Cerca:dance 6

This music spreads a good mood! German swing with German lyrics, this is the dance music that is popular everywhere. The Goldene Sieben, one of the most famous dance and entertainment orchestras of the 1930s, knows how to get people dancing. What worked in the past still works today! Bring the music that puts people in a good mood into your home!

4 Electroclash/Italo dance floor bangers recovered from the vault of the electro producer 'Konerytmi' under his alias 'The Klash' that remind us to the music of the news and/or social documentaries in the spanish TV and scifi movies soundtracks on the 80's decade.

Bruno Berle, the young songwriter and poet originally hailing from Maceió, the capital of Brazil’s Alagoas state, crafts songs that are simple, direct, and full of tender nuance. With his first album No Reino Dos Afetos (which translates to "In the Realm of Affections” and was released in 2022), Berle firmly established himself as a unique and important voice in the burgeoning scene of new Brazilian artists making a global impact, including peers like Ana Frango Elétrico, Tim Bernardes, Bala Desejo, Sessa and more. Now back with his second album, No Reino Dos Afetos 2, he stretches that further.

Bruno Berle’s music lives between two worlds – a traditional Brazilian folk talent steeped in history, and a contemporary, dreamy electronic pop; the result is songwriting that’s genre-bending, intentional, iconoclastic and consuming, spacious and sinewy and singular, a striking reflection of its composer while leaving space for the listener to settle in. The album follows Bruno’s relocation to São Paulo, and the songs are a reflection of his past and present. A rebuke of former categorizations of his work in Brazilian music scenes, and an idea of where his music can move, unfettered.

Berle’s music is purposeful in being a true portrait of himself, and a reflection of the music, art, and fashion scenes he personally moves through. Berle aims to provide an entrypoint for Black queer joy in his music, in his storytelling, in his presence and vision as a creative. For him, it feels subversive to be playing MPB laced with dubstep and lo-fi, a sort of intentional sacrilege, capturing a dialogue of modernity in traditional music.

Berle wrote most of the arrangements and co-produced his new album, Reino Dos Afetos 2 with longtime friend and musical partner Batata Boy, who is also from Maceió; the album was recorded in Rio de Janeiro, Maceió, and São Paulo, his new home, and picks up the conversation begun in 2022 on Berle’s debut album No Reino dos Afetos. Both records are the result of a nonlinear but coherent seven-year music creation process culminating in these albums, holding hands across space and time.

“Tirolirole,” the first single from the record, was released at the end of 2023; sun-soaked rhythms and soft voice coat the song, the lilting refrain of “Tirolirole” throughout – hushed, gentle, but somehow almost tactile, a golden-hour moment unlocked in the mind. “Tirolirole” is a triumphant future classic about the temporality of a blossoming love, with Bruno’s stunning vocal soaring over melodies which ebb and flow like the waters on the Atlantic shore. Of the track, Berle explains: “Despite ‘Tirolirole’ being an expression that evokes my childhood, just like the light words about nature, the harmony, and the poetry are epic, carrying a great hope for love.”

In fact, the guiding theme of No Reino dos Afetos 2 is a relationship, unfolding in the arc of a weekend. It traverses the innocence of an early young love, how that can be formative, can stretch on to take new shapes, or shape you. The album happens at the genesis of meeting someone and falling for them, before the relationship is thrown into overdrive – set in a big city, against a backdrop of major life changes, rising energy, the sound of São Paulo.

Something transcendental emerges in “Dizer Adeus,” with an arrangement that echoes a gospel atmosphere (evangelical and Catholic environments were pivotal to Berle’s upbringing). On “É Só Você Chegar,” piano and flute gracefully intertwine, a dance, while “Quando Penso” skews sparser, the voice-and-guitar minimalism somehow cultivating an entirely different shape – somehow both cozy and melancholy, with the background sound of a rainy day. Coupled with the lo-fi aspects that shape much of the album’s personality in the vocals and the production, No Reino Dos Afetos 2 is meticulously elaborated by Berle’s sonic alchemy, like on the mid-album instrumental “Sonho,” which feels like floating. “It’s the apex. It’s when lovers are sleeping together,” Berle explains of the feeling he wanted to encapsulate in the song.

On “Love Comes Back” Berle interprets Arthur Russell, the late Iowa musician who only reached greater visibility after he died in 1992. “His way of making music is similar to mine,” Berle explains. “He sings in a more fragile way, has more of an experimental way of recording, letting ‘chance’ appear in the final work.”

Even so, Berle doesn’t want his music to be buried in sentimentality – and the purposefulness of his craft serves as a sort of north star. The production, the arrangements, his restraint and intentionality in crafting his songs feel just as vital as their emotional cores. His songwriting is amorphous, fluid, an encompassing genre-bending movement in-and-of-itself, quietly daring. The songs are often in conversation with other works – drinking in fountains as diverse as the filmmaking of Ingmar Bergman, the poetry of Walt Whitman, the rhythm of Djavan, and the painting of Maxwell Alexandre. Musically he weaves together a rich tapestry of Brazilian folk, UK 2-step garage/dub, trip hop and sun soaked west coast songwriters; something akin to the worlds of Milton Nascimento, Arthur Russell, James Blake, Feist, and Sade colliding into one. But even then No Reino Dos Afetos 2 floats separately, a romanticism driven by a simplicity and intimacy, an open-ended possibility, Berle’s singularity as an artist at the helm of the ship.

If you're reading these words, you're about to become the lucky owner of the "From DJs to

DJs" pack, containing 14 gems on 7”, some of which have never been pressed before. This

carefully crafted and lovingly made pack should spice up your dull evenings by transforming

them into a cheerful mess.

Enjoy !






k F1. Want It Back (Feat. Guts & Patrice) L'Entourloop & Troy Berkley Remix

Significant Other unveils a new project: Pain Management. A new imprint presenting music and visual media across a variety of formats. The outlet launches with an original 4 track EP: When It Rains.

Christening the label with his first full length release since 2021, the subversive producer steps out from behind the curtain with a batch of tracks guaranteed to soothe psychic woes and challenge sound systems alike.

True to the name of the label, this debut release delivers a healthy dose of leftfield club weight. Tough and tender in equal measure, it’s a record that explores in-between zones. A fever dream of narrative experiments at the outer edges of club music, packing enough punch to shake a dancefloor, but enough delicacy to soundtrack the ride home. The final product is a meeting of outsider sonics and sleazy dance tropes, body music for restless minds.

The record begins with the lead single ‘RPG’ (A1). A smoked out, drug chug power ballad featuring fellow NYC underground alum James K. Anchored around a growling 4/4 battle beat, swells of dub and inchoate vocal cries rise intermittently from the haze. Within the fever dream fugue of thuggish sub weight and engine-room crud, a tender, sustained warmth shimmers.

A2’s ‘I Get Such Bad Headaches’ is a twisted club thumper built around a questioning vocal refrain. It’s a tongue in cheek nod to the label’s origins that takes shape in a sleazy beat track with some serious club weight. Slowed n’ chopped to the maximum, it’s a low slung sleeper-hit with attitude. DJ Screw meets Tylenol PM, a bass-boosted anthem for the neural punishment enjoyer.

The B-side opens with the title track, ‘When It Rains (It Pours)’, a droned out mess of distant voices and textural grit. Anchored around the titular looping axiom, the track has a deathly, abyssal weight to it. A claustrophobic hymn of surrender, faithful to its stark refrain.

‘Bad Blood’ wraps the record on a tender note. A sluggish heartbeat pumps beneath the fog of dub delays and distortion, propelling forward a lethargic rhythm. Out of nowhere a blissed out synth line pierces the tension. A sharp, emotive melody disrupting the paramnesia with something new. If the record’s title track suggests a downward spiral through some psychic storm, then ‘Bad Blood’ shows the outline of dry land coming slowly into focus.

Art Direction by Ciaran Birch

Is this release the last volume of the edits-saga?? ….It seems to be. Four bangers as usual courtesy from the boss FrescoEdits himself plus a fantastic edit from Rogue D and one from secret Italian pioneers “Kings of groove” . Super-smart sampling stuff for the most eclectic dancefloors!

Originally released in 2000, this album is where it all began for Decapitated, and remains their most incendiary and focused record. Taking influence from Morbid Angel, Slayer (check out that raging ‘Mandatory Suicide’ cover!) and fellow countrymen Vader, ‘Winds Of Creation’ straddles the line between pure energy and technical precision – even more impressive considering the band were barely out of school when recording it

The immediate successor to ska, the soulful, melodic sound of rock steady first developed during the long hot Jamaican summer of 1966 and reigned supreme thereafter for two glorious years before finally being superseded by the more energetic style of reggae.

Despite its relatively brief period as the island’s national sound, the rhythms of many of its biggest hits have continued to influence and inspire music-makers to the present day, resulting in renewed interest in the sub-genre among record buyers in recent years.

This superb 2xLP vinyl collection features 24 of the most popular recordings of the rock steady era, including the UK hits, ‘007’, ‘Train To Skaville’ and ‘It Miek’ and The Maytals’ anthemic dance-filler, ’54 46 That’s My Number’.

Pressed on high quality 140gm vinyl and presented in a stylishly designed sleeve, the album not only provides the ideal introduction to this hugely popular and influential sound, but is also a must for established fans of the Jamaican sub-genre, with many of the tracks appearing on vinyl for the first time in decades.

-This is MIA's first single since the hit song "Love Me Right".
-"Love Me Right" has sold 3000 physical copies and garnered over 5 million online streams to date.
-MIA a.k.a. Honey Deux, is known as the Queen of Miami Boogie.
-Crime Of Passion music video release with street date.
-Pressed on black vinyl. Paper inner sleeve in blank die-cut jacket.
MIA is back with her first single since “Love Me Right”. Her 2020 Gil Masuda-produced hit song has sold 3000 7” copies and garnered over 5 million online streams so far. It has become a bonafide funk anthem by top DJs in the West Coast and earned her an invitation to play at Funk Freaks parties and Hittin’ Switches festival. The song even made its way into the intro of a Silk Sonic Radio episode.
Side A’s “Crime of Passion” reveals a sultry story around compassion. The song’s deep bass and groove pick up where “Love Me Right” left off. The up-tempo 80s-tinged boogie of producer Gil Masuda provides the backdrop for the Miami-born singer’s unmistakably silky voice. “Am I your shining diamond, baby, kryptonite?” It’s a line sure to lure you to the dance floor.
Side B’s “Love Bug” is a chill roller skating jam with lush Rhodes chords and warm synth tones that will appeal to anyone who’s ever been in love.

A selection of 28 Colombian cumbia bangers for the dance floor from the deep vaults of Codiscos and associated labels Costeño, Zeida and Famoso, all of them originally released between 1962 and 1983.

“Cumbia Cumbia Cumbia!!!” combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns.

The historical origins of cumbia in Colombia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together.

The main record companies in Colombia such as Discos Fuentes, Discos Tropical, Sonolux, Zeida-Codiscos, Silver, Ondina, Discos Atlantic, Vergara and Curro were created between Barranquilla, Medellín, Cartagena and Bogotá from 1936 to 1954. All of them, without exception, recorded Colombian tropical music that over the years was given different names such as porro, gaita, fandango, paseaito, merecumbé, mapalé, bullerengue or, of course, cumbia.

After digging deep into the overwhelming archive of Discos Fuentes in our previous volume, this second instalment in the series “Cumbia Cumbia Cumbia!!!” comprises 28 Colombian cumbia bangers for the dance floor from the deep vaults of Codiscos and associated labels Costeño, Zeida and Famoso, all of them originally released between 1962 and 1983. Legally established on July 1, 1950, Zeida (later Codiscos) was one of the companies that consolidated Medellín as the epicenter of the Colombian recording industry in the central decade of the last century.

“Cumbia Cumbia Cumbia!!!” combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns.

Throw the gauntlet: Fast Castle is back with Gent1e $oul’s “Shoals”-EP, our furthest excursion into the unexplored depths of mind-bending bassweight! Having perfected his build order on his recent “Block Printing'' and “Silk Armor”-EPs, Gent1e $oul continues to infuse his productions with sonic bass strategies over five versatile tracks.

“Dark Age” provides an aggressive opening, immediately applying pressure with nasty bass wobbles, dembow echoes and a 4x4 switch that might catch distracted players off guard. Tried and tested in many settings, this is an essential option for the incoming dancefloor rush!

With its heavy neo-stepper energy, ”Bad Neighbor” lays siege to dancefloor resistance with a piercing lead, breathing drums and powerful waves of sub wubs. Just like the AoE2’s legendary trebuchet of the same name, “Bad Neighbor” – paired with the right Soundsystem – will make the walls shake.

“Dusty Acer” is a homage to Gent1e $oul’s dear but aging AoE2 gaming machine, capable of producing similar noises to this dark UKG cuts’ central bassline.

Deep dubstep cut “Illumination” takes us to the for a wholesome mana refill: Mystic ambiences make you pull down your cowl, before diving into a fully blown sub massage.

The standout self-titled cut “Shoals” concludes the release: A deep-yet-powerful half-stepping perc grower at 160bpm, operating on subdued rhythmic shifts and layers.

As a special tribute to the AoE2 community, all tunes are flavored with the game's original sound effects. Thanks for keeping us inspired, Nili_Aoe for NAC5 and T90 for HC5!

BINK!

A new style of dance music created by South African Kwaito legend Sandy B, Berlin boogie-funk monster LJ Simon and Canadian crown prince of downbeat disco, Eddie C.

Brought to you through Red Motorbike Records, 'Sukuma' is the first vinyl release to showcase Sandy B's pioneering Kwaito rap and r&b vocal stylings over the mid-tempo electronic funk championed over the years on the BIKE record series.

Join Sandy B as he embarks on his 30 year anniversary World KwaiTour this year introducing the world to the new dance sound of BINK!

Ruf Dug, the Mancunian record producer, radio host, and self-professed video game freak is back for round two on Pinchy and Friends recordings with a 6 song ep that truly defies categorization.

On this latest outing, Ruf Dug touches on genres as diverse as Dub, Zouk, Melodic House, Balearic Chug, Reggaeton and more....

On side A... 'Asking for Trouble' comes brazenly out of the gate with 'buttoned down'- a bold and instantly iconic Zouk-inspired dance floor destroyer.

It is then followed up by the soothing, downtempo sounds of 'Pomegranate Dub' - another instantly iconic track featuring a lead horn melody that evokes memories of the late, great John Hassall.

Jumping over to side two, things kick off with 'Watching', which, even at it's chuggy BPM, is as deadly as a dance floor track can get.

It’s a welcome return to the label with an EP that will sound as good by the poolside in Ibiza or on a wet Tuesday afternoon in Manchester. Buy or cry!

Repress!

Landing next from toolroom is a 4-track vinyl sampler of some of our biggest recent releases including a label debut from Liverpool based DJ & producer Essel with her single ‘love vibration’, Dutch DJ & production powerhouse Guz who teams up with Italian production duo havoc & lawn for ‘come back’, fellow Italian DJ & producer Qubiko who delivers brand new single, ‘confused’ and UK duo wh0 and Brighton based Kideko for their new collab ‘soul searcher’. Four killer cuts that you will not want to miss!

Countless radio plays on radio 1 from Danny Howard, Sarah Storie,
Pete tong Other notable radio plays – kiss FM, toolroom radio, Sirius XM, data transmission radio, radio 1 dance anthems, radio 1 party anthems, Rinse FM, select radio, Tomorrowland radio

Dj Support From Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, Gw Harrison, Dj Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’attis, Mousse T, S-Man, Huxley, Kc Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, Tcts, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

Son Mieux is a collective formed around Dutch singer, songwriter & producer Camiel Meiresonne. Once the keyboard player in Soul Sister Dance Revolution and in his young years frontman of All Missing Pieces. After playing in bands since he was eleven years old, he is now a grown young man, ready to invite the world into his own. Son Mieux writes his songs in the after hours, which make his songs both intimate & alive. By combining folk, indie and electronic music, he manages to create a unique sound and to process the expressions of his personality in his music.

The past two years have been an accumulation of highlights for Son Mieux. Single 'Even' became 3FM Megahit, debut EP 'Vice Versa' (2016) was streamed more than 6 million times and the song 'Easy' was used under major advertising campaigns from ING, McDonalds and Deezer. The band toured the country with sold-out club shows, festivals such as Zwarte Cross and Where The Wild Things Are.

In 2017 and 2018 they took their time to write the debut album. With singles 'Hiding', 'Everyday' and 'Old Love', the debut album Faire de Son Mieux makes a more mature and fuller sound. Together with producer Thijs van der Klugt (Douwe Bob, Sue the Night), a deepening was sought without losing the characteristic Son Mieux sound.

Faire de Son Mieux is available as a limited first pressing of 500 individually numbered copies on white vinyl. The package includes 5 exclusive inserts with song lyrics and photos.

‘Queen of Clubs’ Dannii Minogue teams up with Sydney based DJ and producer, Autone, for their electrifying new track 'Thinking 'Bout Us,' a fusion of pop and electronic beats. With remixes to ignite dance floors and an exclusive acapella version, this vinyl is a true collectors item. Limited edition 300 units.

“A corollary is a statement that follows naturally from another statement”

Presenting Corollary1, the first release in a new remix series flipping cuts from O.M.Theorem’s Lemma projects.

For this one we invited good friends DJ Sotofett and Ossia. Regular conspirators in bacalao and dosa dinners, monthly hangouts at Globus-Tresor and sound system parties in Milano & Bristol. Through appreciation of similar frequencies and shared experiences, friendships grow. It felt natural to invite the two to do remixes for us. One evening we bumped into them on the dancefloor during a live concert by Senegalese percussion outfit Ndagga Rhythm. This was a sign. BAM! The EP came alive.

On the A-side, we hear two fresh takes on Lemma1-B2. DJ Sotofett with his dub heavy output on Honest Jon's and Sex Tags Amfibia invites Ghanese Afro-Dub drummer Ekowmania for vocals and usual collaborator LNS for keyboard work on his sub-deep club-stepping colourful remix. We bet the infectious vocals will linger in your mind for a long time. Play it LOUD for full sub bass effect! The second interpretation of the same track is from O.M.Theorem. A techy dubstep banger, this one!

On the B side, Bristol and Peng! Sound's Ossia picked his favorite Lemma1-B1 and drove the mixing desk in true Dub-style fashion with a classic riddim that meets an avant garde melody going in and out of the mix. This is a remix that deserves attention, with every listen revealing new layers and details. Even the premasters sounded phat as a greasy hamburger on the German capital’s legendary Super Power Soundsystem! The second interpretation is from O.M.Theorem, rebuilding percussion and bass from Lemma1-A1. Liberating himself from all restrictions the result is a footwork-reminiscent 160 cut, ready for the dance floor.

Mampön are back! unleashing their Afrobeat enchantment on a new 45 release.

Crafted for the dancefloor, "Si Algún Dia Has De Caer" combines party beats with Spanish lyrics. Hectór Rodriguez, the band's guitarist and lead singer, creates a deep connection between celebration and introspection on an enchanting vocal-rhodes introduction before the rhythm takes you for a dance.

On the B-side, Mampön maintains the Afrobeat tradition as more than just dance music—it's a protest, a resistance. "Papeles Rotos" portrays people as slaves with rights on wet, torn paper, urging listeners to forge their path regardless of the cost.

Mampön emerges as a true soft power, destined for every dance floor, spreading Afrobeat magic.

Following on from his atomic single release, Phonk On The Dancefloor, Sofia’s Raredub now presents his highly anticipated full EP via Mutual Pleasure Records. Rare, Raw and Ready is a high-voltage introduction to the Bulgarian bass baron, a title that is fully justified with this latest venture of sound.

Raredub wastes no time in setting the pace for this project, as we’re thrown straight into the searing furnace with opening track BAMBA. Having been road-tested by the likes of KETTAMA, KiNK, Skin On Skin and Raredub himself, BAMBA, with its infectious vocals, gut-hurdling bassline and devious rave-stab melodies, is a carefully constructed weapon of sound, with proven devastating results.

We’re then brought to Juicy Fruit, which sees both Raredub and Mutual Pleasure’s head-honcho Partiboi69 lock palms to create a deeply sensual, highly contagious dance-floor anthem that sees the producer masterfully blend hissing hi-hats and a series of infectious rising chord patterns and melodies which, when combined, are certainly set to cause nothing but dance-floor destruction.

Since being played as the opening track to Partibo69 and DJ Heartstring’s stingzone set, L.L.L is a track which, with its mind-warping bassline,euphoria ladened vocals and pad-work, has enjoyed a growing sense of anticipation from listeners, eager for its arrival.

Snappy Chulo sees Raredub again use a series of piercing rave-stabs to drive his sound, which is partnered with a plethora of electronic experimentation and instrumentation, before the seismic bassline of Break Of Dawn see Raredub bring the walls and ceiling crumbling down; presenting a suitably fitting finale to this atomic attack on the senses.
Rare, Raw and Ready brings Raredub’s prowess for production to the fore, as the Bulgarian producer conducts wild electronic experiments, bending genres and sound into form, to create a versatile, highly contagious and highly atomic serving of sound.

repress !

Following acclaimed singles from Powell, Blood Music, Shit & Shine and Prostitutes, the next release from Diagonal is a landmark. It marks both the London label's first full-length album release, and the return of abrasive and furiously funky hip-hop deconstructionists Death Comet Crew, one of the most quietly influential underground acts to emerge from the creative melting pot of 1980s New York.

Ghost Among The Crew documents the group's return to studio operations for the first time since the 80s, as well as their first ever full-length studio album. It's a remarkable trip: a consolidation of their early feral disassemblies of hip-hop and electro, but also broader in scope, chewing up and spitting out fragments of soul, jazz fusion, punk and industrial music.
Death Comet Crew were founded in New York City in 1983 by Stuart Argabright, a founder member of post-punk/industrial mavericks Ike Yard and the mind behind Dominatrix and later Black Rain. Their sound, then as now, was a singular proposition: urban in mood, exploratory, often compellingly danceable, yet confrontational. It emerged from the interweaving talents of the group's varied members: guitarist Michael Diekmann (of Ike Yard), bassist Shinichi Shimokawa (later of Black Rain) and Nick Taylor aka DJ High Priest, frequently joined by the late, great hip hop artist and graffiti writer Rammellzee. Having recorded two studio EPs - 1985's At The Marble Bar (featuring Rammellzee) and its follow-up Mystic Eyes - the group disbanded barely a year after forming. They left behind a reputation for their incendiary live performances, several recordings from which were gathered on crucial 2004 compilation This Is Riphop.
The musical climate that first birthed Death Comet Crew was one of fertile cross-pollination of styles. In the late 1970s and early 1980s, the seeds of modern day urban musics - hip hop, punk and post-punk, no wave - were taking root in the streets of recession-struck New York City. Argabright recalls dancing at the downtown Mudd Club around 1980 to a bold mixture of styles, with DJs cutting from synth-pop and post-punk to funk, soul and early hip-hop: Bowie and James Brown next to Run DMC, Ultravox and Gary Numan. Indeed, the names of his New York contemporaries operating around the same time - the likes of Liquid Liquid, Run DMC, Afrika Bambaataa, Arthur Russell, ESG, Swans, Sonic Youth, Bill Laswell and more - have since been inscribed in modern music history.
With previous projects Dominatrix and Ike Yard having recently become inactive, in 1984 Argabright formed Death Comet Crew as a means of exploring new sonic avenues. He'd been experimenting with tape, recording and procesing the sounds of his surrounding environment and dialogue from films and TV. Joined by Shimokawa, Diekmann and Taylor, and using drum machines, turntables, spidery guitar and bass, the group assembled a scrambled collage of rhythms and sampled voices. Their live performances were, in Argabright's words, "aurally violent, sharp-edged, downright lacerating", hacking gleefully away at hip hop and electro's rhythmic frameworks. Rammellzee joined the group to vocal 1985 debut EP At The Marble Bar; his MC turn on highlight 'Exterior Street' is all the more remarkable for having been entirely freestyled in the studio. When Death Comet Crew reformed in 2003 for a string of live shows, he continued as an active member of the group, touring and working with them during the recording of Ghost Among The Crew, until he sadly passed away in 2010.
After reforming, Death Comet Crew began writing and recording new material. Now, following on from their just-released Galacticoast 12" through Citinite, Ghost Among The Crew - its title a homage to Rammellzee - hones the group's abrasive early experimentations while tripping into bold and astrally minded new territory. Alongside the core quartet of Argabright, Diekmann, Shimokawa and Taylor are new voices, including Rapscallion (a friend of Rammellzee's), Jessica 6/Hercules & Love Affair singer Nomi Ruiz, and Carolyn 'Honeychild' Coleman. Its eight tracks are steeped in the impulsive spirit of electric Miles and the deep space romances of Sun Ra, and possessed of an enigmatic yet undeniable pop edge. But equally they're pricked with urban paranoia and dread, traits that have long been hallmarks of Argabright's musical projects.
'Me Czar Of The Magyars' opens the album in a twist of tension like the turning of a ratchet. Its taut electroid shudder is paired with machine gunned cymbal hits and a voice telling of "wormwood and opium dens" - the sound of being teleported from everyday city streets into the astral plane, where every sensory input is heightened and the promise of danger or pleasure lurks unseen around every corner. Later, Coleman's lyrics pay tribute to Rammellzee on the sci-fi funk of 'Deep Space Woman'. 'Let The Clubs Ring' melts lounge bar organs and frazzled guitar into freakishly unstable shapes, while 'Drag Racing' matches its title, rocketing along frantically atop clattering drums. 'Moons On Titan's Seas' is halfway interlude pause for rest, like an exotic cocktail in a bar orbiting some as-yet-undiscovered new world. These varied strands are somehow all summarised in album closer 'Ignition Spark', which sets Ruiz's vocals alongside Taylor's and Argabright's. The zone the trio inhabit in this final track exists in perpetual push-pull between contemplation, memory, intrigue and violence, a decisive opening of a new chapter in Death Comet Crew's history.

As with all Diagonal releases, the initial vinyl pressing will be packaged in unique, specially designed artwork.