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Jexy brings you two radically new versions of "First Stomp," the voodoo-chanting-mutant-disco smasher from his new LP "Ravines." Crafted with care by the man himself, the A-side features the NYC Mix--a deep n' dubby latin house-influenced builder. On the flip, Jex ups the tempo, the vocal quotient and the 707 snap for a tropical disco singalong.

With their latest release, "Matasuna Records" brings together two songs from 1966 that were originally released on "J-V/Atlantic Records" & "ATCO Records". Now officially reissued for the first time on 7inch vinyl. Aside from the same release year, the two songs - a Northern Soul joint by "Cliff Nobles" and a Mod Jazz tune by "Russell Evans & The Nite Hawks" - seem to have little in common. However, both are delicacies for any dance floor and combine an irrepressible energy. The two songs thus fit perfectly together on this hot & fiery 45!

"My Love Is Getting Stronger" by "Cliff Nobles" on the A-side is not only a super rare soul gem whose original single cost at least $700 dollars. The song can also be considered one of the best (Northern) soul tunes. A grooving bass, infectious drums & bongos meet great orchestrated horns driven by Nobles' raw yet sweet voice. A smokin' soul cut for any dance floor.

The instrumental "The Bold" by "Russell Evans & The Nite Hawks" on the B-side brings out the same irrepressible energy. The deep bassline, drumbreaks and funky guitar riffs introduce this terrific song. A deep organ joins in perfect interplay and enchants the listener. A great groover that shouldn't leave any record box!

"Cliff Nobles", born in 1944 in "Groove Hill" (Alabama) got into singing in his high school choir in "Mobile" (Alabama). He also became the lead singer of a popular local group called "The Delroys". After school, he moved to Philadelphia to work on his career. He recorded 3 songs for "Atlantic Records", which went unnoticed. He later formed the band "Cliff Nobles & Co" in "Norristown" with "Benny Williams" (bass), "Bobby Tucker" (lead guitar) and "Tommy Soul" (drums).

Through demo tapes, Nobles came to the attention of producer "Jesse James", who began to write songs for the band and helped them get a contract with "Phil L.A. Of Soul" Records. The first release bombed, but the second single, "Love Is All Right/The Horse", brought success. Ironically, the instrumental B-side "The Horse," which Nobles didn't even perform on, became a huge hit. It reached #2 on the charts, sold over 1 million copies and was awarded a gold record by the R.I.A.A..

However, subsequent releases failed to match his success, and he retired from the music business in the early 1970s. Nobles died in October 2008 at the age of 67 in "Norristown", Pennsylvania.

Far Out Recordings presents the peerless and criminally undervalued Quartin catalogue, beginning with the reissue of Jose Mauro’s forgotten masterpiece Obnoxius. Over the course of the 60s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato and Quateto Em Cy. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade’s first year, with Victor Assis Brasil Plays Antonio Carlos Jobim and the aforementioned Obnoxius. These singular gems in Brazilian music, difficult to categorise yet compellingly haunting, have for too long gone unheard.

Today, very little is known about Jose Mauro and as a result those searching for some kind of insight on the man behind the music must attempt to glean what they can from the music itself. One rumour claims he died in a car accident shortly before the album’s release, a fact that could have lent his brief musical career a touch of mythology were it not for how scant the details concerning any other aspects of his life are. The political turmoil from which the album emerged is significant also; recorded during an era of oppressive state censorship, the album, like all the Quartin catalogue, is the result of steadfast defiance in the face of a crushing military dictatorship. While many musicians of the era fled the country, preferring their prospects in the affluent, liberated USA, rebellious, young musicians like Mauro chose to stay and reflect their anger at the authorities through thinly veiled protest songs such as the stirring ‘Apocalipse’. Herein lies the basis for a more dramatic theory; that Mauro was in fact abducted by the military! Whatever the truth, the mystery remains unsolved, and all that remains is his bewitching music, all of which is composed by Mauro and Ana Maria Bahiana. Production on the record was cancelled after Mauro’s death and it was never sold commercially until its rerelease decades later. What appeal does Mauro’s music hold to today’s listeners, forty-something years removed from its conception? Simply put, there is very little else that sounds much like it all. Take the title track of ‘Obnoxius’. A wholly singular piece of music, blending string-drenched melancholia with orchestral pomp, sunny psychedelic strumming with propulsive percussion, topped off with Mauro’s yearning vocals. The result is indicative of Mauro’s unique blend of sounds from Latin Jazz and samba to psychedelic folk and baroque orchestration.

Today, Obnoxius retains its strange, otherworldly appeal – A firm favourite amongst a small circle of deep diggers including Madlib, Gilles Peterson, Floating Points. Jose Mauro’s mournful and melancholic vocals create a dark, brooding atmosphere that stands in contrast to the usual joyfulness and high-spirited rhythm of the more prominent Brazilian music of the era. Despite this air of foreboding, Mauro’s confident baritones, chord patterns and sumptuous arrangements have the ability to induce in the listener an almost trance-like state of ecstasy. Mauro’s long hidden masterpiece, a complex and uniquely stunning work is being offered the chance to be heard by the wider audience it has always deserved. A second Jose Mauro release, A Viagem Des Horas, compiling more incredible tracks unreleased in Mauro’s lifetime, will follow, alongside other unreleased jewels from the Quartin catalogue, from the likes of Piri and Victor Assis Brasil…

Groove Access is back with a split EP by Dan Ryan & Ed Nine. Dan Ryan starts off Side A with "New Home", a super vibrant cut taking you on a deep atmospheric ride with a fulfilling bass line, groovy chords and strings programed with timeless x0x Drums. "Fuzzy Tape Dreams" is quite unique with crunchy and knocking drums crafted with smooth and hypnotizing pads, occasional piano hits and leads with minimal vocals sprinkled in. Ed Nine takes over Side B with "Another Day", which starts off with a glowing intro followed by a punchy rhythm. The groovy feel of the track is carried throughout with simple chord hits and dreamy fillers. Lastly, "Distant Reality" is a serious groove consisting of head nodding patterns with aggressive stabs, pads, and leads that will move the dance floor.

Kamarads Records is finally back
and presents its second release made with four European producers from France & Italy,
Jef K, icon of the Parisian house has collaborated on a track with Ilyes from the new generation of electronic producers based in France and you will also find Reda Dare who you already know, an important component of the new landscape of French house.
For Italians: Nicola Brusegan, ambassador and prolific producer of a fresh and romantic vintage deep house, made of analog synths and Mpc grooves and textures from Venice, and Laurent Ci who produced more of a minimalist house tinted with Romanian atmosphere and atmospheres.
The second Kamarads reference will be a Vinyl Only.

While the world continues to be in a bizarre mixture of feelings and circumstances, we can thankfully still hark back to last fall when the sophomore LP from the elusive and innovative KAMM band, Cookie Policies gave us an opportunity to reflect on the past while fully looking toward the future.
The album presented a beautifully unique blend of listening-oriented music styles, combining the early roots of the four producers and their pre-DJ formative musical travels. It is now our great pleasure to introduce an EP set of specifically dance floor-focussed remixes that take the diverse textural arrangements and expansive sonic bliss of the LP and stretch it around some solid percussive membranes, sure to excite many DJs and dancers out there in the wild as things begin to reopen.

KAMM band members Dave Aju, Alland Byallo, Kenneth Scott, each chose one original album track to rework with a more propulsive feel and from Aju's psychedelic West Coast breaks rendition of the noir-esque "CCBPGC", to Byallo's high vibe leveled-up flight of "Bird Call", or Scott's bold section-by-section recreation of the sprawling "The Soft Glow Of Electric Sex" laser-designed for heads-down late night club sessions, the boys came through to say the least. The real A1 treat of this reinterpretation package however comes from unanimous artist choice and label favorite I:Cube, whose majestic take on "Shleem" sees the veteran producer and master remixer move the bubbling ambient piece into bumping and rich space-age deep house territory, equal parts angelically uplifting and pure 5am club-belter/mind-melter.

Stepping up with an astounding collection of first-class sonics, Fred V’s
highly anticipated debut solo album, ‘Radiate’ is on the horizon for the
summer of 2021, on Hospital Records.
Consisting of 15 tracks that feature exciting collaborations with Millbrook, Zara
Kershaw, Vonn , Lottie Jones and SAYAH. Fred V’s first-ever standalone longplayer is everything you’d hope for and more, built from an infusion of electronic
influences from the past, present and future.
Expect an up-close and intimate insight into the Exeter-based multi-instrumentalist, as he continues to carve out his unique musical identity through ethereal
soundscapes and melancholic climates.
With his debut album marking a fresh chapter in his career as a solo artist, Fred
V’s journey so far has been a remarkable one. From his decade-long collaborative project alongside Grafix which saw many world tours, live shows and three
studio albums.
Since embarking on his individual venture Fred V has put out a string of successful releases which have drawn support from airwave tastemakers Annie
Mac, Ren LaVice, MistaJam, Charlie Tee and more.
Diving deep into the exploration of his own sound, expect to find Fred V playing at Hospitality Bristol BBQ in August, Hospitality Weekend In The Woods and
Sundown Festival in September.

From the depths of an ancient dark underworld, Nigh/T\mare has conjured a powerful offering of burning emotions that light the fires of one's demons and invite the beginning of an epic journey through the unknown. Via Threnes Records from Switzerland, this offering is on point with their consistent releasing of top quality industrial/experimental techno. Entitled "Katharsis", this artistically crafted set of tracks in the form a debut album twists and turns its way over tribal rhythms with dynamic feels and beating drums that break down anything standing in the way. A powerful offering from the depths of the soul.

"Impure" is a powerful opener, like an army banging its drums and marching towards the fight, this track sets the stage from the drama to come. Like a speeding train through dystopia the injection of adrenaline comes in the form of "Self Immolation" which makes the heart beat with the force of a 100 pounding drums. Tribal percussion keeps banging its way through "Anti Balaka" before slowing into a deep melancholic track by the name of "Unarmed". Slowly building out of the calm "Unavoidable Unveiling" creates tension with droning notes and broken industrial percussion laying the soundscapes. "Doomed to Struggle" Feat. Prophan is a dramatic pushing and pulling of the hard hitting sounds and ritualistic chanting before diving into the galvanic rhythms of "The Summoning" Feat. LAIR. "The Path of Moans" brings the mood to a sombre place where the whispers from the demons below can be heard alongside the chiming of distant bells. Pact Infernal's remix of "Impure" demands attention as it offers chaos into the fold along with viciously delicious synths. Torn Relics remix of "The Summoning" builds into an onslaught of relentless percussion and deep howls from the underworld which leave you with chills running down your spine. A fitting ending to an impressive array of dynamic tracks, this is an experience never to be forgotten.

Moscow and Propaganda resident Alexander Babaev, also known as Rekord 61. In the past few years, he has been churning out an impressive series of deep, melodic, and moody tracks which all showed a truly unique blend of Techno. As our label boss Psytox is a huge fan, it was only logical we'd invite him for an EP.

Four tracks will take you further into the mind and soul of this gifted producer. All tracks are deep, dark and moody with a sub bass aiming at the dance floors but without taking the easy way out.

We can't wait to hear what you think about the tracks.

Could the missing link between Eric Dolphy and Albert Ayler be the Michel Portal of 1970? After having worked alongside François Tusques defending a free jazz “made in France”, we find him here, heading up an international quintet of which each member is on fire: John Surman, Barre Phillips, Stu Martin and Jean-Pierre Drouet. The quintet had full leeway to break out the free-form in long ambient tracks to compose this Alors!!! which leaves listeners with just one word to say: More!

Do we still need to present Michel Portal?... Clarinetist destined for the classical and contemporary world after his passage in the Paris Conservatory, he decided to try his hand at jazz, with an incendiary flamboyance! After his first experience with André Hodeir and Pierre Michelot, he would break all the codes with François Tusques (Free Jazz, in 1965) before starting the emblematic Michel Portal Unit. It is the Portal of those years that Alors!!! offers us the chance to listen to again.

“There are periods of insolence”, the musician declared and the year 1970 was one all on its own. Heading up an impetuous international troupe, a quintet consisting of John Surman (saxophones, bass clarinet), Barre Phillips (double-bass), Stu Martin (drums) and Jean-Pierre Drouet (percussion), Portal moves from alto sax to clarinet in the compositions shared with his partners.

From the off, the group sparks an explosion with the sound of “OO Bam Ba Deep” battered by the horns and percussion. Next up is the fabulous free jazz of “Yes, Oh Yes, You Wonderous Sun Kissed Maiden!” and the fantastic disjointed march of “Ça Boom?” which shakes up the musicians every which way. The quintet imagined that listeners would need to catch their breath, and thoughtfully added: “Billie the Kid” and “Undercurrent”, marvelous moments of ambient mystery.

Audacious from beginning to end, including the sleeve – the bird-man and his quintet brain designed by Avoine, –, the album is a fabulous object, to which the label Futura gave wings at the time. And as it is being reissued today there is just one word to use: the French translation of the title, So!!!

We are happy to present you our second reference LV002. It contains three new tracks from Oxygeno, alongside a remix from the Swedish atmospheric techno master Lakej.

The A-Side starts with "Bad Habits", a raw track with distorted bassline and an hypnotic synth sound moving around your head trying to call your attention. This is followed by "Endless Carousel", the high energy track of the EP.

On the B-Side, "Time Is Running Out" pretends to be a deep brain melter, taken to a new level by Lakej, who increased its tension and shaped the track direct to the dancefloor.

A deep dive into the one of most collectable jazz catalogues in the world, a selection of some of the rarest and most sought-after recordings from the 60s and 70s, a time when British jazz began to find its own identity. Drawn from the iconic labels of Decca, Deram, Argo, EMI Columbia/Lansdowne Series, Fontana, Mercury, & Philips. If one were asked to pick an album that represented the best of British jazz in the 1960s, Le Déjeuner Sur l’Herbe by the New Jazz Orchestra would be a serious contender. Recorded in September 1968, it draws together many of the key streams that had developed in British jazz in the preceding years, and also presages much of what was to come. Notwithstanding the line-up, which includes some of the very best British jazz musicians directed by an inventive and ingenious leader in Neil Ardley, the session features pieces written by the most distinctive jazz composers active in Britain at that time alongside idiosyncratic interpretations of works by John Coltrane and Miles Davis. And it’s all captured beautifully by engineer Howard Barrow and producer Tony Reeves and it features a stella cast of some of the greatest musicians, not just from that era or genre but beyond; Jack Bruce, who would become one of the founding members of Cream, Barbara Thompson, Ian Carr, Michael Gibbs, Dave Gelly, Dick Heckstall-Smith and Jon Hiseman, who went on to form one of the greatest jazz/progressive/rock bands – Colosseum.

Spirits Having Fun records are ones made from and for shows and spaces—arrangements rooted in a deeply collaborative process, that come to life through intuitive and locked-in live improvisation. Following their 2019 debut Auto-Portrait, Two finds the New York and Chicago based four-piece continuing to challenge ideas of what a rock band can be, pulling apart their musical experiences and reimagining them as kinetic compositions, equally studied but palpably organic.

Two is constructed around gut feelings and strong grooves, elastic rhythms and playful pacing. Its twelve songs expand, contract, and make sharp turns between melodies under singer-guitarist Katie McShane’s meditative lyrics. “Broken Cloud,” which was also released last year on a compilation in support of Chicago Community Jail Support, offers a glimpse into her reflections on the natural world: "A city grew out of the ground / to a mountain it's only a blur."

True to its name, the internal logic of the band is also just a lot of fun, built on trust and deep-rooted musical relationships. Before there was Spirits Having Fun, McShane, bassist Jesse Heasly, guitarist-vocalist Andrew Clinkman, and drummer Phil Sudderberg had performed together in various arrangements over the years. McShane, Heasly and Clinkman met in a specific corner of the Boston underground in 2013, a time when a scene had coalesced around students from local music conservatories frequently collaborating with punk bands and noise artists, exchanging ideas and warping musical worldviews. Heasly and Clinkman played together in Cowboy Band, making mutant, free jazz-inspired takes on old country tunes. When Clinkman moved to Chicago, Heasly and McShane played in experimental groups like EKP and Listening Woman; in Chicago, Clinkman met Sudderberg playing in projects like jazz scene fixture Ken Vandermark’s high-powered band Marker.

Spirits first came together as an attempt at a long-distance collaboration among friends in 2016, driven by the simple feeling of missing each other; they’d meet up for marathon weekends here and there to practice, playing small loops through dive bars and art spaces around the Midwest—just enough for McShane and Heasly to afford plane tickets back home. Being split between Chicago and New York forced the project into a deliberate pace. “We tried to take it slow and let it be what it was,” said McShane. That sense of patience unexpectedly prepared them for March of 2020, when their planned tours and the release of Two were indefinitely delayed.

Two was mostly recorded in the summer of 2019 with the help of omnipresent Chicago engineer Dave Vettraino and DPCD’s Alec Watson, whose contributions on organ, synths, and piano are laced throughout the record. The album reflects a synthesis of solitary and communal songwriting processes—each song drawing on fragments written by individuals, which McShane threaded together and shaped through her distinct compositional lens, making the songs whole before returning to them to the band to mature collectively. When composing, McShane writes first on the keyboard before adapting parts for guitars played by herself and Clinkman. Their dueling approaches to guitar are complementary: McShane, being a newer guitarist, brings a freshness to the project (“I'm just discovering the whole time,” she says) while Clinkman has been playing since childhood.

“There's a lot more collaboration on this record,” says Clinkman, “in terms of all of us letting stuff bloom a little bit more.” The record’s first single, “Hold The Phone” is a good example of this process—it started with a playful intro riff from Clinkman, a melody and bridge added by McShane, a wobbly outro groove added by Heasly, which Sudderberg brought to life. Another single, the dynamic “See a Sky,” written primarily by Heasly, underscores the rhythm section chemistry at play across the record, the song ebbing and flowing around Heasly and Sudderberg’s eclectic percussive palettes.

“Entropy Transfer Partners” is the only song on the record with lyrics by Clinkman, and the album’s most politically direct—a call for solidarity in the face of systemic failures, an acknowledgment of the shared material devastation caused by our country’s ongoing healthcare and housing crises: “These are not things we're experiencing individually. We struggle through them collectively. And we could actually declare, all of us, that it doesn't have to be this way, and fight and organize to ameliorate some of those conditions.” (“We won't work to create the shit you monetize, to run our lives,” they sing.)

From front to back, Two is an absorbing listen simply for its impressive range. But as the members explain themselves, the complexity of the record is about more than its intricate riffs, or how often they count out an odd time signature, but how they reject the notion of boxing the songs in, letting the melodies take on lives of their own. “Making music that feels alive is important to us,” says Clinkman. “Music feels most powerful to me when it deepens our sensation of feeling alive and connected to other humans. It’s so easy to feel worn down and isolated; that your life’s value is fixed to your productivity at your job, or the things that you have or don’t have. Making music that feels joyful and fun seems like one effective antidote to that feeling.”

Nine Eleven Records’ sole motto is to spread out the word that broken beat and jazz are not dead.

For the first release of the “4 seasons” project, Autumn is in the spotlight. Imagine falling leaves creating an explosion of colors, the first frost of the year warmed by a ray of sunshine… This EP proposes a journey of a thousand shades into the universe of the label Nine Eleven: breaks, soul, and groove shaping an evolutive and captivating story. For this adventure, we surrounded ourselves with talented artists such as LBTQ, Sofatalk, Kaidi Tatham, and Footshooter. Together, we have created an anthem for this autumn season as a revival more than a fall.

If you embrace this experience, you will feel the energy of the earth’s continual evolution through your veins. All you need is to sit back and relax.

The Other End Of The Circle by OPICA

The second release on Nikolaj Jakobsen/Sugar's new Perfumery label is a complete departure from the signature Copenhagen fast techno sound, and unequivocal notice of the varied and experimental plans he has for the imprint.

OPICA is Anders Bo Eriksen, a cimbalom-, tuba player, percussionist and producer, who has created an ambitious, diverse and mind warping debut album ranging from soothing acoustic ambient pieces, electronica-esque live-drum cut up tunes, mutant house music, and 180 bpm breakbeat madness.

In this goodiebag there's something for everyone, so don't be shy! In the making of this album OPICA is featuring vocalist Astrid Engberg, drummer Anders Vestergaard, and Sven Dam Meinild on sax and flute, and the album is co-produced and mixed by Nikolaj Jakobsen.

This album is for the late night acid fueled deep listening sessions!

Reinhard Voigt finally delivers the long-awaited continuation of his minimalist concept series on KX with RV 05/06. The series with the beautiful crest-like label and the extremely minimalistic Reinhard Voigt-typical a little surreal, psychedelic and always humorous concept , stands deep in the tradition of straightforward rave and techno productions of the glorious electronic founding era.

This much acclaimed Cyprus-based trio return with a thrilling fourth album.
The record pushes their trademark Mediterranean sonics into a deep
psychedelic and avant-folk direction.
A danceable fever storm of stringed instruments, multi-layered singing and
trombone-driven low end.Night is when strange things happen. When shapes
shift and blur. When it’s hard to know what’s real and what’s illusion. Night...
is the time of the imagination. For Cyprus’s Monsieur Doumani, those hours of
blackness have lured them in a very different direction for their fourth album,
Pissourin.

Don Tiki, the leaders of exotica's turn-of-the-21st-century revival, bring their soundtrack for a Technicolor Polynesian pop paradise to Aloha Got Soul in 2021.

Each LP includes a pair of custom Don Tiki 3D glasses.

Don Tiki debuted from Honolulu in 1997 with the album, 'The Forbidden Sounds of Don Tiki', featuring the legendary Martin Denny in what would become one of his final recordings before his passing. The group, led by Fluid Floyd (Lloyd Kandell) and Perry Coma (Kit Ebersbach), draws inspiration from the original masters of the exotica sound, Denny, Arthur Lyman and Les Baxter, to bring such evocative music into the 21st century.

Following 'The Forbidden Sound', Don Tiki's recordings further deepened the group's reverence for and exploration of the poly-rhythmic, mid-century sounds pioneered by Denny, Baxter, and Lyman. Those albums, originally available on compact disc, include 'Skinny Dip with Don Tiki' (2001), 'South of the Boudoir' (2009), 'Don Tiki's Hot Lava Holiday Songs' (2012), and a remix album entitled 'Adulterated' (2004).

'Hot Like Lava' collects the group's top instrumentals for an exhilarating, paradisiacal ride through the world of tiki subculture on lava-colored vinyl.

About Don Tiki:

"Tiki supergroup Don Tiki knows the world, the subculture of tiki…it really doesn’t get much better than this!” ~ Anthony Bourdain, No Reservations

"Don Tiki is providing the soundtrack for this Technicolor projection of a Polynesian pop paradise." ~ Sven Kirsten/The Book of Tiki

"A great band from Hawaii, friends of ours...keeping the spirit of Martin Denny alive." ~ Jimmy Buffett

Don Tiki is:

Kit Ebersbach – keyboards, bandleader

Lloyd Kandell – producer, congenial host
Lopaka Colon - congas, bongo, bird calls
Hai Jung - bass, vocals
Sherry Shaoling – vocals, dancer
Abe Lagrimas, Jr. – vibraphone, percussion
Ryoko Oka - keyboards
Bonny B. - drums
Tim Mayer – reeds
Violetta Beretta – dancer, costumer, vocals

Over the last few years, NuNorthern Soul has established a number of traditions, most notably annual releases that provide a snapshot of the label’s output while also considering their suitability for certain seasons. Perhaps the most popular is founder Phil Cooper’s Summer Selections series, which each year showcases warm and sunny gems mined from a range of forthcoming releases.

The 2021 edition of the sampler, the third in total, may well be the best yet. Six tracks deep and as subtly varied as you’d expect, the entertaining set features tracks from a mixture of exciting newcomers, experienced producers and long-time members of the NuNorthern Soul family.

To kick things off, Cooper introduces us to Marshall Watson, an American producer who later in the year will release two five-track EPs on the label. ‘A Door To The Sky’, which will feature on the Sunsets On Larkin Part 1 EP, is sumptuously sun-kissed, with delay-laden electric guitar textures and sparkling electronics reclining over a tactile electronic groove.

LOVA’s ‘Echoes of Memories’, the track that follows, recalls the atmospheric, synthesizer-sporting new age Balearica popularised by Quiet Force in the late 1980s. The Italian producer was signed after bringing a USB stick of productions to one of Phil Cooper’s gigs in Ibiza; his Gypsophilia EP will be one to check when it drops later in the year.

Gusk’s ‘Sketch #4 - Anafi Nights’ is seductive and exotic. It’s a crackling and atmospheric musical painting that daubs starry stabs and yearning melodies atop a bubbly, lo-fi drum machine beat. It provides a perfect snapshot of the Greek musician’s Mediterranean Sketches EP, which gathers together home recordings made between 1997 and 2003.

Arguably even more immersive and enveloping is ‘Aqua Blancas Sunrise’ by Tambores En Benirras, the musical project of Cumbrian selector DJ Gripper. A slow-burning delight full of intricate musical flourishes –think drifting female vocalizations, Indian-influenced percussion, twinkling pianos and haunting clarinet motifs the track is one of the many highlights on the Barrow in Furness based producer’s forthcoming debut album for NuNorthern Soul.

To round things off, Cooper has chosen to offer-up cuts from two very experienced artists. George Solar (real name Georg Boskamp) is an Ibiza-based German producer who has been collaborating and releasing music since the late 1980s. ‘Infrared’, his contribution to Summer Selections 3, is a languid and glassy-eyed slab of slow-motion Balearic dub. His Los Ra-yos Del Sol EP will be one to look out for later in the year and is his debut solo release.

The sampler’s final missive fittingly comes from long-time friend of the family B.J Smith, a regular contributor to NuNorthern Soul releases who has reunited with Huw Costin – a vocalist he previously worked with on Smith & Mudd releases for Claremont 56 for a double A side single due later in 2021. ‘Sun When You Come’ is as warming and hazy as you’d expect and features Costin’s emotive, reverb-laden vocals and mazy electric piano solos rising above a suitably horizontal groove. It provides a stunning, sunset-ready conclusion to another superb set of Summer Selections.

A selection of exclusive tracks from a dusty shoebox full of cassettes and DAT tapes, recorded by Facehugger and Deviant between 1995 and 1997.

The Parasite EP showcases their first batch of live analogue jams that mash the boundaries of experimental house, deep electro, acid and the hazy bustling sounds of the city – a soundtrack of travelling to raves, staying up late, coming home and making wild mixtapes until early Monday morning.

Despite the untimely passing of his production partner, Deviant, in 2009, Facehugger has remained a dedicated and unique beatmaker, close personal friend and unsung hero of the scene, not to mention “unofficial” manager of the Plates record shop, known for his outspoken, boisterous and loud opinions about any new releases which came in!

Now, nearly 30 years on, nestled in the quiet suburb of Carlton (Nottingham), Facehugger loads up his drum machines and starts to create, with the promise of a new wave of music on the horizon…

DJ support from: Charlie Bones (NTS), Bradley Zero, Coco Bryce, OK Williams, Glenn Astro