Buscar:dance ep

6 track vinyl-only Ghetto house EP by three producers from the legendary Chicago house label Dance Mania. High energy 130-140bpm bass banging tracks ready to take any dancefloor to the limit.

You just moved to the big city, you end up at a party where you don't know anyone and someone walks up to you and asks: "Hey, are you alone here?". That is exactly the feeling that Porcelain id describes on their debut album Bibi:1, short for the Arabic pet name Habibi. Porcelain id is the pseudonym under which Hubert Tuyishime (they/them/their) has been unleashing unique songs since 2020.

The album - inspired by their move from a quiet provincial town to Antwerp - is the soundtrack to walking into city traffic during rush hour and trusting to get out of the chaos in one piece. It is an ode to exciting encounters with complete strangers and to the friends you can come home to afterwards. A story about being a stranger in a city you've romanticized for so long, the rejection that comes with it, and the false nostalgia with which you look back on it all later on.

At first hearing, the completely English-language Bibi:1 may seem like a brusque farewell to the autobiographical intimacy and lo-fi singer-songwriter music on the previously released EPs Mango and Reprise, and especially on songs like Vlaanderen. But to Porcelain id it feels like an organic evolution. One towards more abstraction, experimentation and electronics, but never detached, and still building on the core of Porcelain id.

The new sound is the result of an intense collaboration with producer and partner in crime Youniss Ahamad, who, despite their different musical backgrounds, immediately felt challenged after Porcelain id's legendary elevator pitch: 'I want to make something that is situated between Nick Cave and the Bad Seeds and Yeezus by Kanye West'.

Together they drew the blueprint for Bibi:1 in Youniss' home studio. Track by track, without looking back. A sporadic, but rigid process that added to the intensity of the album. In the studio, the songs were taken to a higher level. The two invited a pack of talented friends and young musicians to the studio to add parts, a stark contrast to the solitary approach of previous EPs. Aram Abgaryan (recording engineer/synths/vocals), Nard Houdmeyers (guitar), Tim Caramin (drums), David Idrisov (bass), Alban Sarens (sax) and Emma Hessels (vocals) came by. Aram Santy was at the controls during the mixing sessions.

The result sounds like the ultimate symbiosis of Porcelain id and Youniss. Lofi, but ambitious. Fragile, but rough. Poppy, but disruptive. Sometimes challenging. Then welcoming again. Sometimes even danceable. Each song forms a small vignette that is part of a diverse, but coherent unity. Adam Coming Home and Low Poly are closest to the melancholy of Porcelain id's earlier work, while Lights! strikes a new path. First single Man Down, on the other hand, is inspired by the Antwerp students who drown every year and sounds like a wandering nightly stroll through the city. For Brilliant, David Idrisov was asked to 'play bass as if Chet Baker were not a trumpet player, but a bass player', a bizarre assignment that he accomplished with verve. And Cellophane flirts with emo trap and was sung with raspberries between the teeth, to simulate the effect of grills.

Back in stock.

Here’s a brand new Rob Stow four track EP ! His first full EP for 20 years.

Rob was a huge part of the birth of the label back in 2000. During 1998/1999 he ran his own label Gravitation and played live with Jerome Hill under the name Groove Asylum, amassing a bunch of tracks which led to the birth of Don’t as a home to release them for others to play.

Rob knows his onions when it comes to Techno and this record is everything it should be. Hard hitting, expertly produced, minimal with no clutter or pointless frills but instead, just the right amount of lean dance floor funk.

The star-studded Sai Galaxy project returns, bringing together West African legends Steve Monite and Rob with multi-instrumentalist Simon Durrington, guitar maestro Alfred Bannerman and Egypt 80 trumpet player Bade for a second EP of vital Afro-disco and soul.

The EP follows up 2022’s Get It As You Move EP, blending layers of vocal harmonies and synth washes with a rock-solid disco base. The sound stays faithful to the analogue production techniques of the 70s and 80s, adding a modern touch informed by Durrington’s Digital Afrika project.

Lead single ‘Hold You Tonight’ features Nigerian disco icon Steve Monite (best known for his mega hit ‘Only You’), revisiting his 80s origins with a dancefloor-ready slice of dubbed out boogie. ‘Rich Man Poor Man’ (featuring Ghana’s very own ROB) slows down the tempo and brings the highlife influence to the fore, while ‘Sometimes It Rains’ brings a neo soul bump with the Omar-esque sound of Fijian vocalist Kaivili.

repressed !

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

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

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

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

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

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

Die mehrfach platinprämierte Chartstürmerin Zara Larsson kündigt ihr neues Album VENUS an, das am 9. Februar 2024 über Sommer House/Epic Records veröffentlicht wird. Mit ihrem aktuellen Song "On My Love" mit David Guetta auf Erfolgskurs, hat Zara auch Details zu ihrer Frühjahrstournee in Großbritannien und Europa bekannt gegeben. Die Tour mit dem Namen "The Venus Tour" wird ab 3. November zum Verkauf stehen, zusammen mit den Terminen für Zara's schwedische Holiday-Specials "Honor The Light". Es ist ihre erste weltweite Headliner-Tour seit der Pandemie. VENUS ist ein Pop-Album, das einer Göttin würdig ist. Zara Larsson setzt ihre eigene Agenda und blickt darauf zurück, wo sie herkommt. Die erste Single "Can't Tame Her" war eine kraftvolle, frauenzentrierte Hymne, die über 16 Wochen lang in den britischen Top 40 verweilte, Platz #3 bei iTunes erreichte und Platz #1 im US-Dance-Radio belegte. Eine Reise, die umso süßer war, da es auch Larssons erste Veröffentlichung auf ihrem eigenen Sommer-House-Label war, nachdem sie einen wegweisenden Vertrag mit Sony abgeschlossen hatte, bei dem die noch 25-jährige Künstlerin gleichzeitig die Kontrolle über ihren gesamten Aufnahmekatalog übernahm.

Dutch synth-wizard Nadia Struiwigh brings her eclectic live approach to Blueprint Records.á On the "Voxis Ohlun EP", Struiwigh reflects her profound command over synthesis and sequencing, crafting upfront techno with a vigorous, nostalgic feel.

Nadia Struiwigh, the Dutch artist rooted in Rotterdam and currently based in Berlin, has carved a unique niche in the electronic music scene.á Her genre-defying compositions, blending ambient, techno and electro, exhibit her signature ethereal and melodious production style, with a discography gracing acclaimed labels like Central Processing Unit, Nous'klaer, Dekmantel, Clone and InFinÒ.á Inspired by the Warp school of electronica, her live performances (ranging from immersive ambient to kinetic techno) are a testament to her technical prowess and emotional connection with her audience.á A versatile DJ and live act, she graces both concert halls and strobe-lit club sessions, curating sets that span from driving techno to deeper, emotive realms, earning her residencies at venues like Tresor.á Her versatile expertise extends beyond music; she collaborates with pioneering music brands such as Roland, Korg, Teenage Engineering, Arturia and others, embodying her reputation as a leading tech enthusiast within the industry.á Her contributions to esteemed platforms like Resident Advisor, Phantasy, Bleep, Slam Radio and Red Light Radio underscore her adaptability and prowess across a wide spectrum of electronic music, further solidifying her multifaceted presence in the field.

"Voxis Ohlun" invites you into a mesmerizing journey through the enchanting landscapes of the '90s, blending diverse musical influences seamlessly.á The focus here is on 4x4 dancefloor music, adorned with a tantalizing hint of breaks and pulsating rhythms, and a sprinkle of fairyland allure.á Crafted using only hardware, predominantly the beloved Korg Electribe MX, the sounds resonate with the essence of that era.á Each track unfolds like a chapter in a wondrous tale, interweaving nostalgia with a contemporary energy, ensuring an immersive experience.

2024 Repress

Special Limited Edtion of only 100 Copies of transparent Vinyl speckled with Gold Color!

New Ep by DJ Jauche from his upcoming Album „ Let me
Dance“ With a amazing Remix from Ron Basjam! ( Crazy P )

White Vinyl

Soon after the release in 2022 of a triple album dedicated to electronic language, Principles of Geometry continues their orbiting journey that began exactly 20 years ago with "Penta," a Maxi composed of five electro-geometric vignettes that confirm what we already knew: the discreet French duo pilots one of the most underestimated projects in European IDM.

By returning just one year after a massive fifth album (26 tracks), Principles of Geometry makes a clear artistic move: shifting from electronic language unfolded on ABCDEFGHIJKLMNOPQRSTUVWXYZ to gesture, as one would associate intellect with manual, actions with words. On "Penta," to be visualized as the five fingers of a hand sketching the immediate and spontaneous pleasure of a hand pressing a chord, Guillaume Grosso and Jeremy Duval thus combine two essential concepts of their electronic music: the need to make the listener dance with their brains, and to touch with their mental images.

With nods to the godfathers of the genre (Autechre and Boards of Canada) or crossing paths with Aphex Twin in a Michael Mann film, "Penta" is therefore a beauty of gesture first conceived with the fingers, and without the need for words to evoke either the romance or the violence of a chord on a Roland Juno 60.

Mastered by the legend Noel Summerville (Boards of Canada, Kraftwerk, My Bloody Valentine) and designed by Ian Anderson of The Designers Republic (responsible for the graphics of the cult WipEout and many collaborations with the Warp label), this Maxi is therefore listened to as much as a recreational return to the future of the 90s as it is a concise summary of the equilateral career of Principles of Geometry; equally distant between pure emotion and the need to ponder the notes played in this very special ship.

Jonny From Space is the moniker of Miami-based producer, DJ, and co-founder of Impacto, Jonathan Trujillo.

After two EP’s on Omnidisc and a few more self-released, Incienso is excited to announce his debut solo LP, ‘back then I didn’t but now I do’.

Loping drum loops, warbling synth lines, sun-streaked pads and voice amble into the depths of the humid world Jonny’s music inhabits, where tempos shift and often float off into the ether altogether.

In the words of JFS himself- this album is “built 2 chill”

Oliver Bradford presents Pacific Objectives, his first solo EP under his own name. Bradford has been producing electronic experimental and dance music since the early 90s when he held his first DJ residency at Brückenkopf, Mainz (in 1992-93). To create his deep house grooves Oliver utilizes a hands-on approach, working with tape loops and analogue recording tools. The tracks featured on Pacific Objectives were recorded between 1996 and 2021, after nd_baumecker signed them to be released on his FREUNDINNEN label, the tracks were mixed and mastered with Jörn E. Wuttke, at the final stage Loop-O created the vinyl master and cut in 2023.

Oliver Bradford thanks go to: Jörn E. Wuttke, D Man, Ralf Köster, Loop-O and Andreas & Jenus Baumecker for your great support to make this happen!

Next up on Vokabularium is a 4 track EP from Argentinian rising talent, Agustin Giri. Giri’s debut combines intelligent grooves and forward-thinking sound design, which results in dancefloor favorites. Horvat himself contributes with a remix of ‘Espejos’. As usual with Vokabularium releases, expect creativity first.

The first Peach Discs release of 2024 comes from the Cloudsteppers dream team of Dan Only and returning label favourite Ciel. The increasingly prolific Toronto-based duo have blessed us with four tracks of floor-focused, 4x4 garage tunes drenched in their singular melodic sensibilities.

In their own words: “For our second record as Cloudsteppers, we went back into the studio with the intent of making functional garage tunes aimed at the dancefloor. Leaning into what created the distinct sound of our first record, we relied on Ciel’s Korg ESX-1 and Dan Only’s MPC 2000XL to lay down the foundations of each of these tunes. Skippy and bass-heavy, these 4 tracks are the result of our UK-leaning sonic experiments. Whether it’s the bubbling bass of Aqua Hotel, the tech-leaning grooves of Control ft. Eden Samara, the M1 organ in Duckstep, or the skippy drums of TDG, this is Cloudsteppers' twist on UKG.”

Couldn’t have said it better ourselves – hope you like the record.

COTONETE is back!

After releasing numerous and now collectable standalone singles, plus some now famous collaborations with Dimitri from Paris, 2019 saw Parisian based 8 piece, Cotonete release their first long player in 15 years! Under the guidance of Melik Bencheikh from Paris’ rare record emporium, Heart Beat Vinyl. The dark moody mover "Super-Vilains" came out to great success on Heavenly Sweetness.

After playing some packed live shows around France and the UK, including the acclaimed Sunday at Dingwalls in Camden, hosted by Gilles Peterson and Patrick Forge. Somewhere along this part of the journey, they came across the Brazilian music legend and vocal powerhouse, Di Melo. He softened their souls, and from this love affair came the album "Atemporal". Released on Favourite Recordings, this 8 track album would end up being sampled by Canadian superstar Drake, for his 2023 album ‘For All the Dogs Scary Hours
Edition’.

So now into 2024, and we have Cotonete full length number two. They’ve enlisted the producer Guts to guide them towards sunshine, groove, warmth and all the colours in his rainbow. With their tongues firmly in their cheeks, the album is titled ‘Victoire de la Musique’ - a dig at the annual French music award ceremony. Taking the band deep, producer Guts showed them new and exciting rhythms from all corners of the world. The record’s first example of this is ‘Venezuela’, a track directly inspired by the jazz funk from the great Caribbean nation.

Other key musical exploration on the record can be attributed to the late composer Francis Lai. On ‘Cinq Pour L'aventure’ - an almost 15 minute epic monster showcasing the band’s love for 70's French movies soundtracks. “L’aventure c’est l’aventure”, was a movie by one of the most famous French directors Claude Lelouch The single from the soundtrack was sung by French music superstar Johnny Halliday.

Guests are scattered very tastefully across the album, on the only cover version of the record, the Brazilian master Jorge Ben’s ‘Bebete Vãobora’, Sabrina Malheiros was invited to lend her lungs. The daughter of Azymuth’s Alex Malheiros helps join perfectly the dots from a band that are without a doubt Cotonete’s biggest influence. Brazilian jazz funk, now with an added French touch.

On ‘Day in Day Out’ a powerful performance is given from Leron Thomas on vocals and trumpet. Perhaps also known for his role as the musical director for Iggy Pop and touring member of his band. This track is an already tried and tested dance floor filler, emphasizing just how tight the band really can play - the track even found its way into BBC Music’s Craig Charles’ ‘Track Of The Year’ selection.

No record so soulful would be complete without a trip to the UK. Omar, London’s Godfather of New Soul pops in. Having recorded with artists like; Courtney Pine, Level 42 & Erykah Badu, in his distinctive smooth style, he blesses the track ‘What Did Run You For?’ The final vocal visitor is Gystere Peskine, a Parisian based musical hero, who shows off his retro future funk feels on ‘O Ceu es Preto’ - which literally translates as ‘the sky is black’ - although given the hugely uplifting and almost Gospel Soul of this Russian/Brazilian singer, he
has us seeing things far brighter.

Cotonete have endeavored to build a worldwide rainbow warrior team of merry boys and girls. Fighting the brave fight to shine light towards the fact that music will always win…. "Victoire de la Musique" - a symphony of spring, songs of the new world, a "Victory Of Music”

Berlin-based label Distant Gaze unveils their highly anticipated second EP, a Various Artist compilation crafted as a collaboration among Clouzer’s circle of friends. This collection features four cosmic tracks designed for full throttle dance-floor journey. Embracing analogue bass-lines and a captivating soundscape, this EP promises an unparalleled auditory adventure.

Highlights include the extraterrestrial Dark Disco piece, a collaboration by Clouzer and Radondo “Time Warp”, alongside the monumental dance-floor killer – EBM remix by E-bony. Notably, Clouzer’s remix of Kollmorgen’s “Escape,” originally from the renowned Kompakt Records, delivers an immersive 8-minute late-night experience – a powerful fusion of Dark Disco and Progressive spirit.

The EP concludes with Clouzer’s futuristic broken beat composition, “Goodbye,” leaving listeners in a cosmic nostalgic state.

DNO welcomes two new signees, Slovenian producer Marka San and UK rapper Axel Holy, for one of the label’s darkest releases yet. The ‘Hidden Knowledge’ EP presents five tracks of dread bass and bad-trip sonics, as the Bristolian MC delivers cut-throat bars with the kind of calm, looming menace of a tomcat toying with its prey.

It was DEDW8, Axel’s horror-touched collab with Split Prophets’ Blanka, that first made him known in Slovenia, prompting Marka San to get in touch about working together. The same sinister vibe that drives that project has spread its tendrils right through the ‘Hidden Knowledge’ EP, from the twisted brass and squirming bass of ‘Where Did You Go’, which drags its feet like some zombified blues track as Axel repeats the titular phrase in his husky drawl, to the equally chilling ‘Classics’— all eerie samples and abyssal lows, with a pitched-down hook and braggadocious bars.

On ‘Patterns’, Axel goes to war, attacking the creeping beat with vicious battle bars and stories of the hustle, while ‘Hidden Knowledge’ sees him flex his vocabulary to take swipes at the powerful, and ‘Robert Downey’ makes his unswerving determination clear over grungy guitar.

Deliciously macabre, with intricate layers and lyrics that’ll have you spotting something new on every listen, yet still heavyweight enough for the dance, this is a match made in the nine circles and we can’t get enough of it.

Rhythms of postmodern realism at the very bottom of the DNO.

Some Justice / Burnin’ Passion ‘93 EP 7"

Serious history business: 'Some Justice' was the first time Micky Finn and Aphrodite joined forces and launched a partnership that would change drum & bass history. Prior to them linking, Urban Shakedown comprised of Aphrodite and Claudio Giussani who had a run of fantastically euphoric hardcore crossover records during that golden rave era. 'Some Justice' landed in 91 and the instantly goosebumping vocal cut 'Burnin' Passion' landed in 93. Both of them enjoyed these touch-ups in 94, which still sound fantastic today. Feel the burn.

Today Not Yesterday Records first and vinyl only release. Influenced by the 90s and early 2000 era of house music.

Music for the nightclubs, the warehouse and the raves. Music to make people dance. Music for your body, your mind and your soul.

The Spellbound EP serves as a profound exploration into GIDEÖN's artistic soul. Commencing with politically charged tracks, "Study War No More" on side A is an acid-garage hybrid rallying support for emergency aid in Gaza. On side B, the euphoric "Marcus Garvey" urges a reconsideration of the life and teachings of the Jamaican activist. "Spellbound" delves into an ultra-deep meditation on black magic, while "Hora De Bailar" transforms into a Latin sleaze-fest, embodying the label's steadfast commitment to militant queer Deep House.

GIDEÖN describes the EP as a faithful representation of his worldview, stating, "Two of the tracks were written to soundtrack the struggles of our time. Both 'Study War No More' and 'Marcus Garvey' are pieces of music created to motivate, elevate, activate, and educate the dance floors of today in preparation for the struggles immediately before us. I see music as a weapon, a weapon in our dance music community’s arsenal that we can use to lubricate, incentivize change around us."

In addition to the politically charged tracks, the EP features two deeper, sleazier offerings that vividly capture the essence of underground queer dance floors and darkrooms. These tracks resonate with GIDEÖN's experiences at renowned clubs like Bassiani in Tbilisi, K41 in Kyiv, Berghain in Berlin, Basement in New York, and Adonis in London.

GIDEÖN boldly declares, "I set out to do EXACTLY what the global religious right-wing extremists are so opposed to: the PROMOTION of homosexuality." This sentiment underscores the EP's mission to advocate for diversity in the face of opposition.

Dazzle rolled deep. Very deep. In the 1980s, it wasn't unusual for the Milwaukee-based group to show up at various Midwest night clubs in a caravan of 30-40 cars and vans. Their live following was hard won over a career that spanned 20+ years, many line up changes, and a handful of project names. Friends, family, and fans made the journey with them weekend after weekend, a testimony to both the musical prowess of the group and the tight-knit community that they emerged from.

Donald Smith, band leader, was there the whole time - joined by many of his siblings and friends - first as founder of the Ghetto Players, a early 70's nine-piece which also included siblings Michael, Ronald, and Charles. They played hard funk in the style of early Kool and the Gang, and although they sadly left no recordings, the strength of their live act managed to catch the eye of local Milwaukee R&B music entrepreneur Cobie Joe Payne. Cobie had made a couple of records locally in the early/mid 70s as a singer, including the impossibly weird and amazing rare afro-blues-funk 45 "Sweet Thing", but had never enjoyed national success. When the Ghetto Players disbanded in the early-mid 70s, Donald soon put together a new group, C on the Funk (the 'C' referring to lead vocalist and sibling Charles), under Payne's tutelage. Sister Lorrie Smith came in as the drummer, the line-up being fleshed out by brothers David and Melvin Johnson, and friend Robert Mitchell. After a few years as a strictly live attraction, they drove to Chicago and produced a single, "In the Disco" / "A Place" for Payne's small record label Sweet Thang Records in 1980. Lacking the financial backing needed to supply the local R&B disk jockey's "promotional fees" , this single sadly languished in obscurity, gathering dust inside the local tavern jukeboxes and manilla promo envelopes that comprised Payne's DIY distribution network.

C on the Funk were traveling the Mid West extensively at this point, and making some important friends on the road. Ike Wiley Jr. of the Dazz Band/Kinsman Dazz took particular interest and the band was re-christened Dazzle, partially as a tie-in with Dazz, partially to embrace the new sounds that would distinguish the 70s disco scene from what record collectors and DJs would now refer to as the "Boogie" era. There no doubt was a stigma attached to the word "Disco" as the eighties began, and as we see in this collection C On the Funk's "In the Disco" is remixed and transformed into the psychedelic synth instrumental of Dazzle's "Disco's Out", a title which embodies both the next-step approach Smith and company were pushing for, and humorously comments on the state of black dance music in the early 1980s. The Dazzle recording, done in Chicago in 1982, updated the sound and featured an expanded line up, most notably a second synth player (Charles Washington), and a percussionist/second lead vocalist (Greg McDonald). The added synth textures and deep percussive grooves give the Dazzle recordings an elegant late night vibe that resonate just as well in a good pair of headphones as they do on the dance floor. The trance inducing cough syrup-warble of "Explain" may best exemplify this here. Sadly, a pressing flaw in the 12" halted production and promotion, and the EP and the songs within were lost to the ages. The group, having done a much better line in the live music business, followed that path instead all the way to the early 90s. --bio provided by andy noble

Once Again, He's Done It! Benales Is Back on the Label With 4 Electrifying Dance Floor Tracks. True To form, He Effortlessly Delivers Those Captivating Techno Vibes That He's Known For....

LIMITED 150 COPIES POSTER EDITION.


Zodiak Commune Records residents Paul Renard and Dima Gastroler release their first Acid split EP vinyl on Acid Sessions vol. 1.
Paul Renard delivers a deep and atmospheric acid track with C3SS3X. With Hyperfuse 3.16, Renard has delivered an Acid techno track for the dance floor.
Dima Gastroler's tracks Accelarating Curve and Helix Shaped have a forward movement and a dynamic atmosphere that makes you feel like the main character of futuristic cinema.

and the novelty goes on: mule musiq welcomes another fresh producer to its vast catalogue of music from all around. this time andro gogibedashvili aka saphileaum. he is coming from tbilisi, georgia and already released an impressive body of work, considering he just publishes music since 2016. countless eps and albums, digital, on tape, documenting his feverish creative urge on labels like not not fun records, good morning tapes, diffuse reality, or vodkast. they cover a comprehensive stylistic range from ambient and downtempo to tribal, house, and techno nuances. a deeper shade of soul, precisely fashioned, growing from different playgrounds of inspiration. he was born into a musical family. as a kid he studied georgian folk. in his school rock band, he sang, and the guitar was his love. then electronic music called the tune, and techno hit his heart. in the midst of it all the 26-year-old never lost contact with his spiritual home. “i find deep inspiration in georgian myths and legends, occultism and esoteric teachings, lost civilizations, earth, unity, truth, information, and the secrets of the universe. these things, to name a few, inspire me daily and help me create the music I make.” saphileaum reveals. “exploring together”, his debut album for mule, navigates all these elements through a merry-go-round of gentle driven rhythm zones. fourth-world spheres, balearic tropes, field recording zones, tropical downbeat, tribal percussions, trancing sounds, balafon hums, mallet airs, hooky house – it’s all there, circling the eavesdropper into a dreamland of melodic undercurrents. “my loops come from tribal and cosmic inspirations. tribal, as below, and cosmic as above. the combination of these two, is very interesting to me”, he clarifies, while joking “but, to put it super simply, loops are super handy for djing”. which brings us to the final promotion of “exploring together” - it’s playability. its vast. multifunctional. spiritual. made for gatherings, were all dance time away. lost in music actions, only touched by the hand of rhythm and sound. his ten tracks are created for such flashes, wide spreading a musical narration of illuminating durability. “cosmic, relaxing, fun, tribal, and mystic.”, as saphileaum declares.

Candy Mountain welcomes Tracing Xircles for the second release on the brand-new studio label ran by Steffi and Virginia. Tracing Xircles is the collaborative venture between Blue Hour and A-JX known for their energetic original blend between Detroit Techno, UK Bass, and IDM.

With their First Contact EP on Candy Mountain they dive even deeper to define this unique sound with 4 beautiful driving abstract yet funky broken dance floor bangers. The EP comes with an amazing remix by UK legend dBridge.

Erupt Records has suffered its first Unrest Hazard. After keeping the lid on a beast this explosive, what did you think was going to happen?

This new series of '4 on 1' EPs from the mighty label, will showcase several of the best producers from the UK (sometimes even beyond!) breakbeat hardcore/jungle scene on 1 record, be they old or new.

The first track from Schoco (Omni Music) is "I Need". Let yourself go to wispy, dream-state synthlines over ferocious breakz.

Track 2 is a bouncy piano anthem for anybody who likes hearing the words "1993" and "happy" in the same sentence. This one is brought to you by After The Zenith. Usually resident cover artist for Erupt, this time he grabs the steering wheel and gears up to present you a bit of his own 'ardcore.

Next up is some brutality from Tactical Aspect. Need no more be said than these lads are one of Australia's finest purveyors of hardcore junglism, with a portfolio including works for Reinforced Records. But, with a recent move back to Yorkshire, and following an initiation into the West Yorkshire Jungle Collective, it only made sense for TA to deliver some unrelenting '93 style breakbeat hardcore brutality to celebrate.

The final track "When Did We Forget" is a get together from the lads at Kool FM, Code and Subbreak, with D-Region. Any time you see these names together, it commands serious respect. This is one for anybody who likes those hazy breakbeat hardcore tracks that tread a fine line between hard and euphoric.

What are you waiting for?

Erupt Records was established in 2016 to cover tougher, faster styles of electronic dance music, with a view of openness towards introducing contemporary influences alongside the familiar; Hardcore that reflects today, not yesterday. The objective? Push the boundaries, keep the drums raw, compromise for noone.

The Classic electronic funk Classic by the DETROIT TECHNO BASS INNOVATORS AUX88. “Direct Drive” is the track that defines Detroit, Detroit radio and the jam that still plays hard in any club or mix show. Aux88 show why they were indeed born to make beats. And create the precise floor filler dance tracks

A favorite of the likes of Juan Atkins, Carl Cox, Egyptian Lover, and the Unknown dj from the Xmen. The Repress is finally out.

*"AUX EXPRESS "(Dj K-1 Mix)*
Is a minimal bonus beat mix created by DJ K-1 in the dark dungeons of the original Aux88 studios in the 90’s where the group assembled beats effortlessly in two studios between four members. Aux Express shows a more 80s extended beat that Dj k-1 used to play acapellas over.

*"BYTES"*
Early on the group knew there were a lot of djs playing their music and they created acapellas bytes of their voices so that the world could have access to play them anywhere

Orchestral Manoeuvres In The Dark (OMD) return with their 14th studio album Bauhaus Staircase, over six years after the triumph of their Top 4-charting record The Punishment of Luxury. The album was born from the impetus to kickstart new explorations during lockdown when as Andy McCluskey admits: “I rediscovered the creative power of total boredom.”

The album’s first offering as a single is the title track which serves as a nod both to Andy McCluskey’s love of the Bauhaus era & the power of protest art. “I am a huge lover of visual arts especially mid 20th century movements” Andy comments. “The song is a metaphor for strength and artist passion in the face of criticism and adversity. When times are hard there is a tendency for Governments to look at cutting funding for creativity just at the moment when the arts are most needed to nourish our souls. It seems appropriate that the song and its eponymous album were created during Covid Lockdown.”

Ranging further from the beautiful film noir ballad of ‘Veruschka’ and the dance stylings of ‘Anthropocene’ - a term for the current epoch in Earth’s evolution to the sinister ‘Evolution Of Species’ and the hectic ‘Kleptocracy’ - OMD’s greatest straight-up protest song - the new album is a broad electronic sonic masterpiece that lyrically tackles the topics of the future. The record closes on ‘Healing’ - a moment of reflective calm.

By rights OMD should be in semi-retirement performing classics like Enola Gay and Maid Of Orleans on the nostalgia festival circuit like so many peers. Instead they’ve created a landmark album worthy of their finest work. Bauhaus Staircase remains unmistakably the work of a duo who are still perfectly in sync 45 years after their first gig at legendary Liverpool club Eric’s.


“I’m very happy with what we’ve done on this record" McCluskey summarises. “I’m comfortable if this is OMD’s last statement.”

Bassline technicality and production prowess by Fader Cap on his return to Craigie Knowes. 4 tracks that combine club-sensibilities with width and melody to transcend dancefloors to the outer realms. Echo Chamber provides DJs with a mix of club-focussed beats for all times of the night, strap in.

ONO Records is proud to present a long awaited project from EDN, the recording project of Elena Nees. Hailing from Adelaide / Kaurna, Elena has crafted her sound in the form of sweet bedroom folk and pop, self releasing a number of tender EPs since 2020 along with releasing a fantastic six track cassette with the esteemed Naarm based cassette label Healthy Tapes under her Allume alias. Here, the EDN moniker takes these folk pop sensibilities and filters them through a love for electronic hardware production and music.

The record begins with the end-of-the-night dancefloor ballad ‘A Mirror’. Jittering and agitated drum programing makes way for EDN’s feather-weight vocals, cleverly manipulated over bubbling synths as the track melts into a bonafide braindance-pop anthem. ‘(Blue!) Flor’ keeps the tempo rising, breaking out into a funked drum machine jam allowing pearlescent pads to intermittently wash over. The thumping ‘Ummmm’ continues the jam ending the first side with an urgent techno-not-techno freak out.

Side B opens with the crystalline fourth world ambience of ‘Mess 1’ before EDN’s angelic antipodean twang takes the spotlight again on the gorgeous and introspective ‘2 Bored Angels’. Interluding briefly with the trip-hop induced breakbeat experiments of ‘Slo’, ‘Mirror Fuck’ bookends the record perfectly with glistening keys and EDN’s soulful vocals singing of longing and desire. An excellent closer. 

EDN gives us a triumphant and utterly unique record that unveils itself more and more with each listen and highlights her immense and diverse talent. One we are proud to include in the ONO catalogue!

Written & Produced by Elena Nees
Artwork by Mathieu Larone & Grace Otto
Mastering by Marco Pellegrino

Skylax Records Is Proud to Introduce You to the Sound of Uk Artist De La Phoenix, Introducing "Dancefloor Fatale" - an Explosive 12 Inch Driven by the Revolutionary Soundscape Crafted by Klf, Kraftwerk, and the Infectious Allure of Italo Disco. This Ep Unleashes a Formidable Assault on the Dancefloor, Merging Futuristic Beats, Pulsating Rhythms, and Infectious Melodies. "Dancefloor Fatale" Showcases Five Electrifying Tracks: "1991 Ultra," a Nostalgic Homage to the Early '90s; "Dancefloor Fatale," an Irresistible Anthem Commanding Bodies to Move; "Blade Runner," a Cybernetic Voyage Through Dystopian Soundscapes; "Prometheus," an Epic Odyssey of Melodic Euphoria and Sonic Rebellion; and "The Rite," a Ritualistic Experience Defying Conventions. These Tracks Resonates With the Spirit of Resistance, Igniting Raves in Northern England During the Era of the Criminal Justice and Public Order Act. De La Phoenix's Sonic Artistry Proudly Follows in the Footsteps of Justified Ancients of Mu Mu. Embark on a Bold Auditory Journey That Challenges Norms and Leaves an Indelible Mark. "Dancefloor Fatale" Epitomizes De La Phoenix's Innovative Vision, Pushing Sound Boundaries to Invigorate the Electronic Music Scene. Brace Yourself for a Revolution That Captivates and Energizes....

Early Life Forms is a new quartet fronted by Belgian guitarist and sound wizard Vitja Pauwels, and on the 26th January, they are set to release their self-titled debut album via W.E.R.F. Records; a stunning, one-off live show recorded with American guitarist Marc Ribot (Robert Plant, Tom Waits, Wilson Pickett, Marianne Faithfull, The Black Keys, John Zorn).

Having already earned his spurs as a sideman with artists including Naïma Joris, Bombataz and Lara Rosseel, rising Belgian star Pauwels released his debut album 'Day at Half Speed' in 2019, which explored the possibilities of acoustic guitar and live electronics. This experiment became a new artistic path for Pauwels and showcased his musical versatility, with second album 'Drift By, Sink In', released to critical acclaim in 2022.

The same year, Pauwels was invited as special guest by the BRAND! Festival, Mechelen, to showcase new material and he came up with the idea of putting together his 'dream' live band which included his hero Marc Ribot, one of world's most accomplished and acclaimed guitar players. Reaching out to him via videos and early demos for this new recording project, Ribot liked what he heard and agreed to perform with Pauwels and his new project Early Life Forms in what would be the band's first ever live show.

Joined by Frederik Leroux (baritone guitar), Laurens Dierickx (Hammond organ) and Casper Van De Velde (drums), during the lead up to the festival, Pauwels wrote a number of songs he felt would work for the live show, with the only agreement being that there would be no rehearsals ahead of the performance, only a brief soundcheck beforehand with Ribot. The music was stripped down to its essentials - compelling melodies, themes, and clear forms but with the possibility to change direction at any given moment. "The music was played and heard for the first time, and it felt like a birth of something that needed to be alive. We felt connected in the right state of mind - relaxed and focused - and it all happened in a rush of shared energy. No ego's or fear, only connection and the music", states Pauwels.

Drawing on latin, jazz, cuban, and rock with a touch of exoticism and cinematic explorations, 'Early Life Forms' cites Ry Cooder, Henry Mancini, Los Lobos, Ennio Morricone and of course Ribot, as heavy influences. There is something existential, primary, something epic and at the same time youthfully uncomplicated, which is strongly associated with the music. From the mischievous and imaginative 'My Little Renaissance' to the adventurous and hypnotic 'Latin Dancer', 'Early Life Forms' is overflowing with sharp twists and turns, with Ribot's heavily rhythmic, distorted guitar amplifying the cinematic feel to the sound. The on-stage relationship between each member of the band and Ribot is childishly uncomplicated, something primary but always epic. The music is left to the moment and the magic of their first encounter with their hero Ribot. "Marc's commitment in the music was better than I could have hoped for. What he played was with 200% intention, putting the rest of us in a state of hyperfocus. Given the fact that it was a one-time thing and a recording, we took risks without 'overplaying' or overthinking it. Right before the gig, we felt an urge to play, Marc said, "Let's rock!!" and we hit the stage", says Pauwels.

After Releasing Amazing Music on Labels Such as Skylax, Amsem, Kitsune or Hard Fist, Through an Exploration of a Wide Range of Electronic Sounds, Joe Lewandoski Delivers a New Ep Full of His Eclecticism and Sharpness. We Are Very Happy at Friendsome Records to Join Force With Him to Deliver a Beautiful 4 Tracker That Will Make You Travel ! This Ep Is the Perfect Demonstration of Joe’s Ambivalence as a Producer. That’s Why We Divided It in Two Distinct Sides, Clair & Obscur, Reflecting on Side One a Club Driven Housy and Acid Vibe to Make Dancefloors Sweat. Cosmic & Acid Nap Are Two Tracks Driven by Lewandowski’s Capacity to Get Things Straight Forward, Bangy and Dreamy, Made for a Pictime Crowd. on Side Two Where Joe Explores a More Dark and Intimate Approach to His Music, as Well as Where He Comes From, You Will Find Nick and Play the Game. They Are Much More Dark Disco and Rock Inspired, Full of Heavy Basses and Guitar Riffs, Perfect to Get to the Bottom of It !...

Negative Time! The new 12" vinyl EP of Xenomorph has a name that suits our global crisis. The best way to face these dark times is through the therapeutic powers of music. This 3-track 12" EP is the harbinger for the upcoming album "Netherverse" in early 2024. Fans of Mark Petrick know what to expect for sure. Goa-trance with a darker twist, but still filled with powerful melodies, unique kicks and psychedelic effects

The opening track, Negative Time, is a musical interpretation of zero point energy creation and quantum physics. Cutting, yet melodic goa-riffs take the listener on a journey backward in time through a mix of darkness leading to a positively melodic final. Danger on the High Seas is a deeper, more straightforward technoish track where light and dark are doing a wonderful mating dance between the crests of the high waves. The song was inspired by the mysterious vanishing of flight-19 in the bermuda triangle. The last track, Lost In An Old Junkyard, is known to the people that bought the Carpe Noctem compilation on Suntrip. But now it is available on vinyl as well as a different mix: the Tow Hook Mix! This track is the most classic Xenomorph track. Alienated tearing effects, mixed with exalted melodies.

Apnea concludes an eventful 2023 with "Sulitkveteba EP" by Tbilisi's Hamatsuki. Recognized for past releases on Fantastic Planet and Mind Controller Rectifier, Hamatsuki crafts a three-track journey that explores the depths of music.

Fusing sustained lo-fi pads, ethereal gated echoing vocals, and entrancing trippy acid lines, this EP resonates with a nostalgic rave essence. Each track takes listeners on a vivid sonic adventure, capturing the spirit of bygone rave eras while infusing a fresh perspective into the beats.

Some Female:Pressure right here with the latest NVST release; Silence Itself Is Noise! This is her debut for SSPB delivering a 6 track ep which are a reflection of her adventurous club sets, a well-balanced mix of powerful beats and expansive atmospheres haunted by skittering echoes of the dancefloor. Each track feels like fleeting memories of the club filtered through the human experience - flickering moments illuminated by strobes and shrouded in smoke, laced with the tang of sweat and psychedelics. Opener "Tiny Mistakes Feeling HOT (Hellisnotamyth version)" coalesces from curling vapors into infernal acid lines and rhythmic fragments that evaporate almost as soon as they appear. "The Devil Loves The Detail (Lucifer's Fire Version)" builds into an inescapable pulse amidst frayed synthesizers, pressure building to fever pitch before "The Danger Zone Of GFY (Freedom Version)" opens out into icy, astral synths. "Monster of Business (Style Edition)" shifts closer to the dancefloor with a slinking, syncopated groove, conversations from the smoking area or studio creeping in at the edges, before erupting into the frazzled bounce of "The Goat and the Night." "The Silence Itself is Noise (Nonstop Bass Version)" loops back once again to more cavernous atmospheres, warped bells and strafing melodic flourishes ringing out amidst fizzing distortion and skeletal percussion. Silence Itself is Noise doesn't clamour for attention, it necessitates it. Once again, NVST proves herself unafraid to challenge club orthodoxy, and unwilling to patronize listeners, instead making deft use of tension and release to create genuine moments of surprise and transcendence.

At the dawn of 2024, Earth Boys, the collaborative force of Michael Sherburn and Julian Duron, reemerges on Public Release with their latest EP, 'In the Sun.' Their signature raw and smoke-infused sound is as rugged as ever, reaffirming the unmistakable Earth Boys touch. The lead single gets a hypnotic tweaky groove courtesy of an Eden Burns remix—perfect for setting the stage for a peak-time build—while Tokyo's Mayurashka offers a deep and contemplative atmospheric chugger. This 5-track EP is perfect for a spectrum of cheeky activities on and off the dance floor.

Repress!

Given the vital importance of your contribuNon as a member of the music community in France, we would like to tell you about our new approach – which aims to miNgate the impact of the current lack of events and fesNviNes – and explain iniNaNves organized to provide the best possible response to both your needs and those of the clubbers you are helping during this extraordinary crisis. Pixadelic and E.enne de Crécy are working to make new tracks available and help to limit the gloom that has been furNvely emerging over this period with the producNon of a third release in the Commercial ep series.
Begun in 2006 and halted in 2007, the series achieved very promising results, encouraging fun on the dance floor all over the world. In view of recent events, we felt it was urgent to conNnue our efforts in that direcNon. The result is two tracks: JUNK and DRUNK, whose effects on the body sNmulate those rushes of communicaNve excitement that have become essenNal at this Nme. We will be supplying these resources to players in the sector in order to contribute to cultural and fesNve events in France and the other countries of the world.

Attention Banger Alert! Parissior Is a Spanish Dj Producer Who Has Been Producing Countless Tracks for Many Years Now. His Style Could Be Described as a Mix of Dark Disco, Indie Dance, Italo, Trance but Personally We Think It Goes Much Further. He Has a Total Mastery of the Art of Production (Something We Have Rarely Seen), It Looks More Like Sound Design It Sounds So Huge. His Tracks Are Not Just Dj Tools to Be Played but Bangers to Send in Pick Time. It Is Extremely Powerful, We Have Already Verified This During Our Recent Skylax Evenings (Especially for Our Event &Ldquo;série Noire”) and We Can Tell You That the Effect Is Devastating. for Us, He Managed the Perfect Ep, the One That All the Italian Indie Dance Producers, Even the Biggest Names in the Genre, Failed to Create. There's Nothing Cheesy About It, We've Been Listening to His Music Non-Stop Since We Received It, No Weariness in Sight. This Guy Is Monstrous. the 12 Inch Begins With the Brilliant Antennae, Which Is the Perfect Mix of Italo New Wave & Trance, Followed by Canes Venatici Which Could Have Been Created by Daft Punk if They Had Chosen to Be Less Commercial and Put Their Balls on the Table Instead of Hiding Behind Masks. Ceres and Alpha Apodis Follow the Same Line. We Miss Words So Much This Maxi Is Gigantic. a F%c$ing Masterpiece. to Add a Final Touch, Just Note That Many of His Recent Productions Have Been Recently Played a Lot by Pablo Bozzi & Soft Crash at Hör Berlin....

These days we are back again in the 60s, as the world urgently needs a new peace movement.

Therefore we ultimately call everyone to hold their hands together and look into the future, - nothing describes better the message we deeply feel being part of, in the own words of Kito Jempere. For ''Let's Hold Our Hands Together'' he already called up the internationally awarded Swedish composer Adam Evald on vocals and the enigmatic Antoha MC on trumpet, backed by Public Possession artist, Eden Burns and our very own, Leonid Lipelis (check his latest 'Function As A Meaning' EP!!!), on the remix duties, Kito Jempere is the ''DJ's hero'' - selector, producer, own orchestra and band conductor (watch Boiler Room from PPF!), who has been delivering quality dance records through decades via DFA, Lo Recordings, Freerange.

Proclaimed as the ''The King Of Collaborations'' by Zweikommasieben, Kito has been working on music with together with Jimi Tenor, Red Snapper, Hard Ton, New Composers and got remixed by Palms Trax, Andras, Ruf Dug, Black Spuma and many more.

Sasu Ripatti's complete "Dancefloor Classics" series. Music for imaginary dancefloors, released on Ripatti's own label Rajaton.

”Look up, into the light” she said, while the camera shutter clicked. ”Like this? Does it look holy?” His neck felt stiff. Her reply: ”Yes, just like that. What do you mean holy? Like religious? ”No, more like trying to look very far, somewhere beyond what we can see.” ”Okay, stand still, I’m going to come close to you now. The light hits your face great.” click, click, click.
He noticed her fingernails. They were not polished. Natural. Even somewhat rugged, as if something wore out the fingers slightly. What had these hands held besides the camera? What made the edges of her fingernails drift off?
He thought it’s weird to look straight into the camera. The photographer had closed her left eye, the one not looking into the lens. Then it opened, she looked up, perusing the surroundings, then she closed her eye again, then looked up, closed, looking up, very quickly. It all seemed very professional. Maybe she calculated the light, making sure it’s close to perfect. ”What will these photos look like?” – the thought popped into his head briefly. It was liberating to think it wouldn’t matter.
”What’s that song playing?” he asked. ”Wait a sec, Ol’ Dirty Bastard?” she replied. ”Oh yeah, right. But the sample?” ”Hey, could you look up again, like that. No, lower.”
New directions: ”Look out from the window, turn left.” ”My left or yours?” ”Yours, I always try to think from the direction of my model.” How professional! This is a good shoot, so natural. Should I worry about how the photos look like? No, I don’t want to. His thoughts bounced around. What would the story be like? It’s a big newspaper, everyone will read it. Maybe someone drinks coffee and eats a stroopwafel while they do it. Will they place the waffle on top of the mug for a brief while, so that it gets hot and the syrup melts a little? Then it feels wet, and you can bend the cookie.
She broke his train of thought off midway through: ”Now turn right, but look left, and slightly up, but don’t turn your face right.” ”Umm, like this? Sounds like a set of pilates instructions.” she laughed ”You do pilates?” ”Yeah, it’s hard sometimes. Have you tried?” ”No”, she said. ”I’m not good for sports that are done in groups.” ”Yeah, but in pilates you can just be inside your mind, drowning in your private thoughts.”
”What are you thinking in pilates?” she asked, taking more photos. ”Well, mostly just which way is right. And which left.” click, click.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Dancefloor Classics”, what’s the idea and what can we expect?

I’ve been slowly writing these sort of dance music pieces and finally curated them together for a conceptual release. I like to create music for a dancefloor that exists only in my imagination and doesn’t try to suck up to the standardized reality.

2) Your vinyl format is 10” which is quite special (as opposed to LP / 12”). Why did you choose it?

It’s my favourite format, absolutely. The size is perfect, and you can make it sound really good @ 45 rpm. And you still can make great artwork.

3) You seem interested in sampling/repurposing, what does it mean to you as an artist to approach something already existing from a new angle? How does the source material inform you about the approach to take?

I guess i could flip it around and just say I’ve outgrown synths or electronic sounds to a great extend, and having gotten rid off all my synths already good while ago I’ve used samples as my main source material a lot. It’s obvious on this series that i’ve sampled existing music, but I also sample instruments and things in the studio and resample my own library that I have built over the years, it’s quite large. To me the end result matters, not so much how I get there. Once I have something on my keyboard and play around, it’s all an instrument, though with sampling other music it becomes a really interesting and complex one as you’re possibly playing rhythm, but also harmonic content and maybe hooks or whatever, all at once.
I never sample premeditadedly, like listening to records and looking for that mindblowing 3 sec part. I just throw the cards in the air and see what lands where, just full intuition and hopefully zero mind involved, playing tons of stuff, trying things, just recording hours of stuff. Then comes the interesting part to listen to hours of mostly crazy stuff and finding that mindblowing 3 sec part.

4) What is your relationship with the dancefloor (conceptually and/or in experiences / as a performer)?

Very complicated. I have never really felt comfortable on a dancefloor but have always wanted to. There’s something in club music, in theory, that really speaks to me. It has never really materialized for me – speaking mainly from a performer’s point of view who goes to check on a dancefloor for a moment after a concert. I never have DJ’d or felt much interest towards it. But again, I love the idea and concept of DJing. As well as producing music for imaginary DJs. Lately, as in the past 10+ years, I haven’t even performed in any sort of club spaces. So my relationship to the dancefloor is quite removed and reduced, but there’s quite a bit of passion and interest left.

All tracks composed and produced by Sasu Ripatti.
Artwork & photography by Marc Hohmann.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

Into the void hits from second one. Strong beats lead the way into this dreamlike soundscape, where metallic drum elements and effortless reverb tails take us on a journey. We get lost in a slow build and an unassuming bass-line drives us home, until the track collapses just to hit twice as hard coming back in. Dreamy vocals float over dirty synth lines, melodies that feel familiar guide the way to continuous build ups, where we can’t help but move our bodies to the gritty, thumping bass-line pushing us forward relentlessly.

Tempest is all about the beat. Simple, yet endearing, it reels us in and guides us on an endless rise where fragile synth swells and powerful percussion elements tease our ears. High-pitched glimmers dance across the soundscape with ease. A track that rises again and again, yet never quite implodes in-between. Instead it builds, in the most natural way, skilfully and exquisitely, whilst sirens add a well-rounded urgency, that’s hard to resist.

2024 Repress


Recorded in 1989, this is one of the rare and sought after recordings by Larry Heard. Never been available since 1990 and a departure from his more familiar style that he released as Mr Fingers, Fingers Inc. and The It). Gherkin has been an outlet for his more experimental and techno-orientated productions. 6 tracks on this record, and everyone seems to have their own favorite... but worth mentioning are the dramatic opener ''Meltdown'', the cosmic ''Saturn V'' and the incredible extra terrestial ''Strange Creatures''. Tracks that are the foundation of the house we live in! - essential!

Originally released in 1997, this 4 track EP is generally regarded as one of TYREE's best on DANCE MANIA. Reissued here for the first time, featuring iconic tracks like "GIRLZ WITH BIG BOOTYZ," and "KAN I GIT HIGH." After years of crazy prices on the secondhand market, here's your chance.

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

Certainly going out to all Imperial Junglists, this track first started doing the rounds on dubplate in 1993, making an immediate impact on dancefloors across the UK and beyond. Whilst this track made waves, there were several other mixes, which were confined to DAT, never to see the light of day… Until now! Now, after many years, it’s time to liberate these mixes, as they’re just too good to be forgotten! Featuring the vocal talents of none other than Stevie Hyper D, with the original concept and premise from Remo Don and Colin Grainge. Remix production comes from Danny Styles and Eternal Bass.

Almost two years on from his last EP offering, Veerus returns for another double shot of groove-inflected techno power.

The Italian artist has been a stellar contributor to Drumcode since his debut in 2019 with the outstanding ‘Hypnosis’ EP. From the ‘System’, to ‘Recovery’ and his most recent EP offering ‘Yard’ in early 2022, we’ve been given a sense of his deft touch for crafting dramatic techno, that’s equal parts exquisite and dynamic.

His latest work ‘Cycle’ reinforces the passion he imbues each production with. “These two tracks perfectly express my vision of techno nowadays,” he shares. “Not fast, groovy, with researched sounds and a crazy impact on the dancefloor.”

The title track balances tension and release on a knife’s edge, as it builds deliciously via a menacing array of synths, before dropping down into an all-out laser-focused march. A powerful cut that’s been a go-to for Adam Beyer at Awakenings, Loveland and Resistance Ultra in Croatia, among others.

‘It’s Funky’ was two months in the making and bring bags of energy and atmosphere as it explores funky terrain, not in the bottom end, but rather Veerus’ colourful approach to writing melodies. A great track for building excitement throughout a set.

Banger of a kind... hardcore in a Speedyq's style a bit... Dancefloor messages !

LTD 200 copies Printed Sleeve.

Rudimentary Music garners worldwide high praise with their first release. A strong, fluid and very well-rounded EP with something for every electronic dance fan. The Barcelona based butItalian born artist Deiv, sets the foundation and tone with the stunning 'Paranoik Android' EP forthe fledgling label whose everyday life revolves around and embodies the synergy and spirit of dance music culture. 'Take control of your shit' is the first cut and is the ideal smooth late night electro jam. A sexy, melodic deep machine groove that is nothing short of pure class. Thishighly addictive track is sure to get many repeat plays. To complete the A-side is the technostormer 'Technology'. A body grabbing bassline that will surely get everyone's attention. Thiswicked,robotic workhorse is guaranteed to move the main room by any DJ who selects it.Inspired by the label's search for music that fits every part of life, this track encapsulates thepower of techno in the late night. The reverse side showcases the title track 'Paranoik Android'.It rides a strong balance of house and funk sentiments for the primetime slot on the dancefloor.The killer acid line, island percussion and blips and bleeps, makes this a great ying and yang of futuristic and retro sounds. The title track, it stands out from the crowd but here in this EP, it blends perfectly into the wide array of vibes blossoming here. 'Dolphins' closes out the EP inelegance. With the soothing almost aquatic melody notes it exudes the perfect vibe to drift away your cares to. Overall, this is a very versatile EP with a track for every emotion and time during a night out with dance music

Drumskull returns to Hooversound with a powerful new EP, featuring an official remix from Dwarde who makes his debut on the Hooversound imprint.

Drumskull operates at the intersection of the aggressive sonics of modern jungle, footwork, breaks and the more soulful atmospheres of deep house, UKG and broken beat. The versatile and seasoned DJ released his ‘Muscle Memory EP’ which was unleashed by SHERELLE and NAINA's Hooversound Recordings in 2023, which included remixes from Lone and LMajor. He now returns to Hooversound with another unique body of work, which brings in jungle affiliate Dwarde in for a remix. Having gained support across the electronic dance music scene and radio play on BBC, NTS and Rinse FM, plus glowing reviews in DJ Mag and Bandcamp, Drumskull begins the year with this inimitable release on Hooversound, setting the pace for the rest of 2024.

Aroop Roy’s star is deservedly in the ascendancy! As one of London’s most exciting selectors, he’s managed to position himself in the sweet spot of being the DJ’s DJ and causing wild scenes wherever he plays, with headline grabbing sets at Defected Croatia, We Out Here, Gilles Peterson’s Worldwide and many more.

As a producer, musician and label owner, he continues to excel, armed with a vast knowledge of outernational sounds, from rare African disco, jazz, funk, to house, UKG and seemingly everything in-between. His open-minded approach has led to brilliant releases and remixes for labels as diverse as Soundway, Heavenly Sweetness, Permanent Vacation, Club Bad, Delusions of Grandeur, Atjazz Recordings and his own Vive La Musique imprint.

Having played a few gigs together, it was only a matter of time before Jimpster convinced Aroop to get an EP together for Freerange and the resulting Re Bulele EP couldn’t be any more satisfying!

Leading the charge, 'Mama Mwana' captivates with entrancing thumb piano loops and a traditional African vocal all propped up by a subtle yet chunky house beat to lock the dancers in.

'Re Bulele' features the hypnotic vocals of Botswana native Fox Meropa. Aroop masterfully combines a deep, techy Afro House groove with glassy synth pads to form a stripped back instrumental with the vocals front and centre. Seemingly disparate elements shine on this wonderful alternative to the deluge of maximal Afro House tracks being released these days.

Moroccan producer FNX Omar delivers the goods with a sublime remix of Re Bulele. Creating tension with layers of looping vocals along with a rolling, percussive groove. Like the original, this remix transcends genres and will create special moments on the dancefloor, whether it be in a dark, sweaty basement or daytime festival in the sunshine.

Recorded over a four-week period in early 2022, Freedom Lapse is the debut solo release of Australian multi-instrumentalist and composer Adam Halliwell. A versatile improviser and lover of performance, Halliwell has been an active contributor to numerous musical communities in recent years. The release of Freedom Lapse marks an exciting stage in Halliwell’s journey as an artist with the culmination of several important musical facets that are now becoming foundational to his practice.

As Halliwell tells us, Freedom Lapse owes its genesis to an epiphanic moment experienced whilst traversing a mountainous passage in Mexico, a place where ‘the past present and future stretch out in one place’. Entranced by this environment, its colours, the villages and local life, Halliwell listened to music that inspires him (he cites Jon Hassell here). The result: ‘complete aural, visual and spiritual completeness’, a moment of discovery, he explains. Shortly after, the material that now comprises Freedom Lapse was recorded, distilling this powerful sensorial experience into a body of music that he has now invited the world to share with him.

Throughout these recordings restrained improvised phrases and melodic ideas feature, often appearing as long refrains that soar above idiosyncratic beds of fractured percussion and junkyard bass-work. This use of contrast, which is central to the work, allows Freedom Lapse to tap the lucidity-chaos juxtapositional-style that lies at the heart of all good music in the ‘fourth-world’ idiom. Halliwell’s sensitivity to dynamics, form and narrative is potent on these recordings, which allow his winding, free-improvisations the space to unfold and extend patiently. All instruments on Freedom Lapse were written and recorded by Haliwell, with additional trumpet on Cygon Dance supplied by regular-collaborator Reuben Lewis. Freedom Lapse was mixed and produced by Halliwell and Jim Rindfleish.

red marbled vinyl

After early work with Lady Gaga, Lady Starlight immediately entered techno's upper echelons playing live alongside Surgeon, earning the respect of one of the genre's most legendary hard asses, no small feat for an artist only then emerging. Forming a strong alliance with Len Faki's Figure reinforced her upward trajectory, so it's with considerable stature we introduce 'Choose', her first full solo EP since 2020.

'Choose' makes its choice from the beginning when the mutated, squealing vocal sample and insistent percussion command dancers to the floor. She adds sophistication with melodic ideas, quick breakdowns, and constantly shifting drums, the instability maintaining momentum. 'Permian-Triassic' could refer to earlier eras of techno Lady Starlight seeks to bury, although droning pads poke out of her deep soundscapes like fossils from the 90s framed elegantly. Excited like its title, 'In a Tizzy' centers its nervous energy around a seesawing motif until it breaks apart halfway through, then rides it into oblivion on top of rapid-fire drum fills and a return of the theme. The title track closes in the darkest mode, its tricked-out breakbeat evading dancer's expectations and the heavily-processed noises squalling in the background providing no respite.

Gianni Brezzo (213k Monthly Listeners on Spotify), the jazz affiliated band / studio project led by Cologne-based producer maestro Marvin Horsch, has a diverse musical profile that is reflected both in his genre-hopping as well as his creative output. Along with producing for Cologne bands like Keshavara, Woman and Xul Zolar, Gianni has released a number of EP and LP’s since 2017, including 2021’s “The Awakening” which featured vocal appearances from Berlin/Tel Aviv based singer / producer J.Lamotta and soul singer Otis Junior from Louisville, Kentucky. Gianni’s 2022 LP “Tutto Passa,” released on Jakarta Records, was a meditation around Marvin’s relationship to Italian culture, accompanied by research into Italian composers of the 60’s / 70’s such as Piero Umiliani, Stelvio Cipriani and Armando Trovajoli to more recent work by Sven Wunder. This was quicklya followed up with EP “Amoria,” an extension of the themes grown from “Tutto Passa,” along with the groovy baroque-jazz of LP “Soundscapes Vol. 1 – Music for Harlequins.” Gianni’s tracks have consistently placed on Editorial Playlists including Spotify’s “State Of Jazz” (908k Likes), “Lounge Jazz” (75k Likes) “Jazz-Funk” (316k Likes) and more, and most recently was synced in an episode of Gossip Girl for HBO US. Gianni Brezzo’s new project, “Filigrani” is a testament to the continued sonic growth and experimentation that pushes the music to new heights. The tracks, meticulously crafted, were born live in the studio, capturing the raw energy and creativity of Brezzo's jazz-driven genius. "Filigrani" introduces a unique fusion, seamlessly blending jazz progressions with touches of ambient electronics. Brezzo weaves a tapestry of sound, inviting listeners into a world where guitar melodies intertwine with subtle drum beats, dreamy harps, and the enchanting whispers of saxophones and flutes. The result? A groovedriven masterpiece that expands the boundaries of sonic artistry. The single and LP artworks by the esteemed Jason Jagel (MF DOOM, Madlib, JJ Whitefield) provide the perfect accompaniment to Gianni’s ever shifting grooves. The albums lead single is eponymous “Filigrani” due out Wednesday, November 22nd with LP pre-order announcement the following Friday, December 1st. This is to capitalize both on Gianni’s upcoming festival appearance at Linecheck in Milan on November 22nd and Bandcamp Friday on December 1st. With a guitar + drum progression that will have you swaying along, the track ebbs and flows as if your ears are gently skiing down fresh sonic powder. Recorded live in studio, the tracks lush horns and tranquil synth pads slide to and fro, combining the best of Khruangbin-style acoustics w/ Gianni’s unparalleled creativity. 2nd single is the lush, late-night vibes of “Milan Nights” out December 13th. Perfect for cozy evenings around the fire and slow dances with that special someone, the tracks harp, guitar, saxophone and slow, yet light and driving drums are a perfect groove to fall into the holiday vibe with. All you need is snow. Focus track is the effortlessly smooth, soulful jazz-funk piece, “Dreams of Sudden Clarity.” Certified 100% fresh, it’s a perfect way to kick off the year. The progression gives you a euphoric, elated feeling, like you’re finally arrived at that special place you never knew existed, but were always meant to find. Promotion will be handled via the label and artist profiles, along with further promotion by external agencies within Italy where Gianni has upcoming live events.

Suburban Architecture continue their series of now highly collectible 4 track EP releases with their 6th offering, 'Inside / Outside'. This new collection of tracks once again draws heavily on influences from the jazzier, atmospheric strains of mid to late 90s Drum & Bass. Putting a contemporary spin on sounds rooted in this golden era of dance music, the latest 4 tracker is split into two parts: Inside / Outside. Each track appears in two parts, delivering similar themes at different tempos.

Opening track 'Inside Part 1' will please followers of Suburban Architecture's previous work - lush pads, deep atmospherics, Jazz fusion flute licks and smashing Amens are all present in the mix. Inside Part 2 lowers the tempo without compromising the energy: Slo-mo Amens interspersed with complimentary breaks sit on top of huge pads, Reece style bass and rousing vocals. Outside also appears in two similarly styled parts. This time Part 1 comes in at the lower tempo, a light vocal-led slow motion rolling number with classic Apache elements, while Part 2 applies the same sonic template to a tough, jazzy roller.

"Letters From Hell" is BIIA's invitation to a journey inspired by80's metal, goth-rock, and industrial music, where raw emotion meets obscure vocals in a captivating dance of darkness and passion.

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


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

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

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

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

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

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

Following their contribution to the 2022 International Women’s Day compilation, and a co-production credit on “Dreaming is Essential” by Byron Yeates, Eoin DJ drops their first release on Radiant Records, Total Body. The 4-track EP is replete with mind-bending, lustrous tracks waiting to be spun out to sweatbox dancefloors.

“Total Body” invites movement from its first seconds. Layers and layers of snares, shakers and rhythmic synth stabs build tension before the pulse of a rolling bassline cements the elements into a cohesive hard house groove. Fragments and chops of sensx’s vocals wrap in and around the sonic field, leaving wisps of reverb and echo in their wake before repeating the track’s Total Body mantra in the breakdown. The result is a lushly-scored density of sound, with a relentless stomp that never feels overcrowded or too heavy.

Angel D’lite’s remix takes a more skeletal approach to “Total Body”: a snare and clap march beneath chiming vocal stabs, rumbling low end and rolling breakbeats, flipping the original into a modern bass-heavy hybrid number. The rhythmic synth from the original, reversed and efex’d, ushers us in, and then out of the track, around extra bass stabs and pitch shifted “Total Body” chops.

On the B side, “Ultra Soft” lifts off with a firm kick and a rolling 3-note bassline. Despite the title, the track hits harder than “Total Body” and sings with Eoin DJ signatures: swirling funnels of processed vocals, rich, ear-itching textures, stripped back percussion and rave-ready samples are sprinkled with 303s, to create a track that sits comfortably with both classic trance and techno and contemporary “Progressive” dance music.

The EP’s closer, a remix of “Ultra Soft” by Byron Yeates, compresses the astrally-inclined scale of the original track into shining slices of sound. A playful, chiming melody starts off the track alongside the kick, working through precise grooves, knife-sharp snares, a throbbing bass and chopped-up, smokey vocals. The result: 6 minutes of total embodiment from the Radiant Records boss.

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

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

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

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

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

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

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As EarToGround Records hits its seminal tenth release we have decided to go all out sonically and visually.

As you all know Dax has been a core member of EarToGround right from the beginning. It all began with his and Chris Stanford's jointly produced track 'Programm' on ETG001.

From then on in he has worked tirelessly at his East London studio, climbing through the ranks to become the very respected and some would say inspirational producer he is now. Over the last year he has very much honed in and developed his now unique sound and recently released on much respected, high quality labels such as Deeply Rooted.

You could say his own EP on ETG has been a long time coming but we like to think ETG010 is what he has been building up to, some of his best work to date. We will let you decide

3 new solid, hook heavy, DJ and dancefloor friendly tracks from Dax as well as 2 centralized locked grooves and additional, extremely slick remix work from ARTS label boss 'Emmanuel'...

Black vinyl. Internal textured black inner sleeve. External textured white outer sleeve. 2 ETG Invader Stickers. Again the artwork is Space related. The theme this time pays homage to what can arguably be called one of the best modern SYFY films ever made.

'London-based DJ/producer Soreab returns to Baroque Sunburst with a highly anticipated follow-up to 2020's 'Kraepelin Avenue' EP. The new four-tracker also marks his label's 10th release.

The concept of 'Maschera' revolves around Luigi Pirandello, an Italian dramatist and novelist. His ideas of the 'mask' and 'trap' take centre stage. Pirandello believed that the concepts of 'self' and 'identity' are lost and unachievable in human beings, who are all trapped behind a metaphorical mask concealing their identities.

Each track on 'Maschera' has two masks: they can be played at both 33 or 45 rpm, a dream for DJs mixing in wide tempo mode.The title-track draws inspiration from Pirandello's masking ideas. Soreab's half-time stomper moves with the slithering grace of a snake, evolving into intricate IDM melodies riddled with complex drum patterns. ‘Trappola’ is a melodic hide and seek, with a captivating slow tribal rhythm that gradually intensifies. In ‘Specchio’ the snake returns, biting his own tail in a continuous loop, a birth and death cycle. The closing track sees the opener remixed by KRSLD, a collaborator with Soreab on the BSUN and XCPT co-release 'Marmo'. His rework builds on all the concepts Soreab explores, infusing dub with a half-time modern dancehall mood. The snake, no longer masked, is now looking for you.'

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Following his debut on the label with last year’s ‘The Pob Routine’, Jerome Hill returns to AccidentalJnr with another absolute stonker of a release which we’ll let him describe in his own words...

“After my last EP for Jnr I spoke with label boss Matthew Herbert and he challenged me to write a track for the next EP, containing only sounds I'd recorded 'in the wild'. I was about to spend a little time on an organic Vegetable farming co-op just outside Munich, 'Kartoffel Kombinat' which I'd previously nicknamed Potato Land, so I brought my recorder and during my stay made lots of recordings, carrots being bitten and snapped, various gardening tools clattering around, voices and even the big tombola-like machine that cleans the freshly picked vegetables. The resulting track was Potatoland and the only non-organic noise in it is the kick. Various 'Potatoland’ elements also make guest appearances in the other tracks, although they are less easy to spot.

'Quibble’, was also written specifically for the label and was influenced by Herbert who I've been a huge fan of for decades... I wanted to make something suitably wobbly and humorous that shuffles along but then really slams when the kick comes in. Add in the Dance Mania influenced ‘Chicken’ and the final track ‘Bleeper’ and that's the EP... Very happy to be back!!”

The Drip EP brings together four distinctive producers and one set of sounds - The Drips. The result is a compilation of 4 tracks that bring the swing and sampling of some of Accidental Jnr's finest to produce a soaking wet dancefloor.

First up is label boss Matthew Herbert with a trademark groove that harks back to his Wishmountain moniker albeit found lurking in the swamp. Cosmo Sheldrake takes a slight departure from his usual multi-instrumentaling live-looping avant-folk to deliver a track that could only be described as travelling circus aqua-techno. Bahraini born, French / US bred and now Edinburgh dwelling video game builder, sound designer and sometime Scottish league football referee Yann Seznec opens the B-side with an absolute stormer of a rain drenched club hook. Sussex based producer Crewdson and builder of such electronic instruments as the Eggiophone and Concertronica closes proceedings with a drizzling evolving 2-step number.

Lyra Valenza set the tone for their first full-length album ‘Low Gear No Pressure’ with an idyllic ambience, which then tumbles into feisty, heartfelt dance workouts. Across eight tracks, the Danish duo explore the pixellated euphoria of their previous ‘Scan, Deliver’ and ‘Nightshade Edition’ EPs with a more focused sensitivity. At the start of 2020, Lyra Valenza had been freshly nominated by music platform SHAPE. With the pandemic in hand, however, plans changed: instead of playing a slew of festivals, the duo spent weeks in a summer house in rural Sjælland, right at Denmark’s North Eastern coast, making early versions of the tracks in this album. ‘Low Gear No Pressure’ refers to the unusual calmness of that time, away from music industry stress and burnout; inspired by friendship. More than previous EPs, the album is shaped by the duo’s live set, which they’ve been performing in Denmark and Europe for many years now. The album breezes through different modes with confidence and ease, tracks morphing fluidly into one another to create a cohesive listening experience. A cool, expansive breakbeat on track two, ‘True Computer’, hints at the psychoactive journey to follow. ‘Truthwork’ plays with arps over a half time groove: subtle synths which reach their final form in ‘Joy Divided’. These agile swells and drops recall peers-in-precision Minor Science and 96 Back. On the flip, ‘Gameshow’ looks back over one shoulder to eurodance, while ‘Life on the Line’ goes out to the soulful junglists, but with a touches of trance in the samplework. On ‘Who Might Win’, the album’s ecstatic hyperactiveness melts into a slo-mo heartbeat, reminding us there’s a chillout room somewhere in the building. And just when we think it’s time to go home, the album gifts us with “one more tune”, and the soaring pop vocals of featured artist Saltmother on ‘Stretch Your Arms’.

Openning with a mental tribe dark digger this EP offers 4 tribal mental kickers, travelling from DSP style to Raggatek sound.
Progressive and trippy they are !

4 songs EP for the lovers of Fuzz! 4 explosive and ultra fuzzy songs by our favorite French fuzz rockers, Dum Dum Boys! Play loud or don't play at all! The Dum Dum Boys' new 4 songs EP was born under the sign of Fuzz: The one-chord fuzz stomp of Do the Nothing (a brand new nihilist dance), the fuzz glam of Come on Now (Gary Glitter meets the Scientists), the fuzz boogie of Blame It on the Boogie (a dancefloor hit, but only in freaky discotheques), and - another one-chord song! - the fuzzy amphetamine rush of Ridin' Down the Highway (Guitar fuzz! Bass fuzz! Organ fuzz!). As the poet said: "Those who don't like fuzz, pass your way_"

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Eighteen years ago, Oppenheimer Analysis made its indelible mark with the iconic track ‘The Devil’s Dancers,’ heralding the birth of the Minimal Wave label. Founded with a singular mission, the label set out to share this musical gem with the world. The inaugural release was the self-titled Oppenheimer Analysis EP, meticulously pressed onto high-quality 180-gram black vinyl, accompanied by a striking 18” x 24” poster adorned with captivating photos and lyrics. This historic release graced the world on December 6th, 2005. Remarkably, this EP has been elusive for a decade now.

In an exciting development, the fifth edition of the Oppenheimer Analysis self-titled EP is set to debut in December 2023, featuring the original remastered version of ‘The Devil’s Dancers.’ This EP is presented as a loving tribute to Martin Lloyd (1950-2013 R.I.P.), one half of Oppenheimer Analysis. The EP showcases select tracks from the 1982 Oppenheimer Analysis cassette titled “New Mexico,” along with two previously unreleased gems. The story behind Oppenheimer Analysis began when Andy Oppenheimer, a nuclear weapons consultant, and Martin Lloyd, also known for his work with the Survival Label and the project “Analysis,” crossed paths at a Science Fiction Convention in London in 1979. They shared the stage with notable bands like Hawkwind and Spizz Energi and garnered attention in the pages of Melody Maker.

This fifth edition release consists of 999 meticulously hand-numbered 180-gram black vinyl copies, each accompanied by the first edition poster insert. Notably, the spot color on the sleeve distinguishes each edition: green for the first, deep blue-green for the second, light powder blue for the third, mint green for the fourth, and a brighter aqua mint for this current fifth edition.

Emerging from the heart of Brussels, Azo is poised to set the electronic music world ablaze with her latest EP, "Astroculture," scheduled for release on SNC Recs. Featuring four vibrant original tracks and a stellar remix from Offenbach Frankfurt's very own Maruwa, this EP takes listeners on an ecstatic journey through the realms of acid, trance, and high-energy drums.

Azo has consistently captivated her audience with a rich tapestry of influences. Renowned for her rock-solid radio shows and dazzling productions, she skillfully blends a myriad of musical elements to create a sound that is uniquely her own.

Inspired by the enigmatic and pulsating vibes of Electro, Trance, and the expressive melodic flavors associated with Rave culture, Azo's "Astroculture" EP promises a sonic exploration like no other. Each track invites her audience to embark on an exhilarating adventure, guiding them through a musical landscape that defies boundaries and expectations—just as the scientific endeavor of astroculture explores new possibilities for cultivating plants beyond the boundaries of Earth.

The EP wouldn't be complete without the hypnotic remix by Maruwa, a vital contributor to the scene. Maruwa's reinterpretation adds a fresh twist to Azo's sonic canvas, enhancing the EP's already electrifying atmosphere.

Azo's "Astroculture" EP is set to ignite dancefloors and inject a surge of energy into the new club season. With its intoxicating beats and boundless creativity, it's a must-listen for electronic music enthusiasts worldwide.

Don't miss out on this sonic adventure. Join Azo on her "Astroculture" journey as she delivers an EP that's as unique and mesmerizing as the artist herself. Experience the magic of Azo's musical journey and get ready to dance like never before.

System 108 resident Lipelis teams up with Carrot Green from Rio de Janeiro to create a dreamy, summer vibed EP simply dedicated to them both: Leo & Caito, with naming and artwork playfully inspired by Sertanejo genre standards.The duo emerged in early 2020 on the streets of Rio and started to jam same night in the studio of Carlos, who is affiliated with all cool gangs of the Brazilian dance scene. Just like on Lipelis's critically acclaimed Function As A Meaning EP (a System 108 instant classic by now!), things took off by themselves: intuitive sampling of chords taken from Brazilian gospel found some unexpected modular synth tweaking. For good!"Rolando Nascer do Sol" is THE track, that the duo is particularly proud of. In the words of Lipelis, who has once spinned it at Gop Tun carnival party, in a b2b set w/ Millos Kaiser - 'it produced an unforgettable euphoric effect".Having witnessed how all the tracks work on the dancefloors not only in Brazil, we are uber-excited to finally release this 4-track EP!

Crate Classics release their 2nd vinyl, pressed by Music House Studios. Stars from the Jungle and Dancehall scenes crammed onto this 12. Undoubtedly one of the most exciting figures to arise within drum & bass over the past decade, Rouen Wilkins, also known as Voltage, has carved his way to becoming one of the most valued artists in the scene. He now takes on Rudeboy Sound by Crate Classics and JODIAN NATTY which was a huge hit at 2022's Notting Hill Carnival, with support from Shy FX, 1xtra, 6music, Radio 1, KOOL FM and more. This Rudeboy Sound Remix EP also includes Jungle pioneer 'Potential Bad Boy's' mix of the tune Babylon fro

A1 - Healing Properties
Opening his Spatial account with Healing Properties, Eusabia immediately throws down the gauntlet showcasing an inimitable versatility with breakbeats, permeated with a jungle flex so rarely captured in the atmospheric D&B landscape. Pivoting effortlessly as the track progresses from drumloop to thunderous drumloop with a simmering haunted atmosphere and deep, weighty basslines to yearning filtered vocal samples, this track has it all.

A2 - The Space Between
Smooth jungly synthwork seizes the foreground before crisp breaks begin to reveal our direction through The Space Between, jittery key stabs and familiar old school FX create a unique sci-fi style backdrop as the breaks drive the vibe forward, switching and weaving in style, constantly mixing it up to ram the point home that you cannot fully appreciate a Eusabia track until every second has been consumed - many times over, as The Space Between demands.

AA1 - Scope of Understanding
A more contemplative piece, Scope of Understanding strips things back with a synthwave-esque vibe tinged with intrigue and allure. Soon the breakbeats leap into gear and develop with an incredible level of refined detail, expertly edited, chopped and cut to a darkly undertone of sub bass and subtle micro melodies. Scope of Understanding will leave you in awe of the quickfire ideas Eusabia can conjure in the space of 6 minutes.

AA2 - Self Reflection
A smooth atmospheric introduction ushers in a thumping drum tools workout, somehow perfectly in sync with the calm harmonies dancing around in the composition. Certainly a track to enjoy both on the discerning dancefloor and while driving home with rain lashing at the windscreen at 2am, Self Reflection's synths and breaks conclude the EP in style leaving a long lasting memory of a Spatial debut you will not forget.

Words by Chris Hayes.

X/Y/Secret presents Augusto Taito's electrifying new EP called 'Light in the Dark'.
A strong collection that showcases Taito's remarkable talent for blending the essence of modern techno with atmospheric soundscapes, laser sharp leads and a solid groove that locks you in, refusing to let go.

Augusto's personal touch is evident across the entire release. His signature swing comes alive through crisp percussion, swirling stabs, and hypnotic rhythms, creating infectious grooves that resonate with boundless dancefloors.

The entity known as ALTERNATIVE TENTACLES, would like to express its excitement to be working with the Seattle, WA based BAND Sandrider, and enjoyed the previous relationship of Damm and Weisnewski in their former entity known as AKIMBO. ALTERNATIVE TENTACLES is very much a fan of previous work from the BAND on Satanik Royalty Records and highly recommend new listeners investigate the discography further. The upcoming 2-song single by BAND, hereafter referred to as AVIARY/BALEEN has a limited-edition initial pressing on blue and white splatter vinyl pressing of 300 copies, and successive runs will not be as colorful. Immediate orders are encouraged. This cheeky duality of Sandrider is also captured perfectly in the subject matter of the EP’s two tracks: The explosive first track, “Aviary,” portrays the modern hellscape of social media as sinister, soulless mama bird, willfully vomiting disinformation into the eager mouths of enthusiastically consenting participants. “PLEASE MOTHER, FEED THEM YOUR BILE. DOUSE THE BABES WITH YOUR WHOLESOME RETCH,” vocalist/guitarist Jon Weisnewski wails over massive, frenetic riffs, rounded out by bassist Jesse Roberts’ warm low end and drummer Nat Damm’s ultra-hard, punch-like beats. The song concludes in a frenzy of danceable beats, with Weisnewski doing his best Painkiller-era Halford screams as he commands you to flood the whole damn thing – drown those who wish to destroy us. As pissed off as the song is, you’ll feel triumphant by the end anyway. Side B’s “Baleen” on the other hand (while ironically the angrier-sounding song of the two), is about a lighter thought that keeps Weisnewski up at night: Do you ever think about how fucking weird whales are? They’re enormous floating creatures that can't handle gravity, and they hang out in the deepest oceans. Yet they can’t breathe underwater, so they have to stay near the top and come up for air all the time. Seems inconvenient. And you’d think that the biggest mammal that ever lived would be a brutal carnivore, right? But no. They eat the tiniest creatures, through a bunch of hair in their mouths. What the fuck? Anyway, ponder on that while you bang your head along with Sandrider’s signature primal, hypnotizingly heavy riffs.

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

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

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

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

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

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

Element, co-founder of Riddim Chango imprint, introduces his latest creation, a 4 track EP, under the freshly forged subsidiary label, Parallel Line.

The EP opens with the abstract dancehall mic-man in Kingston I Jahbar, reprising his collaboration with Element from their 2021” Andromeda EP on Bokeh Versions, narrating rhythmic tales of style and ambitious hustle. The records transitions to the intense dubwise cut to the A1,“Chicken Gravy Dub”, and the B-side unfolds“Nine Mall”and“Martian Gravity,”instrumentals resonating with obscure yet atmospheric dancehall/dembow echoes.

The EP embodies a fusion of eclectic influences, resonating with reflecting the innovative and unique soundscapes of Element and his Parallel Line imprint.