of the A Side “Walk”, a great killer dance floor tune, the sunny guitar hook make you feel the summer heat Jazzfunk Boogie, came out on a Silver Cloud Records 12inch, this track bring you light shine to dance as a Walk, close your eyes & easily imagine crazy tricks of Jazz Funk dancers, go fly with his sensual voice & let's tripp on sunshine... The B Side is a remix by our well known Lord Funk & his partner Moar, their wishes was to respect the original song, putting on a slight drums & effect. We hope you gonna like that new Boogie Slice!

Syrian wedding singer turned global dance icon Omar Souleyman releases his 4th studio album Shlon via Mad Decent / Because Music.
On Shlon (Arabic for “how,” or literally “which color”), Omar Souleyman presents 6 new techno-meets-dabke songs of romance and love — singing poetry of a woman’s lips as sweet as Hillah’s dates on “Layle”; an intriguing woman he watches from afar whose kiss would be worth 10 million other kisses on “Shlon”; a lover ready to offer his beloved anything she wishes under the sun on “Shi Tridin” (“What Do You Wish For?”); a man in admiration of a woman with green eyes and blonde hair on “Abou Zlilif” (“Her Face is Like The Moon”); a song about love that will last forever on “Mawwal”, a traditional — all superimposed on complex techno arrangements by Hasan Alo, and based on the hi-speed Kurdish and Arabic dabke and baladi styles with the exception of “Mawwal” being presented in its traditionally slower pace. Shlon features double keyboard work from Hasan Alo, a fellow native of the Hasaka region in Northeastern Syria who has recently been active in the vibrant nightlife scene of Dubai. Azad Salih, a young Syrian man currently living in Mardin, Turkey, accompanies on saz, with the lyrics and love poetry written on the spot during the album’s recording session by longtime Omar collaborator Moussa Al Mardood - also currently based in Turkey.
Omar Souleyman, who has collaborated with Björk and Four Tet, began his career as a prolific wedding singer, releasing nearly 500 live albums before civil war broke out in his native Syria in 2011. He then moved to Turkey and in 2013 released his Four Tet-produced debut studio album Wenu Wenu via Ribbon/Domino, which NPR called, "...a jam so visceral, thrilling and intense as to make the mysterious matter of earthly borders seem hardly worth the time to contemplate." His 2015 sophomore album Bahdeni Nami (various producers including Four Tet, Gilles Peterson and Modeselektor) garnered widespread critical praise including The Guardian, who proclaimed "It's so fast that the only appropriate way to engage with it is to wriggle your limbs. Melodies are both abrasive and ebullient, chattering endlessly like raucous birdsong," and 2017’s To Syria, With Love via Mad Decent placing Omar firmly in the canon of global electronic music.
Souleyman has bolstered his growing status as a world and electronic music icon establishing an extensive international following after touring widely and performing at major festivals including Glastonbury, Bonnaroo, Pitchfork Paris and Roskilde. Since its founding in 2013, Souleyman has been an advocate for the charity "Our Heart Aches for Syria," which operates in collaboration with Doctors Without Borders. In that same year, he performed at the Nobel Peace Prize Concert in Norway.

British DJ and producer Inland (Ed Davenport) has compiled and mixed 'Stream State', his biggest project to date, bringing together over 20 artists in a DJ-ready compilation of colourful, diverse modern techno on his label Counterchange.

Complete with a 90 minute continuous mix by Inland himself, the project celebrates over 15 years behind the decks and cements Davenport's reputation not only as a tireless force in the studio, but as a trusted selector and curator of contemporary club music. Spanning deep idm-rooted studies, lush chord-driven euphoria, powerful modernist workouts and tough house-groove jackers, Davenport weaves an addictive mix full of character and his precision mixing style.

From veterans and heroes like DJ Skull, Efdemin, Joel Mull, Boddika, Peter Van Hoesen, and Mark Broom (alongside Discrete Circuit), to a new echelon of up-and-coming talent like Rhyw, Sophia Saze, Jamaica Suk, Johanna Knutsson, Aiken, DJ Sodeyama, Perm and Felix Fleer, there's an underlying thread of shimmering production values and close attention to detail in every track. Inland also selected debuts from Berlin based artists Fred Mann and Arbitrage, and welcomes back BNJMN, P. Lopez and Distant Echoes to the label, now in its 7th year of operation.

'Stream State' is Inland's celebration of the DJ mix / compilation format. Enamoured with UK dance music culture in the mid 90s, the burning, illicit energy of early rave mixtapes left a huge impression. Mystical bootlegs recorded at mass gatherings in fields or late night Radio One transmissions captured on cassette - their eternal spirit was absorbed and cherished. Now more than 2 decades later, Davenport has channeled that fascination into this weighty collector's item and a captivating continuous mix.

All 22 tracks included are new and original productions made by some of Inland's favourite artists and colleagues. A network and a community - complied and presented by an artist who continues to demonstrate his longevity and unique voice in the scene.

The Omega Productions Records is proud to present you the Female Vampire (La Comtesse noire • 1975) and Tender and Perverse Emmanuelle (Des frisson sur la peau • 1973) original motion picture soundtracks, composed by Daniel J. White.

Released in Paris on May 7th, 1975, Female Vampire is one of the most iconic films of director Jess Franco. stakhanovist Daniel J. White, who became popular in 1965 with the score of the Belle and Sébastien series, composed the soundtrack of this Eurociné production at the age of 59.

At a time when sound experimentation is in the spotlight among many musicians for the pictures, Daniel J. White takes the opposite to offer two scores mixing a classic compositional obsolete with, however, many atonal and jazzy influences. He composed for Female Vampire one of his most famous themes and repeated many times in innumerable productions stamped Eurociné (Zombie Lake, Oasis of the Living Dead).

With strong Italian influences (like Bruno Nicolai, also a favorite composer of Jess Franco), the Tender and Perverse Emmanuelle soundtrack is the straightforward stylistic continuity of Female Vampire, offering unparalleled melancholy lyricism.

From the great Daniel J. White: an inevitable classic Italian thriller lovers. - We offer you in conclusion, an unpublished suite formed of the musician’s session falls during the recording of these two
original tapes.