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BSP // Bispebjerg is a record label that presents music from Copenhagen based artists and affiliates. BSP is closely related to the Copenhagen Underground Posse, music and party collective that where active on the Copenhagen scene for the past 8 years.

Behind the label are Philip Jun Kamata, has been making music for nearly two decades, where he, among other things released the underground bass sex anthem "you dont know what love is" on Hyperdub. J Kamata is debuting on this V/A two new alter egoes; the 313 high tech funk inspired Jun Anthony, as well as his raw electro moniker Sequential Hill.

The other half of the label, Daniel Savi has been active in the club scene for a good while, primarily releasing on house labels such as Underground Quality and Tartelet Records. For this release he hits you hard with his bass alias Savi DJ.

With BSP we attempt to build a universe with Jungle, Electro, House, Booty Tech and their derivative genres. The first release is a V/A consisting of 3 different artists as well as remix from local hero Kasper Marott (Kulor, Axces).

Release comes in white discobags w. blue sticker on front and double sided foto insert.

Track descriptions

A1. Jun Anthony - 313 Garage. 06.38
Jun Anthony presents his groovy take on a garage track under a heavy 313- high tech funk influence.

A2. Jun Anthony - 313 Garage (Kasper Marott Remix) 05.53
The second cut holds a dubby, deep and groovy remix from Copenhagen rising star Kasper Marott.

B1. Sequential Hill - Jakd Oscillateurs - 05.29
Jun's alter ego Sequential Hill presents a punk approach to electro - Raw, but with a tiny soft spot for lofty strings and emotional pads.

B2. Savi DJ-Djungle (Slow edit) 06.08.
Savi DJ presents savvy bass grooves on this revivalist jungle cut, in a slowed down version for your mixing pleasure.

(RSD 2020 Exclusive) (pressing 1000 copies, white coloured vinyl) This killer album was originally released only on CD format in 1998, and now on vinyl for the first time - over 20 years later + 2 bonus tracks!This album includes the killer ‘Prowling Lion’ known by everyone across the Dub and sound system scene! Played heavily by all top sound systems!

For every celebrated name in jazz, soul and related music, there are probably another 1000 musicians who had all the talent and potential but for whom widespread recognition remained elusive. Roscoe Weathers is one such figure, a jazzman who earned his chops the hard way, a sideman in smoky clubs from Memphis to Seattle, before finally settling in LA. He recorded a significant amount of music through the 1960s, but never found the slightest modicum of commercial acclaim nor the success that comes with it.

Overlooked by all but the tiniest of record labels, Weathers' released much of his material himself. Indeed, we can lay claim to be the first outside label to release any of his music since the early 1960s. That's sixty years of being overlooked by the record industry, so we are delighted to release this first full length album of his music in a first attempt at righting that historic wrong.

A multi-instrumentalist, Weathers mainly led on the flute in his recorded output. The music here spans the course of the 1960s, and moves from laid back beatnik jazz stylings through to percussion heavy Afro-Latin influenced workouts. As usual with Jazzman, we have not only dug deep to unearth Weathers' music but also his background and biographical details, shining much deserved light on this enigmatic and largely unheralded figure for the first time.

This is the 1973 solo album by Ghanaian percussionist Anthony Kwaku Bah, who was given the nickname „Reebop“ by American
jazz legend Dizzie Gillespie. He passed away early at the age of 39 in Stockholm in 1983, but before made himself a name for his
works with UK 70s rock heroes TRAFFIC and German Krautrockers CAN, amongst others. If you might expect here the prototypical
Afro Beat and Afro Rock you mostly know from British bands, you will be surprised that this is only one part of the deal. Yes, there
are African elements to be found, buried somewhere in this boiling cauldron where polyrhythmic grooves are the base for jazz
improvisations by the brass section, that range from naughty swing and bebop, to freaked out free jazz and enchanting soul jazz
the way it was popular in the late 60s. The arrangements are utterly lush with so much going on here in every aspect that you
would get lost if there was no trace of melody to be discovered, but there they are and they tell you fantastic stories of exotic
places that only exist in your wildest dreams. Kwaku Bah’s rhythm patterns grab you by the horns and pull you into a world of
their own. Hypnotical, irresistible, hot and vivid. The tunes combine jazz, soul, funk and each one is constructed like a self –
contained story. One could imagine these tunes being used as library music for 70s movies from action to romance. All pieces
though are characterized by the constantly pulsating rhythm. To avoid drifting into the field of insubstantial disco dance music,
the performances witnessed here were executed with the highest possible emotional intensity and dedication. Lay back, close
your eyes and float away on a raft of sound upon the wild river of grooves and melodies. Some haunting Exotica jazz passages
with a typical „jungle“ feel get thrown in for the good measure. There are even vocals in an African language hard to identify,
which create and even more mysterious atmosphere. This is just an introduction part of another powerful speed funk groover but
the vocals stay and make this a clear standout track. Saxophone and guitars seem to have a duel here. You will not sit still while
having this tune „Iphonohimine“ coming down on you like a thunderstorm. Blues, Afro Beat, Psychedelic Rock, Funk, it can all be
found in here and the band goes wild into an everlasting improvisation that deprives you of your breath. Can this record get even better? Do not ask, just enjoy what comes next. If you think that some melodies by the giant brass section sound a bit too catchy
just reach out beyond these harmony lines and find yourself in a thicket of grooves, pulsations, bits and pieces of melody with a
dense, sultry atmosphere. Some smaller parts might make you think of cruise ship big bands and white suits, but everybody will
soon drop these and dance in their underwear for the hot blooded power funk base of the tune called „Africa“, which will take
over one’s soul and set it on fire. So clean, so nice and so filthy and dangerous at the same time, this album is a masterpiece of it’s
style. The exciting and very sensual funk rock of „Lovin‘ you baby“ with crazy fuzz guitars and a dark and haunting approach is
another reason to kneel down when you put this record onto your turntable. Great clean lead guitars give it a latin garage rock
edge Carlos Santana would commit serious crimes for. If you love bands like OSIBISA, Eric Burden & WAR, GINGER BAKER
AIRFORCE, SANTANA, Miles Davis, all around 1969 to 1973, this is what you always wanted to listen to. Grab your copy now.

Just in time for summer! Some serious heat from the darkest corners of the TK Disco vaults, dug up, re-mastered and brought back to life for your listening and dancing pleasure!
To say Trama's sole LP is a rarity is an understatement! Released on TK offshoot CAT Records in 1977 it's swaggering street-funk attitude, tight ass rhythm section, blistering arrangements and stellar vocal performances from a young Donna Allen has left beat digging, Soul, Boogie and Disco freaks hot under the collar for over 3 decades!
Often selling on-line for tidy sums (£250 +) this LP is a true gem, now is your chance to own a %100 legit, TK Disco sanctioned, vinyl copy of this killer Soul LP. Re-issued just the way it originally came out in 1977, no tricks. Essential!

House and techno focussed FINA sister label FINA WHITE comes through with more direct dance floor grooves from Bodyjack, aka Chris Finke. The veteran artist serves up two killer tracks, one dub and four locked grooves that provide serious heat for DJs and dancers.

Before now, former DMC competitor Finke has established himself with his Bodytrax label in association with the Clone.nl crew, standout mixes for Radio 1 etc and EPs on the likes of UTTU, Hypercolour and DEXT, all while being a famous former resident of titanic techno party Atomic Jam and playing the world's finest clubs for years.

Arresting opener 'Measure Twice, Cut Once' is a big, buoyant techno monster with warped acid lines and raves vocal stabs all adding fuel to the fire. The locked grooves serve up scintillating breakbeats that are hugely powerful and ripe for abuse in the club, and then 'Enfant Terrible' is a dark and eerie warehouse monster. The bass is loud, the kicks rock solid and an echoing female vocal lost in the midst of it all draws you in deeper. Closing things out, the dub versions strip things back to gritty chords and heavy, well-swung kicks that make you march.

This is high class, high functioning techno from one of the finest in the game.

Released during the late 1970's Disco era, Milton Wright's sophomore long player has always stood out as a singular, innovative example of the deepest, rarest grooves known to underground Soul lovers all over the globe. This often overlooked body of work has found a whole new audience who revisited the man's work retrospectively, pushing the LP into the domain of "holy grail" status amongst Black music lovers and Funk fanatics. "Spaced" has been at the top of the wants lists of serious music lovers for decades, often unattainable and commanding stellar collectors prices on-line, sometimes fetching amounts of upwards of £400. This unique LP could be perceived as being Wright's most personal work, tragically overshadowed by the burgeoning successes of his then label mates on Miami's Alston Records imprint. The sheer craftsmanship and songwriting prowess on show is undeniable, as is the top level musicianship and production, sounding ridiculously fresh almost some 40 years later. Above Board distribution has collaborated with Alston / TK Records to ensure the quality of this fully legitimate repress of this long lost Soul / Funk classic has been maintained. Remastered, reissued and represented with the full cooperation of the license holders for 2016. Do not pass up the chance to own a true gem, a pivotal, lost LP like "Spaced", now made available again to be enjoyed by all. "Magic Music".

Digging deep into the annals of Gospel now, the name Pastor TL Barrett should be familiar to the eagle eyed crate diggers amongst you. An extremely "colourful" character from Chicago's Southside neighbourhood who found himself on the wrong side of the law for his involvement in some activities of a dubiously illegal nature, more importantly, besides this the pastor was widely known for his community activism and positive sermons preaching love and responsibility. Shady past aside, this fantastic 1976 LP entitled "Do Not Pass Me By" is a real Gospel beauty and features 8 tracks of resplendent hands in the air rejoicement. Having never been reissued before this rare as gem is finally back out in the open, complete with it's incredible untampered with sleeve artwork and design. Barrett's unique voice and message is timeless and instantly recognisable, you can't help but become one of the congregation whilst listening to these wonderfully rousing and positive paeans to the lord almighty. Saying that, even if you find yourself to be a non-believer, the soul, funk and jazz stylings (with the odd flourish of synth!) the good pastor is laying down will be equally as alluring to those of you who dig those particular sounds. "Do Not Pass Me By" was originally released on Miami's TK Disco offshoot Gospel Roots, it's the Pastor's second release on the label and is a beautiful snapshot of how things might have gone down at his "Mount Zion Baptist Church of Universal Awareness". A unique LP with with a somewhat lo-fi charm, the tracks contained run the gamut from slow, downtempo ballads to roof raising, danceable Disco-esque anthems.
This is the first time that "Do Not Pass Me By" has been reissued on vinyl, fully remastered from Gospel Roots/TK's original tapes, represented the way the the LP was issued in 1976 with all original cover and label artworks intact. Now, almost 40 years after it's original release the album has now been made available again for 2016, fully licensed in conjunction and with the full permission of Henry Stone music / TK Disco, Miami, FL.

This first album proper from Polish composer/violinist Olga Wojciechowska was originally released on CD only by Time Released Sound, and has been out of print for some years. We are very pleased to be bringing you this long overdue vinyl re-press, in an edition of only 200 copies, each of which comes in a beautiful 24pt heavyweight jacket, with translucent 180gm disc.

Maps and Mazes is a stunning collection of 10 pieces that were originally written for various international theater and dance productions, and their overall feel reflects this performative nature. These electronically treated, modern-classical beauties are somewhat dark and moody at times, and with their elegiac violin and haunting horns are both elegant and absorbing, and the ultimately lingering effect is one of series of spine tingling, late night serenades.

The original, the inspirational, the bombastic, the never bettered, the one.
'Don't make me wait' is all of the above and so much more. Classic to the core. Huge earth shattering record right here.
OK, so the scoop, for the uninitiated is this - the Peech Boys were Larry Levan's group, we're talking early 80's NYC here, 1982 to be precise, around the height of the Paradise Garage as Larry was making the transition from superstar DJ to producer. He brought a sparse, dubbed out, narcotic late night feel to the overall sound of this record. This was a short-lived project, but the influence is still felt today, the Peech Boys DNA is inside the veins of modern dance music, as is Larry's. There is no underestimating what an impact this record had. 7+ minutes of electronic bliss, trailblazing stuff, and don't get us started on the dub. Do yourself a favour, BUY this classic if you don't own it already, you'll keep coming back to it time and time again. Guaranteed. This essential 12" is repressed here in it's original 1979 glory, an essential classic that has stood the test of time for the last 30+ years & is now available again, remastered & repressed for 2017 in conjunction with West End Records, NYC.

'Prole Art Threat' is producer Anthoney Hart's second LP for Planet Mu under his East Man alias, after 2018's well received debut 'Red White & Zero'. It brings together a set of MCs from all over London, Darkos and Eklipse from East London and Lyrical Strally from near Feltham who were on the first album, Ny Ny and Mic Ty also from East London, Streema and 'Vision Crew' member Whack Eye from Lewisham plus Fernando Kep, an MC from the burgeoning Brazil grime scene. They work across a cohesive set of tight riddims forged from thoughtful amalgams of grime, dancehall and drum & bass. The album takes its name from a Fall song/mission statement of the same title, the band being self-consciously working class and led by a brilliant autodidact in Mark E Smith. East Man relates that the title is to be taken as “a reflection of working-class creativity and how the establishment marginalise us and (perhaps on a subconscious level) see us as a threat.” Les Back, author of 'The Art of Listening' and 'Out of Whiteness: Color, Politics and Culture (with Vron Ware)' contributes liner notes to the record: East Man understands the force and the democracy of the mic. Listening to Prole Art Threat is like being at a dance. As the mic is passed between each of the MCs, a different tale is ‘elevated... off the map’ as Ny Ny puts it. We hear instalmentsfrom Forest Gate, Lee, Lewisham and Manor Park as these ‘lyrical gaffers’ and ’top boys and girls’ tell tough stories of life under the scrutiny of the ‘Feds’ in a brutal and divided city. The bars and rhymes document what it means to live here; from the double standards applied to the sexuality of young girls and boys to the corrosive violence of everyday life. All this is dissected without compromise. This is not just aLondon story though, the inclusion of Fernando Kep from the burgeoning Grime scene in Brazil is evidence of the outernational reach of the music. The tracks on East Man’s album explode the wilful ignorance of those who see ‘the working class’ in contemporary London as code for whiteness. This is the sound of a proletarian urban multiculture, made from Caribbean and African influences, sound system culture, pirate radio and the inexorable rhythms of Grime, Drum & Bass, Techno and Dancehall. It is the stirring of the "white" & "black" working classes who are living together and coming together on their own terms in sound. ‘Making music because you love it... what the fuck else could you do?’ as East Man says. The tracks and voices you are holding in your hands are, as a result urgent, vital, as hard nails and twice as sharp.

Coming next on the Brookside imprint is a double sided, colour vinyl 12” banger featuring two new versions of First Choice’s epic “Armed and Extremely Dangerous” reworked and dubbed out by none other than Hot Mix 5 & Chicago House legend Ralphi “The Raz” Rosario.

Ralphi returns to Brookside and updates the track with a brilliant reworking on the drums and vocals, while adding a soulful keyboard track to give it an updated feel. Flip it over to the B Side and we have a new version of “Love & Happiness” remixed from the original multi track tapes by NY DJ/Remixer Mike Maurro who takes the track to over 10 minutes with instrumental extensions and beefed up drums keeping it respectful to the original as always.

Produced by and dedicated to the late legendary Reid Whitelaw.

In terms of "legendary" House records, it doesn't get any better than LNR's "Can't stop the house".
Originally released in the golden year of 1987 the Chicago duo of Larry Thompson and Rick Lenoir (with a helpful production assist from the mighty Adonis and a dope remix from Steve "Silk" Hurley) crafted this anthemic slab of chunky, funked out jacking House. "Can't stop the house" is a straightforward, stripped back club track, no special FX - just straight up party music for sweaty dancefloors. This official 2016 reissue contains 4 mixes of this stone cold classic - The vocal mix, basement mix, house of trix mix and the rapid edit, all culled from the numerous pressings that came out in 1987 - 1989. In a sense, this is "the complete" collection of this cornerstone of Chicago House. The full set. All audio has been lifted from Rick Lenoir's private collection of reel to reel tapes from his basement and remastered accordingly. This reissue has been realised with the full involvement of Thompson & Lenoir and is 100% legit! Don't snooze, this one deserves a spot in any self respecting House heads record bag or DJ set, classic material made available again for 2016 - You can't stop it!

The notorious London White vinyl only project returns with more original Rave material!

Selected by Gareth Wild this cut through VA sees excellent additions to the series via standout material from JK Flesh, 7XINS, Keikari and Voicedrone.

Tried and tested, dance floor killers!

All tracks written and produced by the artists.
Mastered by Simon at The Exchange.
Graphics design by Grade A.

NYC's legendary West End record label has contributed a fair few classics to the disco cannon and continues to influence dance music today with it's forward looking releases. 'When you touch me' is no exception, recorded and released in the golden year of 1979 and featuring the breathy, sensual vocals of a young Tanaa Gardner who had previously worked as a backing vocalist for numerous other projects until the label released her (other) stone cold solo classic 'Work that body' the same year on 12".
Both cuts featured on her self titled debut LP and boasted the combined production and studio talents of Kenton Nix, Bob Blank and of course - Larry Levan. Now, that's a serious line-up to have behind the boards (& in the clubs!) and of course 'When you touch me' was a classic with it's slow, elongated intro that calls to mind a sleazier version of Donna Summer's 'Love hangover' before launching into a full-on disco assault that you won't forget in a hurry! Yes, the record surprises you, Tanaa leads us into a false sense of a 'slow jam' and then - Boom - We're off!
Backed with the incredible instrumental version the 12" is repressed here in it's original 1979 glory, an essential classic that has stood the test of time for the last 30+ years & is now available again, remastered & repressed for 2017 in conjunction with West End Records, NYC.

For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London’s dance scene, from where it has ricocheted around the world.

Having conducted the first and set of major interviews with David Mancuso of the New York City Loft, Lawrence started to host Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In February 2004 he published the first of three published three pioneering histories that have excavated and championed the previously overlooked foundations of contemporary party culture: Love Saves the Day: A History of American Dance Music (1970-79), Hold on to Your Dreams: Arthur Russell and the Downtown Music Scene (1973-92), and Life and Death on the New York Dance Floor (1980-83). Since 2018 Lawrence has hosted and DJed at the community audiophile party "All Our Friends. Paper Magazine describes him as the “reigning authority on the history of dance music in New York”.

With knowledge to share, and a readership as well as a dance floor to feed, Lawrence released Life and Death on the New York Dance Floor as the debut imprint on Reappearing Records. A year in the making, a compilation featuring rare and iconic tracks that appear in his much-loved and heavily-thumbed classic Love Saves the Day amounts to the follow-up. The collection features several tracks selected regularly by Mancuso, the party host who exerted a prophetic and unparalleled influence on New York City party culture, as charted by Lawrence. It also includes choice picks from groundbreaking DJs such as Michael Cappello, Steve D’Acquisto, Francis Grasso, Richie Kaczor, Larry Levan and Nicky Siano, whose expressive contributions are faithfully recorded in Love Saves the Day. The compilation traces how disco grew out of the record collections and intuitive sensibility of these and other DJs, offering a unique survey of the era’s expansive sonic palette.

Re-issue of an extremely now rare 45 from 1977 that sells for £1,000 if you can find an original copy. The release is one of only two releases for the Cygnet label recorded at Malaco Studios. Earl composed both sides, "Very Special Girl" originally the B side, but switched around here as it became better known for its spins on modern soul room dancefloors.

Emotional Rescue is proud to reissue a collection of global music band, International Noise Orchestra, presented across 4 special EPs.

Founded when Berlin based musician Ulrich Hornberg mixed a newly acquired Commodore 64 with visiting Algerian drummer Jol Allouche's tablas "old culture meets new technology" the fundamentals were laid. Simple, maybe naive, with a curiosity to combine and inspire. 'The means of production must belong to the workers', investing in a studio, label and publishing house allowed INO the adventure to record what they wanted, a project via 'gastes', taking their influences and culture, in a melting pot of eastern melodies, african percussion, jazz, soul, dub, and pop an orchestra not of size, but of different playing styles and idiosyncratic interpretations.

Old meets new starts with their cover of Gimme Your Lovin, taking Winwood's classic and molding a white funk, pop, rock, dance hybrid, with enigmatic actor / singer Richard Strange's distinctive poetic delivery. Following Dr. Sarmaz, released under INO's alias - Internationales Gerauschorchester - the global dance vibrations begin.

Feel It Flow is pure 80's dance pop, with Glynnis Thomas (Savage Progress) distinctive tones leading to the jazz fusion of Atai, before closing with the guitar / synth / tabla rhythms of Culture Rescue Service.

Insane times like these call for insane measures to counter all that's going to shit in music these days. Great music in all its glorious forms should be timeless with no expiration date. Here at PRSPCT this has always been our mission and especially now this should count for every record any of the labels releases.

Thank god we got Limewax aka Maxim Anokhin in our ranks delivering a work so unique, only this artist could even be capable of producing. An album that for sure will survive the test of time and not lose any of its relevance in the years to come.

Limewax at his absolute best bringing his signature out of the box sound. Snaredrum warfare. Pots & pans, Moodswings, Weirdness, Dancefloor smashers and total mindfuckers. Settime LP by Limewax is a record any lover of good music needs in his or her life.

11 tracks on this record. 8 solo tracks + 3 collabs with KRTM, Dolphin and Baseck. Available as 2 12" in printed gatefold sleeve & digital formats.

Designed by Mike Redman.
Mastering by Bryan Fury.








h C2 Fingers With KRTM

Another West-End sure-shot! This sublime piece of early electronic Boogie has always worn it's "classic" badge with a relaxed sense of pride since it's release in 1982, perhaps it's the languid synthed out groove supplied by studio maestros Nick martinelli & David Todd or Brenda Taylor's sublime vocals reminding us all that the game of love is always a 2 way street that are to blame

Whatever it is, this is a solid, classic slice of Disco gold, more on the down to mid-tempo tip but still big enough to keep the dance-floors packed from the Garage to the Loft & beyond with ease! The production simply sounds years ahead of it's time (still does!) & it has the FUNK in bucket-loads, this is as essential as it gets, the real deal. Featured here are all the original mixes that were on the 1982 pressing (Yes! There's a dub mix!).

Re-mastered, re-pressed & re-released for 2015 with all original West End Records label artwork intact. Done in conjunction & with the permission of all right holders.

Kaluki brand co-owner Lee Spence aka Pirate Copy has forged a reputation in the dance music industry only a few can boast. Hailing from Manchester, the DJ / Producer & promoter has been responsible for some of the most legendary parties ever held in the city spanning the last 15 years. As a DJ he has spun in all 4 corners of the globe and has a trophy cabinet full of killer releases on labels such as Sola, Solid Grooves, Elrow and of course his own Kaluki Muzik.

For "PCB001", Spence delivers something special, dropping the exclusive to vinyl DJ tool that he’s been spinning at every show for the past 6 months to rapturous success. Utilising Sister Sledge’s “We Are Family” sample to great effect he delivers a modern-day rework of explosive proportions. Looping up that infamous guitar riff behind a stomping beat, adding hands in the air breakdowns, vocals screams and sultry strings it’s sure to ignite any dancefloor it’s put before. Coupled with the original, Spence also offers up the Dub Mix and Loop Tool to give all manner of options to unleash.

Dead Or Alive have sold more than 30 million albums and 25 million singles worldwide and gave Stock Aitken Waterman their first #1
single. Their first three albums, which the band wrote, all reached the UK Top 30, with ‘Youthquake’ reaching the Top 10. In the 1980s, they charted seven unique singles in the UK Top 40, with two further re-entries this century, with a remix and original version of ‘You Spin Me Round (Like A Record)’. Respected US magazine Billboard, ranked them in their all-time Top 100 most successful ‘dance artists’ chart.
‘Fan The Flame (Part 1)’ is their fifth studio album and was only released in Japan in 1990, where it reached #27, until a re-worked
version was included within the ‘Sophisticated Boom Box MMXVI’ box set in 2016. ‘Fan The Flame (Part 1)’ contains the singles ‘Your Sweetness (Is Your Weakness)’ (Japan #3), ‘Unhappy Birthday’ (Japan #14) and ‘Gone 2 Long’ (Japan #18). Renowned and in-demand singer, Tracy Ackerman performed all backing vocal duties, with Londonbeat and the London Community Gospel Choir appearing on ‘Total Stranger’ and ‘Unhappy Birthday’, respectively. Also featured is Billy Currie, better known for his work with Ultravox, Visage and Gary Numan. This special 30th Anniversary Edition of ‘Fan The Flame (Part 1)’, is the first time that the album has been commercially released on
vinyl in its original configuration, with original playing durations and will be pressed on 180g heavyweight white colour vinyl.

If you’ve visited Ibiza in the last few years, there’s a fair chance you’ll have encountered DJ Pippi and Willie Graff. The experienced duo has been DJing together on the White Isle for years, finding time between sundown sets to make music together in Italian veteran Pippi’s home studio. The pair’s first collaborative EP dropped on Drumpoet Community way back in 2007, with the belated follow-up appearing a decade later on Compost Disco. Here they make their bow on Leng with the “Lunares EP”, a typically warm and woozy collection of cuts named after the Spanish word for “polka dots” (a fashionable item in Spain and the Balearic islands throughout the 1980s).

They begin with the slow-burn sunrise bliss of “Lunares”, a shuffling and glassy-eyed affair in which evocative, emotion-rich strings, heady vocal samples, echoing sitars and lilting guitars slowly rise above a thickset backing track rich in dubby bass, swelling pads, starry electronics and snappy drums. Capable of tugging at the heartstrings, it’s a sublime slab of mood-enhancing bliss perfect for both weary dancing and sofa-bound relaxation. “Saxolicious” lives up to the premise of the title, with Pippi and Willie wrapping snaking, effects-laden saxophone solos around a languid, slow motion groove bristling with hazy intent. Expect chiming electric piano chords, dreamy pads, rolling grooves and another fine bassline that will worm its way into your subconscious, spark up a spliff and stay there for days.

The EP’s final musical moment is, if anything, even more spaced-out and intoxicating. Employing extra-slow beats and a prominent jazzy bass guitar part, the pair invites us to get locked in to a chuggy rhythm. Throw in druggy synth lines, tactile electric piano stabs and some suitably cosmic effects and you have a hallucinatory treat that would no doubt have gained the approval of the late, great Andrew Weatherall.

Disco icon D.C. LaRue and Fraternity Music Group go back to the original multitracks and rework two classics from the Pyramid Disco catalog. With DJ Spinna, Johnny Juice (Public Enemy) and Mell Starr on remix duties, LaRue’s “Face Of Love” and “Indiscreet” are revitalized and tuned up by and for DJs and dancers. Juice’s intense, ‘80s house flip of “Face Of Love” sets things off before DJ Spinna gives the song a classic white glove treatment, extending and dropping drum breaks at all the right times. Mell Starr rounds things out with straight-to-the-point mix.

The flip side sees Juice get creative with it once again, with a dubby, cut-filled version of the break beat classic “Indiscreet.” As a DJ who’s cut the original up a million times, Spinna knows exactly where to freak the beat on his version of “Indiscreet,” lacing it with monster open drums throughout. Once again, a classy Mell Starr mix closes out the side of this jam-packed 12-inch.

Heavyweight pressing and an immaculate full color jacket utilizing the original Pyramid Disco sleeve design makes this a must-have for any funky DJ.

One Sided 7", Limited edition of 200 copies on black vinyl, handstamped whitelabel with additional photo inlay.

Tribe'n'Bass? Tech'n'Bass? Drum'n'Tech? Whatever you might call it, the first ever vinyl release of the freshly launched imprint Freebreakz.FWD is a quite trip, a journey into the unknown and unexplored.
For their conjunctional studio effort that is „Alien Swamp“ we see Hamburg's baze.djunkiii and Berlin-based Donna Maya draw influences from spiralling TribeTekno and the freeform approach of the teknival scene, pay homage to their love for advanced, experimental Drum'n'Bass and fuse these elements with a stripped down high tech vibe somewhat reminiscent of early Minimal Techno coming out of Motor City Detroit. Imagine all these bits falling together at breakneck speed and with a well psychedelic notion and you'll be
captivated by one of the most unique dancefloor cuts from a space-exploring future, the electroid soundtrack for illegal raves taking place under the two suns of life-bearing exoplanets in binary star systems far far away.

“Desire” was Toyah’s first album for the EG label, and features her hit single cover version of “Echo Beach” as well as a cover of Donna Summer’s “Love’s Unkind”. Produced by Mike Hedges, the album features Robert Fripp (who co-wrote the title track) and Ronnie Wood.
The LP is pressed on 180 gram white vinyl and the inner sleeve features the lyrics.

We’ve worked with Ian Willson to reissue his insanely good, self-released West Coast classic “Straight From The Heart”. Privately pressed and originally released in 1985, this is the only album Ian ever put out. A magical blend of AOR/sophisticated funk/synth-boogie/spiritual jazz and modern soul, it’s a spellbinding record of many colours.

You might already know “Straight From The Heart” for the dubby-disco paranoid-balearic anthem “Four In The Morning”, and it’s easy to assume this is probably just another one of those one-track LPs. But trust us when we say it’s definitely not. This is an impressively slick record from start to finish, just ask those modern soul DJs and AOR collectors who’ve managed to find a rare copy in the last 35 years. It could’ve (should’ve?) been number 1 all over the world back in 1985.

Album opener “Think About It” is all sorts of right. It’s emotional. It’s tops-off. It’s funk in its purest form. And take the proto-modern-funk of the title track (half Dâm-Funk / half Dâd-Funk).

The shimmering, spiritual Bossa-Jazz of “If I Were You” serves as the album’s soaring centrepiece. A gorgeous suite of Cosmic vibes to get Gilles frothing, it sounds like nothing else on the record which makes sense given that it was recorded a couple of years earlier, and is the only track on the LP that wasn’t recorded in Ian’s own studio.

Side B opens with the propulsive ode to love that is “Two Is Better Than One”. Wonderfully sparse when it needs to be, it’s also richly percussive and that special kind of California-warm. Frenetic, speaker smashing synth and horn workout “Funk Invasion” dares you not to dance and “A Game Called Love” is heavily indebted to Prince with its lush, deep funk stylings. The sweeping sax-drenched instrumental “Song For Katelyn” is head-nod, beat-heavy AOR for that melancholic magic hour we spend our days longing for. It all adds up to the ultimate BBQ record.

Almost all of “Straight From The Heart” was recorded over a few months between 1983 and 1984 on Ian’s brand new Otari 8 track in the Oakland, California studio he built just the year before. Only “If I Were You” was recorded elsewhere, at Bay Sound in 1982.

A “full time poor musician” at the time (and he says he still is), Ian produced the album himself and played all of the instruments, except for guitar. That’s Peter Fujii you can hear, his good friend from growing up together.

Tower Of Power, Average White Band, Earth Wind & Fire and Stevie Wonder was the list of influences Ian gave us when we asked. No wonder the record’s just so easy on the ears.

And why did he put the record out himself? Simple, he had no idea how to go about getting a record deal.

When we first got in touch with Ian he had no idea that “Straight From The Heart” had become something of a cult record, let alone that there were those of us out there that thought the album deserved to be pressed again. The original tapes have long since been lost so this re-issue was only made possible by remastering Ian’s one and only pristine copy of the finished LP.

The end results have been worth the work, including reproducing the original’s unmistakeable sleeve. Ian Willson’s “Straight From The Heart” is yet another Be With release that will find an easy home on the shelves of those of you who up to now have only dreamt of finding a copy and also those of you who who never knew it even existed.

The Inhale/Exhale posse returns. For our 3 years anniversary and our 10th release we have prepared a super hot double 12 inch pack with shitloads of serious house cutz for your club, bar, living room and ears. With a bunch of love we like to present some common but also fresh faces to the Inhale/Exhale family and this compilation. Be prepared for endless nights full of dance pleasure. Including a wide range of House music from soulful to funky to bigroomesque.

NORTHERN SOUL ESSENTIALS!!! 2020 finally sees the long-awaited follow-up to the mega-succesful Frank Wilson 45 in our ‘Soul Essentials’ series. And they don’t come more “essential” than The Tempests “Someday”. What a fabulous record and a top notch dancer to boot! For many, “Someday” is the Northern Soul sound of the millenium, and it is! But we have to go much further back in time to find it’s roots on the scene. Back another twenty years in fact, back to the eighties to the “discovery-city” of Stafford where it was first played to an astonished and eager audience. It was originally released as an LP-only track on the album ‘Would You Believe’ on Smash Records in 1967. And what an incredible album it is offering up a number of potential B-sides for our single: the title track, plus a very credible rendition of “Ain’t No Big Thing”, “Happiness”, “I Cried For You” and “What You Gonna Do” – all totally fantastic. But, we went with the stunningly sublime and pleading “I Don’t Want To Lose Her” dripping in tortured emotion that sends shivers across the dance floor! The Tempests were originally an all-white 10-piece outfit formed in the early-Sixties in Charlotte, North Carolina. They went through a number of personel changes over the years but by the time they signed to the Mercury owned ‘Smash’ label their unique sound featured black vocalist, Hazel Martin. It is Martin’s implouringy desperate delivery that resonated instantly with the Northern Soul scene propelling the band to iconic status. Now, over fifty years on, the two standout tracks from the album are available back-to-back for the very first time! Also available the No.1 oldie “Do I Love You” by Frank Wilson.

New Zealand/Aotearoa is an island known for its lush nature and unique geographical positioning: at the centre of the Water Hemisphere, its surreal blend of beauty and isolation has a distinctive effect on its inhabitants and the art that they create.

With NZ ELECTRO, INDEX:Records brings to the fore one of the genre mutations caused by this unique environment, hoping to expose the people pushing dance music deep in the Pacific.

250 limited edition 12" vinyl in white polylined inner sleeve and purple card outer sleeve.

F.S.Blumm enters Andi Otto's studio with a whole palette of strings and a mission to create quirky, peaceful soundscapes. The artists intertwine acoustic and electric guitars, harps, electric bass, psaltery and cello in eleven electronica compositions ranging from neo-classical gravity ("Entangleland") to spaced-out dub jams ("Active Fault Map"). "Yukiyama" evolves in multilayered patterns braided over warm tape-noise. "Kilani" reminds of Rabih Abou Khalil's ECM recordings, with its oriental scale and a beat that counts to seven. The tunes shine most when silence takes over, when the sounds find space to unfold and decay. Far from being trivial ambient lullabies, these compositions burst with detail: Bells rattle, a kalimba resonates, and vintage synths induce their voltage into the acoustic framework. Andi Otto and F.S.Blumm have been musical collaborators in the studio as well as on stages between Berlin and Tokyo for more than a decade now, the heyday being their previous duo album "The Bird And White Noise" in 2014. On "Entangleland", Andi Otto contributes the cello, harp and synth recordings and takes care of the mixing. Compared to his recent releases on Multi Culti or Shika Shika, these tracks are less dancefloor oriented. The calm of this album is a flourishing environment for Otto to pluck the acoustic cello which we usually hear in a more processed way in his solo works. F.S.Blumm contributes guitar and bass recordings as well as saturated percussion echoes from his self-made spiral box. Blumm is famous for his acoustic solo productions since his early outings on Morr Music or Tomlab. He has also appeared on Pingipung a few times, for example with his album "Up Up And Astray" or as a Lee 'Scratch' Perry collaborator with the "Quasi Dub Development" project. He recorded three duo albums together with Nils Frahm and is a member of the mighty "Jeff Özdemir & Friends" collective in Berlin. "Entangleland" sees the two artists weave together a mass of acoustic motifs, synthetic melodies, riddims and improv jams where the magic emerges from the sum of the parts. "It's not about accompanying a cello theme with the guitar or vice versa," Andi Otto says. "Entangling sound means letting go of hierarchies, that no one is first. Our studio is not a control room, it's a place of imagination where we take things apart and make things whole."

Entitled ‘My Heart Is Hungry And The Days Go By So Quickly’ Danish singer and songwriter Jacob Bellens presents his fifth solo album. Thanks to his unique voice and his talent for heartfelt melodies, over the years Jacob, also known as frontman of I Got You On Tape and Murder, has become one of the most distinctive figures on the Scandinavian music scene. Slightly darker in tone than its predecessors ‘Trail Of Intuition’ (2018) or ‘Polyester Skin’ (2016), the new album lets us see the world through Jacob’s eyes.
Somewhere between left-field pop and a classical singer/songwriter approach, the songs were recorded in two sessions with producer Mads Brinch, drummer Tobias Laust, bass player Jonas Westergaard, keyboardist Malthe Rostrup and guitarist Tobias Fuglsang. “So many good friends and amazing instrumentalists have contributed to the sound“, explained Jacob. “And mostly, people were playing what they felt the song needed, which was an incredibly inspiring way of just letting the process develop naturally, and take on a life of its own.” As such, the recordings give off a distinct light-footed and organic feel. Rich in metaphors, the lyrics deal with personal perceptions based on everyday life occurrences that at the same time hint at the meaning of life in general - or at least suggest a higher perspective. The sonical expression is timeless but also modernistic and the lyrical point of view is refreshingly diverse, never just black or white. The sad songs have uplifting, often surreal qualities, and the lighter, uptempo songs also invite to a certain darkness. A flower basket full of difficult emotions, sprinkled with magical fairy dust that somehow makes everything worthwhile.

LIMITED EDITION 300 ONLY WHITE VINYL

There was a terrible egregious shift in vibration the day the transmission arrived. It came to me in a dream, as was natural for these particular occurrences, and left no time for preparation. The sound was unmistakable, a low baritone that echoed wildly and reeked of ancient fumes. A deeply monumental and monolithic apparition stood before what appeared to be a crowd of hexagonal beings. The vibrations worked through them in an apparent communicatory way, though would be impossible to translate in any logical linguistic fashion. I don’t know how but I knew they were aware of me, though their disposition was imminent of their consciousness as being collective, rather than individual; and were largely unbothered by my presence.
 
Once the transmission had finished it was clear that there had been a tamper. The kind of which Id seen  before, and had resulted in definite yet undefinable change in the fabric of reality.
 
I initially stumbled upon the odd and highly dangerous musical practices of Perhaps while on an assignment in Bermuda. There had been rumors of a local tribesman partaking in occult practices, of which I knew was native strictly to the Goat Bleeding Bad Men of the Congolese jungle. These rumors intrigued my journalistic nature, so I took the afternoon off in the hopes to possibly glean something that would be an easy pitch to a tabloid back home.
 
Upon arrival it was clear there was a strange foreign intervention within the community of the tribe, which was largely uninhabited upon first glance. Much of the surrounding foliage had been strung with the entrails of various animals and there were several disturbing fixtures composed of bones and various organs lining the commune. I managed to track down the tribesman, who appeared to be in some deep trance and was entirely unable to communicate, though seemed to be fixated on a single task: the drawing of a peculiar symbol. My researching the symbol resulted in only one hit, a piece of musical literature by a band Perhaps, who I later found to be recording in the area just weeks before.
 
It didn’t take long for me to become fully fixated on Perhaps, who were anything but coy about their whereabouts and metaphysical practices. Wherever they went a small commune followed, which was typically composed of deranged acid freaks, occultists, and Norweigian dairy farmers who had sold all their assets to follow the band after “hearing their music speak from the mountains”. After managing to crack into one of their camps that was stationed in an abandoned motel, I spoke with Jim Haney of Perhaps regarding their cultish practices, who gave little in way of detail but claimed to be working towards a deconstruction of reality through a linguistic utilization of vibration.
 
My stint with the cosmic beings through the telekinetic transmission had lead to one conclusion; that Perhaps have been in the works on something new. It seems as if they may have landed on the result which Haney had mentioned years ago. Through my continued interest I’ve procured the names of other members of this current project, which include: Sean Mcdermott, Tom Weeks, Ricky Petraglia, David Khoshtinat, Ben Talmi, Makoto Kawabata, Lucas Brode, Isiah Mitchell, Olivia Kieffer, Tyler Skoglund, Chang Chang. Though I can’t say exactly what is to come, it seems as if the ideas that were proposed during my initial meet may have been surpassed. Perhaps’ plans have begun to surface, and we are all at risk, for whatever that means. The great column and the vibrational prismic beings have shifted their attention to earthly matters, it would be foolhardy to not heed their warning. Though, self-preservation may be an impossibility.
 
Sam Hailstone Dec 24/ 2019

For the first release of the new decade we are honoured to introduce LA-based Oxóssi who has conjured a captivatingly sinister sonic palette for his debut EP on the label.

Sama
A scorching 8-bar intro catapults us straight into 'Sama', the first track of the release, where abandoned-jungle-ruins atmospheres meet threatening wooden flutes and weighty wobs - Oxóssi is not messing about. The narration proceeds with a melody sung by a penetrating laser-beam-like synth, which adds a space layer to this organic banger, getting more and more detuned throughout the track while kickstarting a call-and-answer march between the flute and synth-wob melodies. Don't expect to uncover the secrets of 'Sama' at a first listen, this intricate creation will keep revealing itself listen after listen.

Saut Dans Le Vide
An alluring pad harmony and a hidden inspirational message from the artist introduce the fascinatingly titled 'Saut Dans Le Vide', a masterful arrangement of unrelenting piano chords, subtle choir stabs, dreamy flute leads and compellingly staggering drums. Elements keep artfully alternating throughout this convoluted composition which arouses a pensive, melancholy-nuanced hopefulness.

Undead
It's time to get glitchy here, as 'Undead' makes its entrance. Shimmering melodies rain down in a glittery shower of eerie purple confetti, surrounded by rattling white noise strikes and playful-yet-mighty bass hits. As the story evolves, an 8-bit synth lead briefly takes us to a post-apocalyptic landscape before we momentarily wake up from this psychedelic daydream, just in time to take a breath and dive back in for round two.

Following on from releases by the likes of Whitesquare, The Cyclist, DJ Octopus and Daniele Baldelli & Dario Piana, Tropical Animals head honcho Ricardo Baez steps up to provide a three track EP of refined, richly textured, deep and brooding cuts.

Undulating synths, introspective chords and a tapestry of rhythms flow from the Florence native, at times moving through the depths of lo-fi, crunching house at others delving into the realms of acid.

"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).

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.

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.

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.

Dr Rubberfunk might not be medically trained, but he does know a thing or two about treating your ears, as he returns with his fourth album 'My Life at 45'. The eagle eyed will have spotted the connection to the good Doctor's second album – 'My Life at 33' - and fans can do their own maths as to when they should expect the final RPM-punning release in the trilogy.

Having established himself in funk, soul, blues and jazz circles with a ton of high calibre releases, the good doctor holds a reputation for quality productions, with a hands-on approach, both in front of, and behind the mixing desk, as an accomplished multi-instrumentalist and producer.

The new album brings together stunning vocals from John Turrell, Izo FitzRoy and Stephanie Whitelock, whilst the instrumental tracks, showcasing the talents of long-time collaborators Jim Oliver, Jonathon James and Ben Castle, make it clear just what a crack production outfit the Doctor has put together. Got a lovely quote from Fatboy Slim: "Very soulful. Doesn't sound too retro. Just fabulous...."

UK Radio support has come in from BBC Radio 2 and 6 Music from Craig Charles (Spot play Trunk of Funk feature), Huey Morgan, Rylan and Paddy O'Connell. US Radio on KCRW from Jose Galvan, Karene Daniel and Garth Trinidad.

WW Specialist plays have come in on WWFM, JazzFM, Radio Krimi, Solar Radio, Radio 1 Prague, WMPG, Milk n Chocolate, Rai 1 Italy, KaneFM, Cannibal Radio, Radio Z Nurenburg and Radio Nova Portugal

Press: Bandcamp: New & Notable, 45Live, Sphere Of Hip Hop, Word Is Bond, The Dutch Guy, Last Day Deaf, Monkeyboxing, Flea Market Funk, Staccatofy, The Find Mag.

DJ support from Fatboy Slim, Laurent Garnier, Dj Yoda, Renegades of Jazz, DJ Andy Smith, Auntie Flo, Doc Scott, Smoove, Chicken Brothers, Crazy P, Satin Jackets, Marc Hype, Mr Benn, Mat The Alien, Basement Freaks, Renegades Of Jazz, The Allergies, Hint,

White Vinyl 10"

A new release this winter marks a landmark moment in an important musical story. Way back in little 2009, the label hfn music was born in Hamburg, and made its introduction to the world with the release of the Trentemøller compilation Harbour Boat Trips: 01 Copenhagen.
Founder Tobias Lampe wanted to start a label that was more broad in scope than his previous, more electronic-focused projects, and the compilation provided the perfect opportunity to launch one. In the 10 years since then, the label has survived the whirlpool waters of the early 21st century’s constantly changing music industry, and released everything from pop to art-punk, with artists ranging from New York to the Faroe Islands.
Now, they’re about to put out their 100th release. Fittingly, given the label’s focus on new and innovative music, and the historic aspect of the release, hfn100 sees one of hfn’s best songs of 2019 put into the hands of the man it all started with, Anders Trentemøller. His Danish compatriots Blaue Blume’s new album Bell Of Wool is one of hfn’s standout releases this year, and so hfn100 sees Trentemøller remix one of that record’s standout tracks, the fragile, but soaring “Lovable”.
In Blaue Blume’s original, “Lovable” is an airy, tormented song, a gossamer-delicate composition that carefully stitches together layers and layers of shining synths that gradually build up and up into a peak, before crashing into a subtle beat, a musical journey that mirrors vocalist Jonas Smith’s trip from anguish to numbness. Whereas the original’s music sounds woven together from light, Trentemøller takes it into darker territory. He hooks the song to a harsh, sparse beat leaving Smith’s vocals bare and isolated in the burnt-out, dystopic musical landscape he creates.
Trentemøller mirrors the original’s careful building up, adding new elements to fill in the song’s sound, before it collapses into a tough, noir disco groove. It’s a perfectly realised remix – Trentemøller keeps the original song’s skeleton and soul, but fills in the space with sonic touches that could be no one else’s but his.Ultimately, it’s a fitting song for hfn’s hundredth release. For a label that’s always been a platform for its boundary-pushing artists, a collaboration between two of them, that sees an already innovative song pushed into a bold new shape is the perfect way for hfn to step into the next 100 releases..

Album features Ernie K Doe’s ‘Here Come The Girls’, The Meters, Eddie Bo, Professor Longhair, Lee Dorsey, Wild Magnolias and more.

This is the definitive collection of New Orleans Funk featuring acknowledged masters next to some of the earlier artists who shaped the meaning of funk. The album is also filled with many rare, sought after and undiscovered funk tracks. It covers the period from the emergence of New Orleans Funk in the early 1960's through to the mid-seventies.

The record is an essential part of anyone in any way interested in Funk's record collection. It has some vital ingredients in it that you can't find elsewhere. With the sound of the New Orleans Funeral March Bands, Mardi Gras Indian Tribes and Saturday Night Fish Fries all as inspiration New Orleans Funk developed into a unique sound.

New Orleans is a port town. Originally owned by the French, this was where many slaves were brought from the West Indies. Many of these slaves came from Haiti and brought with them the religion of Voodoo and its drums and music. It became one of the first parts of America to develop a strong African-American culture leading to the invention of Jazz in the early 1900's.

A main feature of Jazz in New Orleans were the Jazz Funeral Marching bands. Solemn Brass bands accompanying a coffin would, on burial, be joined by a second line of drummers and dancers which would turn the event into a celebration of the spirit cutting free from earth. This African tradition is strong in New Orleans and still goes on to this day. The backline drums play a syncopated style that is neither on the beat nor the off-beat. It is these rhythms that are the basis of New Orleans Funk.

The album comes with a booklet presenting a historical explanation to how and why this music came about, and with lots of information about the people involved.


Reviews: "A Perfect Primer For Funk Fans" Q (Top 5 albums of the year). "Probably the finest compilation that Soul Jazz has released. Essential" Time Out.

Gator Boots returns for lucky 13. Three edgy edits from Italian outfit Blue Mondays. Including longtime favorite White Wedding and other unexpected dance floor excursions. / Early Support: Soul Clap

The hyper talneted Stellar Om Source (NOT NOT FUN, RVNG, NO 'LABEL) blowing up new styles on this one!

"If there is one thing that leaps out from Stellar OM Source’s music, it is the sense of a highly active mind at work. There is an indivisible feeling that a real person is behind this dynamic flurry of tones, waves, vibrations and modulations. On I See Through You, the first full Stellar OM Source release in over four years, the spark that first LP piqued the interest of so many listeners is glowing stronger than ever.

In the 2010's, Christelle Gualdi carved a name as one of the most essential live electronic musicians around, dazzling dancers and home listeners in kind with her bombastic, acidic hardware jams. Circumstances outside her control forced a stop for the Stellar OM Source project. It was touring, including two shows in the summer of 2019 at Dekmantel Festival and Listen! that Gualdi credits as year highlights, which proved to be the integral jump-start to the engine.

Inspiration came rushing back thanks to the human connection of performing. Seeing a younger generation connect with her put fresh charge into the circuitry of her gear. All this accrued into new material on the road, and thus I See Through You was born.

The spirit of 2013’s cult favourite Joy One Mile is alive and well on I See Through You. There is once again immediacy, urgency and lust. But Stellar OM Source stepping into a comparatively more poppy and playful mode on these four tracks could also throw some. Fundamentally she says, it comes from a similar place, and ends with an enmeshed and positive outcome. Gualdi credits both “1995 rave” and “the clarity, bass and breath” of hi-def hip-hop productions as being twin northern stars for her to follow.

The artwork comes from friend and highly respected photographer & director Pierre Debusschere, whose work similarly flits between arresting close-ups and, well, the widescreen luxe of Beyoncé videos. “I’m definitely not a purist anymore,” Gualdi laughs – and with club-ready impact meeting human warmth, this shows in abundance.

“Night Alone” wastes no time in getting the listener up to speed. Is that an LFO sample running through “Night Alone”? Is this a lost Metro Area classic? Is that Stellar OM Source taking a diversion into searching Ibiza-rousing vocal for a moment, or did we imagine that in a heat haze? Where are the kicks? Oh there they are. How many elements are buried and revived within just over five minutes?
It’s hard to tell. Before we know it, “Lost Codes” is up and away, keeping pulses racing. A pitter-patter of baby kicks feel like a pre-tremor before a welting electro-Italo lead crashes into play. With fizzing energy, rasping synths and a frisson of danger, fans of Unit Moebius and The Hacker will be doing somersaults of joy.

“White Echoes” wastes kicks off the flip side with low gurgles descending briefly like a UFO reverse parking into the spot SOS had vacated. Soon, 303s are twisting like Chinese burns while warm chords offer a salve. The mood maintains on “Wild Palms”, the only song on this record not to feature additional mixing work from Peaking Lights’ dub-wise sensei Aaron Coyes.

True to form, the B2 is all Stellar: elements switching up and out, with all the fun and frenzy of capital-L Live action. Kick drums and bassline darting back and forth like a synchronised swimming routine, all elements in concert. The momentum of a runaway mine cart that you can’t help but strap yourself to. I See Through You is one for the dancers who have given Stellar OM Source the motive to move forward once again."

DJ Mad A (Adam Embleton) & Dr. Stevie The Ambient Guru (Stevie Hewitt) originally met when Adam picked up the Saturday shift at 'Record Mart', a record store run by Stevie back in the late 80's. They quickly bonded over shared tastes and enthusiasm for the growing dance club culture in England.

'Balearic Beat' had arrived from Ibiza, house music was taking over, and clubs were pushing boundaries, encouraging DJs to experiment with the dancefloor. Stevie was a regular selector at classic venues like 'Club Havana' and 'Flixx', where he blended house, electro & techno for the loaded English youth. Adam had signed to Island records, at 17, the first signee for newly appointed A&R rep Darcus Beese. Their collaborations in the Island studio is where the early 'Mad A' production techniques were cultivated.

With Adam behind the programming and Stevie on guitar, the two assembled a few songs to add to their explorative DJ sets. They printed a white label tiny pressing of 'The Mad Vibe', four tracks, "sending out waves that shock", their sound was a frantic blend of electro and house. The E.P. sold out fast locally, with their tune, 'Levitating Pharaohs' catching the attention of Drum 'n' Bass duo 'Spring Heel Jack' and labels like Mo'wax. As the 90's rolled on, the two continued to DJ as residents at clubs like Corner House, Brody's, Arena & Dickens.

Smiling C 2019 repress of this cult 12". Remastered and housed in a die-cut 12" jacket with pharaoh's head sticker.

"Play The Trax. Feel The Vibes. Mad as....."

Bitter End continue to rip up the rule book with a genre defying output that's STILL far better than the rest

Release No.11 hits the ground running with a whiteboy Disco-Funk bomb on the A, a relentless gallop with soaring synth work and an unwavering commitment to uniting sweaty bodies.

BU BU YAM YAM on the AA is an equally irresistible Jazz-Funk looper which harks back to a time when spats and talc Jazz-dancers vied for space in the dark with saucer-eyed rave explorers.

Dependably incendiary !

As always, limited and LOUD

With its latest release Matasuna Records continues to explore contemporary Afrobeat from different countries. After the last trip to the Swiss Mittelland, this time the journey goes across the English Channel to discover more new & authentic Afrobeat and serve it on a tasty vinyl single.

Heroes of Limbo is a new studio project from long-time collaborators, producer and multi-instrumentalist Glenn Fallows (The Impellers, Disposable Breaks, Andres y Xavi) and trombonist/arranger Gram 'Canyon' Treldavs.

Reimagining classic and contemporary pop as authentic 70's Afrobeat and Highlife from Nigeria and Ghana, this first release asks you to fire up your time machine in your mind and wonder what would the Happy Mondays sound like if they'd played at Fela Kuti's Afrika Shrine, rather than Manchester's legendary Hacienda Club? What if Disclosure were not a Mercury Prize-nominated electronica duo, but a Highlife Orchestra based in Accra, Ghana?

Madchester Woman takes Ebo Taylor's African Woman and uses it as a chassis for a cut 'n shut reworking of Happy Mondays' 1990 classic 'Loose Fit' - a hot and explosive mixture as you can easily hear!

White Noise, featuring vocals from Clair Fallows (The Impellers, Soul Grenades), re-works Disclosure & Aluna George's electro-house anthem into an uplifting slice of afro-disco dancefloor shuffle.

After stand out releases this year on Version and Wisdom Teeth Piezo returns to Ansia with a new 2 track EP Art Attack Gone Wrong / perccssszzzz. As has been evident with past records Piezo has always had a strong ear for using interesting sounds which have been expertly sculpted to create a unique sound universe.While releasing on other labels has allowed him to work closely with his peers the freedom of having his own label allows for him to explore his influences from the Italian rave scenes in a more direct manner. For ANSIA004 these influences are streamlined into a techno orientated sound palette with traditional four-on-the-floor beat patterns but with an approach more related to the sounds of Diagonal than Berghain.With 'Art Attack Gone Wrong' the milanese producer merges dancefloor efficiency with a playful approach to distortion, melody and sound design, while on the flip you will find 'perccssszzz', a no-frills heavy-swinged drum workout which, as the names suggests, refuses to include pretty much anything else than percussive elements. This time Ansia goes dark for the vinyl edition with white-ink stamped Tweetie on black label - and last but not least, 180gr vinyl cut deep and loud!

The music of Chel White is celebrated in Automaton, a collection of mostly unreleased recordings from 1985 to 1991, by this innovative animator, film maker and visual artist.

Having studied music theory in grade school, White taught himself drumming and played in a new wave band until, in 1981, together with Dan Gediman, they formed the minimal wave duo Process Blue (Alternative Funk, 1985 / Dark Entries, 2018). Here their experimentation went way beyond playing drums.

His interest in industrial music, fostered in the late '70s and early '80s while working in factories as a way to put himself through college, informed his use of electronic instruments, tape manipulation, noise and unconventional percussion.

By 1985, as a now solo artist buoyed by newly affordable audio sampling technology, White tapped into his earlier teenage fascination with the art and films of both the Surrealist and Dada movements - in particular their disparate and fragmented imagery and sound - as a means to create striking new sonic palettes.

Science & Industry - a track largely influenced by Balinese monkey chanting and the consumer excess of American in the 1980's - is a clear example of "music collage". Photocopy Cha Cha, made for the short animation film Choreography for Copy Machine (Berlin International Film Festival, 1992 / Sundance Film Festival, 2001) moved his music into the realm of early multi-media.

Experimenting further, tracks like Liquid Shadows and Pensive provide minimalist moments, before the drone-like Dream #630 and Forest Song point to a future that included music video works (David Lynch/Thom Yorke).

SIS003 welcomes Boston's deadliest modern wave duo Dead Husband to the SISTERS family across the murky waters of the Northern Atlantic for a host of dance-floor focused workouts.

A mixture of syncopated drum work and reverb drenched arpeggiators define Dead Husbands debut on the label across a capricious collection of tracks/music.

Doug Lee gives Facial Recognition the usual An-i treatment drawing out a monologue of emotion through the sub bass and sweet undulating use of distortion which constantly helps the track and the low end move forward, whilst electro aficionado Privacy offers up his take on the track with a rolling 4x4 composition true to his unique modus operandi, slowed down powerful.

And a remix debut for Papers, 5 years after down tooling from their white label series, they round off the record bridging the Atlantic gap with their distinctly steezey techno sound.

Nuova Musica Ostinata is the new Ep by Nordic/Mediterranean duo N.M.O.

This new Ep follows the N.M.O. heritage of merging acoustic drums with synthetic sounds in their self-called Military Space Music, as heard on past releases on labels such as Diagonal,The Death Of Rave and Anòmia, exploring fresh and undiscovered territories.

All three tracks are a lysergic caleidoscope of sound collage, dancehall, militaristic marches and kuduro, in a playful superimposition of patterns at 160 bpm and 128 bpm at the same time.

Nuova Musica Ostinata does exactly what it promises in its title, going head down into new directions, where white galleries and dark sweaty dancefloors coincide.

As we head towards the end of 2019, the CoOp Presents crew unleash a heater for the cold months, and a very warm welcome to the label for Danvers, with an EP entitled 'Light Movements'.

Joe Danvers has been building a diverse catalogue of dance music over the past several years, including releases on FINA Records, Boogie Cafe and Wotnot (his debut release also featured mixes from the likes of Joe Armon-Jones & Warren Xcince). Aside from his solo efforts, Danvers makes up 50% of Kassian, who in turn have dropped releases on Phonica White & Heist Recordings, as well as a series of highly-acclaimed remixes. Their debut track 'The Premise' was nominated as "Track of the Year" at Gilles Peterson's Worldwide Awards.

These various projects have been shown support far and wide from selectors such as Bradley Zero and Detroit Swindle, whilst Danvers & Kassian have been booked for parties across Europe this past Summer. Danvers is also co-founder of Curve Records, along with Luke Campion & Mike Wilkin of Fact / Vinyl Factory.

So to the EP - 4-tracks demonstrating Danvers' flair for eclectic bruk boogie. 'Devotional' kicks off the set, featuring the soulful vocals of Natalie May atop a rhode-laden bubbler. The EP's title track 'Light Movements' follows and is a more stripped-down affair, with big kicks and synth stabs. Next comes 'The Flex', inspired by Selectors Assemble runnings - a tasty stepper with a huuuuge b-line. Finally closing out the EP on a deeper jazzy vibe we have 'Calmer' featuring the don T. Williams.

Expect more big things from Danvers and from the CoOp Presents crew in 2020. In the meantime, get this one on your speakers and watch for the movements. Standardly essential business.

White Vinyl

This is "Altair", a collection of kaleidoscopic post-breakcore on Love Love Records from veteran french surrealist Ruby My Dear. Presented with artwork by TAPT on white vinyl.

The lights are out and a strange alien force surrounds the periphery of your hearing.. The sound of a haunting music box flickering in the darkness draws you closer but as you begin to approach everything explodes into dank crossbreed DnB rhythms that punch you in the gut and send you flying. As the bombardment of breaks momentarily subside you realise you've been beamed aboard the mothership and are now surrounded by unknown and indescribable visions.

You are given a brief moment to contemplate before your legs are swept from underneath you by a flurry of amens that would fry the minds of the hungriest of junglist's epicures. Journeying deeper into the heart of the beast you become aware of distant and immense rumbles but are stopped in your tracks by grinding brutal machinery rising up on all sides. As quickly as it appeared it starts to collapse and you are plunged into near darkness once again.

Pulses of light slowly begin to stab rhythmically from behind clouds and you feel yourself begin to move faster and faster through a void that is now streaked by a spectrum of colour. Floating debris starts re-arranging around you at light speed and every fiber of your being is simultaneously stimulated with needle-like accuracy. As the last string plucks play out the darkness falls away and the cover artwork comes back into focus. You immediately leave wherever you are and encourage someone else to experience this music.

Emotional Rescue again delves in the world of private pressings, with a reissue of British electronic pop meets proto-House duo 4AM. With copies of their self titled album now highly sought after, this timely reissue presents two of their songs as a stand alone 7".

Consisting of multi-instrumentalist Steve Kirby - piano, guitar, bass, programming - and vocalist Kevin Finch, 4AM came together after youths filled with a love of music. Following a string of band attempts, Steve dived in to the world of midi, allowing him to build a studio set up and play solo. A meeting with new work colleague Kevin quickly developed to joining forces to expand on his early demos.

Their melodic, dance-influenced pop draws on a love of Japan, OMD and The The, but also ECM jazz and a touch of "white boy soul". The TR-808 drum and hi-hats, string stabs and random acid squelches - although no TR-303 was used - highlights the influence the nascent House sounds emanating from the "second summer of love" of 1988 / 89 had in their music melting pot.

Over this, personal lyrics flow, full of honest emotions and a touch of youthful naivety thrown in - of relationships, love, sex and passions. Intended as a personal artifact, the original album was released in 1990 with no promotion or live shows and has taken until now, some 30 years, to find a cult audience. I want you with a Passion.

Originally recorded in 1977 at Malaco Studios and Sound City this still relatively unknown modern soul dancer is ready to light up dance floors, with the smooth downtempo flip side perfect for the afters. Once a singer in the Earl White Revue, Rochelle had her moment on this beautiful crossover record. After talking to some of the top modern soul DJs across the world, this record still seemed illusive for the deepest of diggers.

The record has been remastered by Grammy nominated mastering house the Carvery.

Discs of Fun and Love is a reissue label run by DJs and diggers Miche (Spiritland’s programmer) and Frederika (a resident at Spiritland).

ondon Records are to release Happy Mondays ‘The Early EPs’ on October 25, available digitally and as a 4 x 12” coloured vinyl box set. The release brings together the seminal Manchester band’s first four EPs – ‘Forty Five EP’ (1985), ‘Freaky Dancin/The Egg EP’ (1986), ‘Tart Tart EP’ (1987), and ‘24 Hour Party People’ (1987).

‘The Early EPs’, which have never before been available digitally, have been re-mastered from the original two-inch tapes held in the Factory/London Records archive. The artwork has been redrawn and digitised by original designers Central Station Design. The original Happy Mondays line-up will embark on a UK headline tour in late October, including London’s Roundhouse on October 31.

London Records will follow this release later this year with vinyl reissues of Happy Mondays first four albums - ‘Squirrel and G-man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out)’, ‘Bummed’, ‘Pills ’n’ Thrills and Bellyaches’ & ‘Yes Please!’ - later this year. None of these albums has been available on vinyl for over a decade.
‘The Early EPs’, which have never before been available digitally, have been re-mastered from the original two-inch tapes held in the Factory/London Records archive. The artwork has been redrawn and digitised by original designers Central Station Design. The original Happy Mondays line-up will embark on a UK headline tour later this month, including London’s Roundhouse on October 31.

London Records will follow this release later this year with vinyl reissues of Happy Mondays first four albums - ‘Squirrel and G-man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out)’, ‘Bummed’, ‘Pills ’n’ Thrills and Bellyaches’ & ‘Yes Please!’ - later this year. None of these albums has been available on vinyl for several years.

We love pop music. You’ve probably noticed. Witness our vinyl love-ins with Kylie, Róisín and Cassie if this has somehow passed you by. So when Lou Hayter (London-based musician, style-DJ to the stars, one of our besties) asked us to put her sumptuous funk-lite hit “Cherry On Top” on vinyl it felt like a neat fit. But this isn’t just any old Be With record. We decided such a monumental track would make the perfect inaugural release on Be Pop, our new, most likely sporadically active, side-label.

For those not paying attention in 2005, Lou Hayter was the keyboardist in Mercury nominated electro-pop outfit New Young Pony Club (who were a really good band, beyond the hype, and arguably a little ahead of their time) and she is currently one half of electronic duo Tomorrow’s World, a project with Air’s Jean-Benoît Dunckel. Her comeback single “Cherry On Top” originally appeared in late October 2018, but as a digital only concern. Unsurprisingly it caused a blog stir (Gorilla vs Bear correctly gushed) and what seemed like 6 Music’s entire roster of DJs had it on repeat.

But it’s not a proper single unless you can buy it in a record shop. So accordingly we’ve issued it as a full picture sleeve 12", pressed on white vinyl. And just to make certain, the instrumental and a cappella are on the flip. This is our homage to the classic dance/pop 12" singles of the late 80s and early 90s.

Riding an infectious sample of Marc Jordan’s yacht-rock classic “Generalities”, it’s a glistening, sun-soaked daydreamy jam, perfect for convertibles, pool parties, and roller-discos. It’s quite delicious. Whilst it’s pop without question, it wouldn’t be a Lou Hayter track without ice-cool nods to other magical genres; with Italo flecks and dream-pop vocals, this is cherry coloured funk indeed.

“Cherry On Top” screams “Mighty Summer Pop Radio Anthem”. We might have just missed the end of Summer 2019, but this 12" comes out just in time for every summer from now until the end of time.

NO MORE don't need much of an introduction - the legendary Kiel-based (No)Wave / PostPunk band project took the worlds dancefloors by storm with the release of their seminal single "Suicide Commando" in 1981 which was later re-introduced to the Techno / Electro youth of the world, when Munich's DJ Hell famously reinterpreted the tune in 1998.

Still actively touring and releasing on a regular NO MORE are now making their debut on the freshly launched Intrauterin Recordings-offshoot EL CABALLO SEMENTAL..

The labels cat.no. 001 is a first time on vinyl release taken off NO MORE's "The Return Of The German Angst" digital mixtape and sees one of the bands hit tunes being reworked in a unique, highly captivating manner, pressed exclusively as a limited to 200 copies whitelabel edition on purple / violet vinyl.

"123456789 (baze.djunkiii + Herr Brandt Dream A Nudream Remix)" exceeds the bands natural musical realm by far and transfers the song into MoombahGoth / DubWave territories previously unheard of, not only for a classic band like NO MORE.. The rework picks up latest developments from the urban and bass music world whilst keeping the haunted vibe of the original songs chorus intact, slighty references NuBeat / PostPunk and Dub, adds lush, dreamy Cosmic guitar textures and even winks to the underground whistle and rave posse with a sweet as candy piano breakdown.

In their conjunctional remix work we see Intrauterin Recordings-founder baze.djunkiii, quality electronic music activist and prolific DJ for more than 20 years, and Herr Brandt, founding member of the classic German Wave / Indie / Alternative outfit The Convent as well as of the praised underground Synth Pop / Minimal Wave band Sonnenbrandt, effortlessly merge the best of two musical worlds to create something new and captivating, like they used to do on the decks with their former BETA-ZERFALL parties which were the main and initial reason the two of them and NO MORE came together in the first place.

a A- 123456789 BAZE.DJUNKIII + HERR BRANDT DREAM A NUDREAM REMIX

Vienna-based DJ and producer, Heap, lands on Mechatronica White with a radiant and hypnotic vision of forward thinking dance music, assisted by Gamma Intel's menacing slow-burner on the flip.

Starting from this release, EPs in the Mechatronica White series will be released via one limited pressing of hand-numbered and hand-stamped white label 12" vinyls, as well as in digital format.

‘Synth Expressionism/Rhythmic Cubism’ LP from Chicago’s Jamal Moss aka Hieroglyphic Being is a collection of idioms that have no past and no future, his jarring use of polyrhythmic polyphony imbues a sense of timelessness.

The prolific catalog of Moss’ covers many musical dialects from his hometown and beyond. Never standing in one artistic sphere for too long, this adventure for On the Corner Records sees Hieroglyphic Being exploring a multitude of expressions of the American Avant-garde.

Abstractions Of The Future Past — Afro-Cubism: The Designation, conceived by an African With A Mainframe — An Etude Of Effigy — A Hieroglyphic Being.

Rhythmic Cubism: In this ‘Dissertation Of Disorientation’ Neal Andrew Emil Gustafson temporal considerations are put aside as polyrhythmic propulsion is the current flowing through the work. As prelude the fastidious ‘Rhythmic Cubism’, Moss enacts a flurry of white noise and musical coda as it phases in-and-out of synchronicity.

The disjointed dance of an alternative Black Music, ‘The Spiritual Or ‘Electromagnetic Worlds’ takes the meter down a fraction to exonerate a granular groove of visceral refracted complexity. Sonorus static sits alongside spastic shards of synthesis to reveal a melancholic medley before its conclusion.

‘Apocrypha’ collages distinct rhythmic source materials in an entrancing abstraction of ‘Hypersonic Hemiola’. An assertion of Art Blakey proportions. Perpetually pushed forward through the building of distorted percussion, Moss precludes into syncopated synapsis before and end of reductive symmetry.

Evolving into a studdered off-kilter groove, ‘The Redemption Project’ flows as a dissipating organ medley dissolves into a deluge of layered sonic textures, creating an indiscernible metric center before fading to a distant vanishing point.

Departing with a common-time ‘Timbuk2’ takes off like a classic Chicago Acid track, then makes a left turn towards the center as it drives the rhythmic motion into a dystopian dreamland, as the sax line surges forcing the track to break free from it’s charted course.

The Fragmented Fantasy of The Synth Expressionism/Rhythmic Cubism LP is a conclusive work that has no end, a conundrum of conceptual calculated improvisation. Drifting through time, this fragmented abstraction of Afro-Cubism leaves room for posterity, as each listen summons a new perspective on the suite. Something ever so common in the work of Jamal Moss. Charting new sonic directions, the very nature of its precedent makes it a truly Hieroglyphic affair.

Words By Neal Andrew Emil Gustafson

Destiny is made. Realised. Driven by the acts of vision. Hireroglyphic Being is a seer. Atomic resonance echoing from the big bang defies the conceptual reality of purity. The nuclear static of ‘white noise’ is HBs canvas. Channeling poly rhythms into the universe. Experience, repetition and eternal decay. From purity back to the absolute by way of a deluge of slurry across time. Infinite layers of distortion and refracted complexity. This is HBs canvas. Sound of eternity channelled through a bass bin, represented by its own impure reflection and fragments. Always more than it's whole but never as was before.

This album seeks to reach beyond ideas and emotions, beyond the comprehension of a human archetype. Beyond ultimate history, forwards and back. To ends and a singular beginnings. Timbuk2 is the frenetic intersection where the call and response of these ideas lock and dissipate back into the void.

Crosstown Rebels welcome Tochno Techno label owner Yulia Niko to release her first full EP, Paradise, a captivating three track EP featuring jazz bossanova vocalist Sil Romero and Italian talent Cioz on remix duty. Opening track Caminando encapsulates Yulia’s inspiration from walking on the White Isle of Ibiza where she spent the last year living. The hypnotising deep house melody of swirly synth pads and Sil Romero’s beautiful dreamy vocals wash over skipping percussion in an emotive composition. Cioz puts his own melodic stamp on the remix, creating a progressive club piece with bright keys over a reshaped bass line. Paradise continues the warm, ethereal atmosphere of the EP, bongos dance on hats as lush, relaxing tones fade in and out. Russian-born DJ, producer and label owner, Yulia Niko learned her trade in the clubs of her hometown before moving to the US to work as a resident DJ at Verboten, Brooklyn and Heart in Miami. Now touring the world, she is based in Berlin and runs a vinyl only label, Tochno Techno. She has also released on other esteemed labels such as Get Physical Music, Nervous, Heisenberg, Natura Viva and Dee-P-erfect.

’La Macarena’ is one of the brightest lights in Barcelona’s glimmering nightlife, and a landmark of the Spanish techno scene. 17 years in daily business brought thousands of electronic artists behind the decks and countless dancers and electronic music lovers on the floor of the legendary micro club. The new music label ’Macarena Musica’ features musical contributions by ’Macerena’ resident artists and special guests - all of them share a big love for ’La Macarena’ and Barcelona. The passionate crafted releases come as limited vinyl-editions and extended digital packages, complete with expressive black-and-white artworks, capturing the atmosphere of the club and the streets of Barna.

For the debut release, ’Macarena’ longterm-resident Patrick Zigon teamed up with his friend Paulo Olarte for ’Belleza Tropical’ - a declaration of love to the club and the heart warming vibe of Barcelona, which is strongly coloured by the latin way of life. It’s not surprising at all that this beautiful inspiration led Patrick Zigon to a tropical excursion into the deep cosmos of latin-infused Techno and House music. As in many previous collaborations, Paulo Olarte refines the productions of the Berlin-based producer with his naughty vocals, resulting in a poetic and love-driven statement for the latin familia. ’Belleza Tropical’ is the first glimpse into Zigon’s third studio album ’Between The Lines’, coming up in summer on his ’Traumraum’ imprint. Beside the Original and Instrumental versions, the single features remixes by the Spanish master of hypnotic techno, señor Eduardo De La Calle, Paulo Olarte and Blanali (digital only). Desde Barcelona con amor!

VSK is honoured to start the journey of his new imprint with a selection of great artists. “Equilibrio volume 1” is a presentation of the different visions of techno the label wants to focus on. Modernity, deepness and hypnotism, sound design and complex textures will be the key elements of the label.

The first track is a collaboration between VSK himself and the Polish producer Michal Jablonski. X&Y is a combination of Epic drones, glitchy fx and a metallic fm synth line. Speed and fast modulation are the main ingredients for the development of an obsessive groove.

Malaria by the Spanish artist Kwartz, is an hypnotic dance between extreme ranges of frequency ; white noise and rising screams are wonderfully mixed together with an aggressive broken-subbeat.
The surgical touch of Ansome brings with “Operational Amplifier” a really complex sound design and fierce rhythmic programming, while a distorted roar

beats hauntingly the time.
The last cut, Shori by the italian artist Flaminia, is an obscure and elegant march. Cinematic and ethereal strings come together with an aggressive raw beat , providing an excellent techno experience.

Especial is delighted to welcome Alphonse back to the label for a third EP to again show his deep knowledge of the past to make a future. After the debut dub-breaks-poem of Same For Me and success of his warrior afro-dance Smokey 12", Alphonse made new friends with acclaimed releases for Klasse Wrecks, Hypercolour and Black Orpheus, before here returning like a chosen one with four sun kissed blessings.

Before the fields of Letchlade, hills of Castlemorton or beaches of Skegness had witnessed Alphonse exploring the sounds of many a free party sunrise, summers were misspent travelling the "disco" buses of Europe, tripping the light fantastic from Spook to Amnesia, Disco Piu to Euritimia.

The music, shared experiences and inclusion all led to an acute understanding apparent in his production skills. Ambient dreamscapes, warm bass lines, 808 breaks, 909 kick, piano, flute and horn melodies atop all lift to the heavens. In Moan Up and White Pepper Alphonse takes, reshapes, rebuilds and rewrites to create anew, expanding minds and hearts like never before.

Long stories, short stores, a nod and wink, at its heart Stolen Sunrise is an EP of wonderful expression, a producer peaking, providing a soundtrack to share for those that look to the future horizons with love.

Vinyl Only

Jack On Black consists of Jib Rafill and Joe Le Groove, the pair met 6 years ago when Joe was djing in Malta. Their love electronic music, machines and old school sampling techniques sparked a desire to collaborate and organically work towards writing various genres of music, including Dub, House, Techno, Downtempo and even Film Scores.

Their music is made from passion, a love of technology and Roland outboard gear. Both have been on the scene for many years and separately have their own unique journeys and projects. Joe Le Groove started producing in the mid-nineties and was taught the basics by Darren White aka D-Bridge. He currently has projects on labels such as Desolat, Defected, Moon Habour,Snatch, Defected, Heidi's Jackathon

The pair also have released music on Cesare vs Disorders Serialism and written scores for forthcoming independant films.Their sets are performed live using outboard gear, mics, turntables and EFX. Expect the unexpected from this unlikely duo...

Plutonian Funk is an EP that has been crafted for lovers of House & Techno. It has been destroying dance floors across the world by a handful of the scenes elite, such as Seth Troxler, Quenum Richy Ahmed, tINI, Cesare vs Disorder, Carlo Lio, Victor Calderone, Marco Carola, Audiofly, Dubfire and more.

The EP is split across vinyl and digital, all the tracks on vinyl will never be released on digital format.

The boys have been working hard over the past few years to develop their sound and forthcoming live performances with visuals

Enter Jack On Black…

First run of limited black and white vinyl versions of this huge cold war themed classic. Includes Devil's Dancers amongst other tracks. Huge!!

Minimal Wave proudly presents a newly remastered deluxe double album of archival material by pioneering 80s minimal electronic duo Oppenheimer Analysis. Oppenheimer Analysis formed in London, England in 1982 by Andy Oppenheimer and Martin Lloyd. Their first meeting though was at the 1979 World Science Fiction Convention in Brighton. They quickly became good friends, sharing an interest in the work of David Bowie, electronic music and early synthesizer bands such as the Human League and Soft Cell. They also shared a love of old science fiction movies, 1950s graphics and comic book imagery and a fascination with post-World War II propaganda, the politics and aesthetics of the Cold War, and the social impact of the atomic bomb. Over the next few years Andy and Martin frequented the growing club scene, including Studio 21 on Oxford Street, and became involved in the developing Futurist and New Romantic style sub-cultures. During this period Martin recorded as Analysis, both alone and with David Rome of Drinking Electricity. They released their first single, 'Surface Tension/Connections' on David's Survival label in 1981. In 1982, Oppenheimer Analysis began writing and recording together at Feedback Studio in Battersea, and performed several times at The Bell, Islington, the 1983 World David Bowie Convention in Hammersmith, the Starzone Birthday Party at Camden Palace, the 1984 European Science Fiction Convention in Brighton and other live venues. Their first demo tape and twelve song 'New Mexico' cassette were sold at gigs and by mail-order, and were reviewed in Melody Maker, Sounds and Soundmaker.


For the years to follow, Oppenheimer Analysis became recognized among electro-music aficionados as a pioneering duo who influenced countless other bands during the club and home-recording era of the early 1980s and beyond. Their cassettes became massively collectible. In 2005 they re-formed with the release of a self-titled four song 12' EP of selections from the New Mexico cassette, including 'Cold War' and 'The Devil's Dancers'. This marked the first release on Minimal Wave. Now in 2015, we're happy to present the entire New Mexico collection, newly remastered and cut to vinyl for the first time ever, to celebrate our 10 year anniversary. This first edition of 1000 copies is pressed on deluxe 'nuclear' style black and white 160 gram vinyl, housed in a glossy gatefold silver and black printed sleeve, featuring all the song lyrics on the inside of the sleeve. Release date: May 16th, 2015. This quintessential reissue has been produced in loving memory of Martin Lloyd.

Microdosing is a series of compilation 12”s selected by Julienne Dessagne aka Fantastic Twins, and designed in collaboration with French visual artist Geff Pellet. Microdosing is a collective experiment aimed at helping you fighting back your modern obsession with happiness. You may deserve a nice day but the day does not need a nice you, nothing should be forced, everything is permitted. Microdosing will provide you with sonic healing weapons on regular basis and at irregular dosage. Those doses will favour psychedelic social techniques against self help tyranny, creation over soma, provoking over numbing, our outer-selves over our inner-selves. Microdosing refuses the fatality of the pleasure principle. Life is a struggle, time to embrace it. —— "My battery is low and it’s getting dark” We at Microdosing will make Opportunity’s famous last words fully ours. Some would see these as an epitaph on a black screen, we embrace them as a reclaimed fragility. Are we grains of sand wandering in space, hoping for a goal? No. We are the cosmos, the cosmos is us, unafraid of the end, unafraid of the void. Before the rise of the infinite silence, Microdosing brings you new guiding lights, white sun or black hole being a simple permutation of the kinetic rainbow. Oceanic’s “Parallel Lines Of Stripes” is a meandering mantra, an synthesised Moebius ring, a mission to your heart, that furthest star in the sky. Gilb’R’s “Cosmogonie” simply reminds us of the profound relation between spatial systems and the holy act of birth (cosmo, world and gon, conceive). The universe is a body, your body is your universe. Lucas Croon’s “Threshold Stimulus” is the soundtrack of a never ending voyage, the man is on a trip to the core sanctum. Imagine Space as a reverberation room cladded with bakelite. Losing yourself in delay repeats sometimes is the shortest way. Neuzeitliche Bodenbeläge & Sam Irl’s “Faeden” is another hymn to the umbilical chords joining us to the outer world, a black monolith of kraut acid, a pagan dance as portal to a destination only you can choose. Microdosing will be back soon with more enablers, helping to turn your petty struggles into a search for a meaning of life. The Quest lives on.

Hand stamped 10” white label from a new collaborative project between Paul Purgas (Emptyset) & artist and musician Imran Perretta. Working with South Asian sound archives AMRA explores diasporic echoes, archival disruption and Indian musical heritage, addressing themes of mythology, futurity and the trauma of partition.

Kajunga’s fourth release and second various artists EP features a track from each of the founding members: Berndt, Cloudy Kid, Ryote and Private Guy. This special edition white vinyl elevates the label to a new level of craft with full color, hand numbered jackets featuring artwork from Minneapolis artist Jeremiah Soup.

True to form, Kajunga aims to address every angle with a new compilation featuring four infectious dance tracks unique to each artist’s sonic palette.

Berndt opens with captivating, downtempo rhythms and moody extracts, followed by a smooth n’ sassy, electro-esque anthem from Cloudy Kid. Flipping to the B-side, Ryote plunges into a cosmic swamp overflowing in deep-trench clatter, while Private Guy takes on a more enigmatic approach, closing the EP in acidic entanglement.

Tenesha the Wordsmith, who came to the fore on On The Corner's 2018 release 'Black Noise 2084', has delivered a hard-cutting, gut-wrenching, and extremely moving spoken word album produced by Khalab that brings together different lines of black music - folkloric, jazz, and electronic dance - into an afro-futurist narrative with thunderous results.
Originally from Oakland, California, "a place where revolutionaries are born, Tenesha the Wordsmith originally began to fuse hip hop and poetry while living in Albany, New York, where she created her first collection 'Body Of Work'. Her early influences have returned with features from beatboxers and vocalists that give the album a distinctly urban hip hop vibe.

After a two year break, due to the birth of the sub-label Rhythm Control Barcelona, End Of Dayz returns with a new "All Stars". This time with 4 tracks in the vinyl version, plus a bonus track in the digi version.

On the A-side, the Argentinian, now based in Barcelona, Julixo brings us his song "1990 B i t c h" very much in tune with the EP he published in ARTS under his Awdha alias, hard groove techno with 90's house pads and a cool sample. Kaiser serves us a Millsian school mental bomb direct to the dance floor: "Still Life".

On the B-side we first have "The Crown" by Spaniard Pushmann, that has already been played by Dave Clarke on his White Noise Radio Show and on his set at the Awakenings Festival 2019. To finish the vinyl, the Man From Tucuman and the Barcelona's "Depressive House" king, Fede Zerdan, with his "Soc Pell".

Footjob is celebrating its fifth anniversary with a great double 12" remix compilation with contributions by Gerd Janson, Hans Nieswandt, Shan, Phonk D, Le Rubrique, Lukas Lehmann, Ise Jr. and Sascha Ciminiera

In February 2016 5 people from the Bass Agenda family met in person for the first time at Whip It! - an Electro night hosted by Dave Clarke and held at The Melkweg, Amsterdam. w1b0, RXmode, TFHats and Slaves of Sinus have all released on Bass Agenda before, all received regular support from Dave Clarke both on and off his infamous White Noise show (w1b0 on The Barons's Fabric mix CD, Slaves of Sinus shaking up the demolition panel at ADE, RXmode dropped twice on Dave's Beatport live session and TFHats on White Noise what seems like every other week this year!)
Inspired by the meeting, the friendship, the music and the experience of the night they set out to make the 50th release on Bass Agenda Recordings - 'Transhumanism.' Dance floor focussed Electro with an edge.
As a compilation of Dutch Electro from the deep underground the vinyl is a deep orange pressing and strictly limited to 200 copies.
Supported by UMEK, Dave Clarke, Elektrodos, Darkfloor and many more.

Onward and upwards - the Belgian dubstep imprint Overdue maintains its super-heated release schedule with full force. With a meticulously curated artist roster and continued support by the likes of Mixmag and other vital institutions, this release yet again perfectly aligns with their vision of subculture sound system music. Spearheaded by a positively prolific artist, their fourth record features Teffa on the controls. Following up on some massive 12" releases on crucial labels such as White Peach Records and Foundation Audio, the up and coming artist furthers his status as a versatile and highly capable producer with three tracks of unadulterated sound system pressure - including a weighty collaboration with Chad Dubz.

Arming the record, "Shell It" heads straight into the matter at hand, precision engineered weaponry clocking in at 140 BPM. Drums like mountains, effortlessly heaving immense amounts of low-end, smoothly embedded on silky pad swells. Fusing old-school elements with the present like few others, the lively arrangement does the rest to keep the crowd aflame without end. Music with an attitude - rewinds assured.

Fasten your seatbelts as the record kicks into overdrive once again with "Sludge" as faint police sirens and reverberate into oblivion only for it to implode into an instant dubstep classic. Driven by its ridiculously effective and minimal instrumentation, the underground unravels itself in sonic form. Spacious pressure wave emissions, especially primed for the dance.

Stepping up to the title track, "Illegal" tops off the 12" most beautifully - packed with Grime and Breaks influences and mesmeric melodies. As unshackled 808's pound away alongside a murderous set of percussions, the electronic soundscape treads through hypnotic harmonies and dance-inducing groove - Teffa signature style at it's finest.

Patience began as bedroom synth project for songwriter Roxanne Clifford after the break up of her acclaimed indie pop band Veronica Falls. Born out of a desire to experiment with a new sound and analogue synthesizers, the project has since grown to become an all-encompassing persona and serves as the main vehicle for the full emotional spectrum always latent in Clifford’s songwriting. From her first long-sold-out 7” singles on Night School, her knack for melodic hooks and oblique emotional stances already contained a glistening sheen of promise. ‘Dizzy Spells’ serves as an intimate portrait of Clifford’s creative adventure, almost diaristic, conceived and recorded in her home studio, as well as with collaborators Todd Edwards (Daft Punk/Uk Garage fame), Lewis Cook (Free Love/Happy Meals) and engineer Misha Hering (Virginia Wing). Dizzy Spells delivers a debut album that twists Clifford’s songwriting into new shapes and ecstasies. The album dances around melancholy, thrown to the floor like a bad dream to be circled, emerging bright-eyed into the early morning full of hope. The Girls Are Chewing Gum (produced by Todd Edwards) bursts open Dizzy Spells like fresh fruit: sweet and rich with a synth-bass line beamed down from Chicago House heaven. Exquisitely sung by Clifford, it’s a wonderful, funky, instant-classic hinting at sexuality and memories dredged from our bodies’ secrets. The bouncy production expertly renders the addictive power of our ephemeral pleasures. Living Things Don’t Last chases themes of longing and loss, opening up into a life affirming chorus that sings of transience, the passing of time and railing against inertia. It’s the perfect example of a song formula that Roxanne Clifford has almost patented: simple and cutting straight to the point. There are shades of Strawberry Switchblade or French synth pop pioneer Jacno in the happy/sad dichotomy and it is all the better for it. Dizzy Spells features all three long-sold out singles, embedded in the full depth of Patience’s soundworld they fit like pieces of a puzzle. White Of An Eye, The Church and The Pressure—all recorded in Clifford’s former home of Glasgow—crackle with razor sharp melodies and dancefloor-ready dynamics. There are exciting additions to Patience’s sonic palette, brought into sharp relief on Voices In The Sand. In this song, a plaintive Clifford enunciates a heart-torn plea to the antagonist, a mournful cascade of synths and haunting vocals evocative of AC Marias, a sepia-toned ode to anxiety, “a storm is on the way”. On No Roses, a Vince Clarkesque production belies a sunburnt sadness. Clifford defiantly sings “you would go out tonight, but there’s nowhere you like,” describing a disenchantment with her adopted city of Los Angeles, she longs for home in a singular refrain “No roses… no roses for us.” An ode to English folk singer Shirley Collins, a surprising yet innate influence throughout Clifford’s work. On Moral Damage, former Veronica Falls bandmate Marion Herbain joins Clifford on an anglo-french duet that feels instant and spontaneous, a cutting comment on emotional accountability. More than a vehicle for Roxanne Clifford’s songwriting prowess, Patience is holding our hand through the night, dancing with tears in our eyes, dizzy and spellbound.

LTD to 300 / SPLATTER VINYL. Planet Mu Recording artist, Gobstopper label boss, and Boxed club night founder Mr.Mitch provides the third PRESSURE release of 2019. This strictly limited, blue and yellow splattered vinyl platter is futurist dancehall at its most exhilaratingly demented. Random synth patterns, chaotic bleep emissions and all round oscillating madness ensures this furiously fresh track, flows freakily, like a bogle frenzied droid transmitting from Kingston, Jamaica, year 2049. Kevin Martin aka The Bug, nagged Mitch into submission, to release this Acid Ragga killer, after the PRESSURE label CEO, heard ‘Not Modular’ standing out clearly from Mitch’s gobsmacking one hour ‘Techno Dancehall Mix’ at the end of 2018. And as a tribute to South East London don dada Mitch, The Bug himself decided to slice, splice and dice ’Not Modular’ into two additional atomised remixes. The Bug’s ‘Straight’ remix, is sub aquatic bashment, pulsating deeply from the bottom of the ocean, buried in a blizzard of white noise and disembodied, hypnotic chimes, with panic sirens set to stun. Whilst the ‘Raw remix’ is no less disorientating and funky, sounding like Lenky’s classic ‘Diwali’ riddim rewritten by an 808 clap addict, with hips set to full rotation. Conclusively alien and ridiculously infectious.

The Black Keys’ long-awaited ninth studio album, “Let’s Rock”, their first in five years, is a return to the straightforward rock of the singer/guitarist Dan Auerbach and drummer Patrick Carney’s early days as a band. Auerbach says, “When we’re together we are The Black Keys, that’s where that real magic is, and always has been since we were sixteen.” The album includes the hit single ‘Lo/Hi’. The Black Keys’ touring begins in North America in September, with further international dates to be announced soon.



“Let’s Rock” was written, tracked live, and produced by Auerbach and Carney at Easy Eye Sound studio in Nashville and features backing vocals from Leisa Hans and Ashley Wilcoxson. “The record is like a homage to electric guitar,” says Carney. “We took a simple approach and trimmed all the fat like we used to.”



The “Let’s Rock” Tour will hit cities including Chicago, Nashville, New York, Los Angeles, and Austin. Special guests Modest Mouse will provide support on all dates, and Shannon & The Clams, Jimmy “Duck” Holmes, *repeat repeat, and Jessy Wilson will each open select shows on the tour. The band also headlines 2019’s Life Is Beautiful festival in Las Vegas on September 21.



Rolling Stone named ‘Lo/Hi’ a “Song You Need to Know” and said, ‘the Keys have officially returned, louder than ever’ and the New York Times calls the song ‘the kind of garage-boogie stomp that the band never left behind.’ In the words of the NME, ‘It’s the soundtrack to the type of party that doesn’t exist anymore, but one you still wish you were cool enough to get the invite to.’



Formed in Akron, Ohio in 2001, The Black Keys have released eight studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), and, most recently, Turn Blue (2014). The band has won six Grammy Awards and headlined festivals including Coachella, Lollapalooza, and Governors Ball.



Since their last album together, both Auerbach and Carney have been creative forces behind a number of wide-ranging artists:



Dan Auerbach formed the Easy Eye Sound record label, named after his Nashville studio, in 2017, with the release of his second solo album, Waiting on a Song. Since its launch, Easy Eye Sound has become home to a wide range of artists including Yola, Shannon & The Clams, Dee White, Shannon Shaw, Sonny Smith, Robert Finley, and The Gibson Brothers; it also has released the posthumous album by Leo Bud Welch as well as previously unreleased material by Link Wray.



Patrick Carney has produced and recorded new music with artists such as Calvin Johnson, Michelle Branch, Damns of the West, Tobias Jesso, Jr., Jessy Wilson, Tennis, *repeat repeat, Wild Belle, Sad Planets, Turbo Fruits, and more. He also created the theme music for the Netflix TV show BoJack Horseman with his late uncle, Ralph Carney.

Rotciv is the Brasilian born, Berlin based man behind Mister Mistery records. This prolific producer has been out there for quite a long time and you might remember "The Rimshooters", the long lasting collaboration with Massimiliano Pagliara himself. Now it is time for Rotciv to offer a piece of his synthesisers' craftsmanship to Funnuvojoere Records. This five tracker EP expresses Rotciv's skills with harmony and music progression. A1 AWAKENING starts off with a piano house arpeggio and slowly evolves into a trance acid-tinged explosive motive. Organic feeling drums develop giving it a disco touch that will put a smile on the crowded dance floor. A2 GOOD SPELL combines a pure cosmic style with a New Beat-like dissonance and uplifting vocals. B1 KNOW THE UNKNOWN keeps the experimentation levels high with distortions and an 8bit dialogue that drifts into a progressive-kind of sound. Deeper than the rest B2 puts on stage a dark landscape that reminds of a black and white vampire movie. B3 INTERMISSION follows up and gives the final ambient touch to this delightful EP.

INXS live on the Coffee Break Concert series at the Cleveland Agora on 27th June 1984.

Following the April 1984 release of their fourth album, The Swing, INXS began to make commercial headway outside Australia. They toured relentlessly to promote the album, and had an international hit with Original Sin.
The performance captured here, on 27th June 1984, was part of the WMMS Coffee Break Concert series, a live radio simulcast on 100.7 WMMS in Cleveland. It captures them at the peak of their early game, and is presented here with background notes and images

"One of the hardest thing as a musician is to maintain this naive, almost utopian and emotional approach to our music. Especially when it comes to a highly codified genre like Electronic music which appeared in the late 80s/early 90s like a promise of a bright future for music, everything sounding so fresh and revolutionary. When Katerina sent me those demos I heard that freshness, that pure intention, something I remember from discovering melancholic Detroit tunes in the 90s or early Warp ‘artificial intelligence’ compilations, bridging the gap between techno and more intricate electronica. It’s been a while since I didn’t hear an EP so sincere - and not JUST nostalgic, that makes me want to dance alone in my living room and forget about everything else. It’s a subtle thing that makes the difference but that difference is everything, it’s Music."

- Joakim

Dutch producers Mindmapper & Fre4knc team up to deliver the 'Martial Manners' EP in celebration of Translation Recordings' tenth vinyl release, which comes on a visually stunning piece of crystal & transparent white vinyl! Up first is 'Collessius,' whose heavy-rolling bassline rushes in with the
force of a tsunami, leaving a wake of dancefloor destruction in its path. 'Shutter Angel' is a futuristic track where tight, snappy breakbeats slingshot back and forth between an electrifying bassline that surges across the airwaves like a beam of focused energy. Mindmapper & Fre4knc
delve into darker territories on 'Fenryr,' whose gritty atmospherics and subterranean low
frequencies deliver a unique and immersive listening experience. They close the EP on a deep, meditative note with 'Mind of Steel' (digital only) where drum edits slice through growling bass riffs with blade-like precision. The 'Martial Manners' EP strikes the perfect balance between dancefloor and experimental to carry on Translation Recordings' ongoing mission to bridge audiences with quality music that can be enjoyed in all listening environments.
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Translation Recordings is proud to unveil its summer 2012 project capturing all moods sublime with the 'Universal Grooves LP'. A limited press on transparent blue vinyl, this special edition 12inch showcases a diverse sampling of Translation's full album that will not disappoint. The A-side brings the thunder showcasing the heavy hitting, rolling and dubby sounds of Loxy and Resound's 'Civil War' and Theory's calculated genius behind the ragga and amen tear-out, 'Final Confrontation.' Flip to a switch in vibe as DBR

In the previous reissues we talked so much about this fantastic piece and "Marie", a very cinematic and supportive song, that now it is appropriate to dwell on the re-visited version of Danilo Braca that extends beautifully on the AA side of this new remastered reprint. Danilo who lives in the big apple often frequents Ibiza, perhaps also for this he has been able to exalt the most rhythmic elements of "Shadows from Nowhere", putting the beautiful falsetto beats to excessive movements, just like the waves that wash themselves on the sandy beaches of the White Island. His teacher Mario Gentili from Layer Bows added a beautiful arrangement for the strings and his Italian-New York collaborator Alvise Marino spread some fragments of guitar powder on top. That's it. 9 minutes of pure bliss, but also of catchy rhythm!

Still on their six-legged victory lap following the massive success of the Blessed EP, Tiga & The Martinez Brothers look to the outer limits of techno and beyond for the remixes. “Blessed was a baby born of friendship, and you don’t turn your baby over to some dude making ‘dark, atmospheric bangers’ on Ableton. You take that baby, you put on her bonnet and you entrust her to some of the most successful men in the world so you can take your wife salsa dancing for once,” says Tiga. Longtime Turbo target Ricardo Villalobos delivers his personal magic on the remix of “Cleopatra.” This is not the kind of everyday magic you’d find in a kind word from a stranger or the childlike wonder of a child. This is the good kind of magic. Louis Vuitton Creative Director/Off-White mastermind Virgil Abloh, one of Time Magazine’s 100 Most Influential People in the World, was a big fan of “Blessed,” and turns in a remix that is closer to “future jazz” than Tiga would have accepted from anyone else on that list, except for maybe Hugh Jackman. Abloh also designed the artwork for the release, which depicts the fall of man as seen through the eyes of a jean jacket. “I speak for everyone at Turbo when I say we are delighted and honoured to bring these two friends and creative forces into the fold,” says Tiga. “Some people well tell you that hatred and divisiveness are the answers to society’s ills, but I respectfully disagree. It’s friendship that’s gonna see us through. If I can convince two of today’s leading cultural figures to roll up their sleeves and figure out my remix pack, imagine what I could do if given control of a small country. I don’t see any other labels making these kinds of claims, and to me that says a lot.”

Pushmaster Discs presents a new various artists series called “Pattern”,with old and new artists signed on the label.
On the A side you can find a new artist italian producer V111,who released for label as LNDN White/EartoGround with a raw techno track, 909 infected rhythm and nice arp. The other track on the same side is a big hard groove tune by the label boss Mattia Trani, ”Centaurus” is a groovy beast with minimalistic detroit chord.

On the B side new artists AADJA from toronto,canada and e11011 from buenos aires,argentina with 2 killer dancefloor tracks. Last but not least a crazy Track by Milan based producer Grienkho,150 bpm powerful track “T-E-X” with rave/gabber influencer and hypnotic melodies.

This release comes out with transparent vinyl and limited copies of 150. Don’t miss this strictly limited project!

repressed !

Justin @Cudmore's 'Are You Ready' is the track that's making you stay at the party long after you started saying you should really get home. Justin tells us that 'Are You Ready' is the result of some early experimentation with the studio setup in his old apartment and one of the first white label acid tracks he began playing out, even before his popular debut for The Bunker NY, 'Forget It' was released. 'The elements came together quickly in an afternoon session -- I had been recently inspired by a trove of acapellas I'd come across. I would say this is when arranging the track really clicked and I started truly assembling it with the dance floor in mind.' Over the next two years, the track became a secret weapon that made its way into the hands of DJs like Craig Richards, Mike Servito, Jackmaster, Derek Plaslaiko and Gerd Janson, becoming something of a sleeper hit.