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Sam went into an almost psychotic state when making music. He wasn’t himself. He was immersed in the creativity to such an extent that it was almost like a psychotic trance. Here’s an example. He found all this giant kelp down at Western Port bay and he would bathe himself in it for weeks. He would replenish the water and put salt in the bath, but leave the kelp in there. I used to ask Julie, his partner and wife, “How’s everything going?” and she’d say, “Just go and have a look at the bath.” - Tony Rogers

Sam Mallet could have pursued a career as a French literature professor in Paris, but decided his true calling was to remain in Australia, dedicate himself to his music and find the plateau; a word he used to describe the sensory worlds residing in music. Under the influence of Eno, Jon Hassell, Arvo Pärt, John Coltrane and Robert Fripp, Sam explored a wide variety of musical styles and put them to service soundtracking the time based works of his peers. He crafted spatial ambience, somber jazz, and drum computer driven rockers for short films and experimental video works, television shows (including the original Australian Wilfred series), feature films and live theatre. The avant garde Anthill Theatre, known for its departure from conventional staging practices and having a keen eye for talent, enlisted Mallet to provide soundtracks for approximately 40 productions throughout the 1980s and early 1990s.

Sadly, Sam passed away in 2014. A crucial piece of his legacy is undoubtedly the body of work he produced during his life, and the archive of recorded works is vast and deep. Sam seemingly saved everything, from fragments to finished pieces; and often repurposed previously released tracks by collaging them into new pieces. He self released a small number of cassettes and CDs from the mid 1980s onward, the contents of which were culled from soundtrack work and original pieces, but the majority of his music was experienced only within the ephemeral live performances.

Wetlands is the product of countless hours spent with this archive by Rowan Mason (Sanpo Disco/Recurring Dream) and Tony Remple (Musique Plastique), offering a dynamic survey of Sam’s work, and housed in a jacket evoking the minimal design and colour palette of his earliest cassette releases. Two selections of Sam Mallet’s music were featured on the compilation Midday Moon (also produced by Rowan), released last year by Bedroom Suck Records. Along with Left Ear Records’ Antipodean Anomalies, Midday Moon has served to highlight outlier musics and scenes from Australia and New Zealand, and Wetlands plunges deeper into the catalog of this obscure yet groundbreaking artist.

Very few albums manage to unveil their roots so honestly and at the same time succeed in creating something utterly distinct. "Of All The Things" from Jazzanova is one of these albums.
Originally released in 2008 on Universal, it now gets a luxurious reissue on Sonar Kollektiv as a 3LP with pop-up gatefold cover including previously unreleased instrumentals.
This format corresponds perfectly with the elegant opulence of the music that shines even brighter eleven years after its initial release. At no time is it unclear that this album is a deep bow to soul from the 1960s and 70s as well as genres like jazz, brazil and pop music in the vein of the early Beatles.
Along these lines, "Of All The Things" is meant to be perceived as a tribute to the music that Jazzanova has been honoring affectionately in their DJ sets and which has always had a decisive influence on their own productions.
At the same time, the Jazzanova guys have been successful in casually creating elaborate musical pieces which convey a deeply contemporary vibe - not least because of the multifarious references to electronic productions.
The path to this sophomore long player, which features the contribution of over 50 studio musicians, had been laid out beginning with Jazzanova's first album "In Between" from 2002.

In late 1997, unsigned Melbourne producer Castel won a competition at a local club. The prize was certainly sought-after: a CD single release on leading local label DanceNet. That EP, “Estrel”, subsequently appeared in stores in 1998, but within two years Castel had packed away his Atari-ST, sold off his hardware and quit music for good.

Thanks to Echovolt Records, Castel’s story now has a happier ending. 22 years after it was recorded, the unfeasibly gorgeous “Estrel” is finally appearing on vinyl alongside original bonus cut “Me & You” and a trio of similarly impressive unreleased productions from the period.

“Estrel” is positivity personified – a melodious, morning-fresh blast of deep electro bliss rich in bustling drums, tuneful IDM style lead lines and darting, psychedelic electronics. It’s joined on side A by “Me & You”, a pitched-down chunk of hazy ‘90s electronica that wouldn’t have sounded out of place on one of Warp Records’ legendary Artificial Intelligence compilations.

On side B, Castel opens up his archive of unreleased recordings for the very first time. The rush-inducing, bass-heavy swirl of “Safer Somewhere” – one of the last tracks he ever recorded and reminiscent of some B12 recordings from the period – is followed by the intergalactic ambient brilliance of “Latch” and the lilting, sun-bright bliss of breakbeat-driven shuffler “16/11/1998”, whose combination of weighty bottom-end and layered electronics neatly sums up the unheralded qualities of Castel’s previously forgotten work.

Hotmood’s style reflect their productions, combining slo-mo boogie, groove laden disco, quality house, 70’s funk, n deep sounds. Always adept at reading the crowd thanks to combined decades plus experience behind the decks. playing around Singapore (Asia) Colombia (Cali) San Diego, Las Vegas, Houston, Los Angeles, Tijuana, Mazatlan, Playa Del Carmen, CDMX, Guadalajara, Mexicali, etc.
Support in the past from the likes of... Mark Farina, Session Victim, Sleazy beats, Art Of Tones, Moullinex, Kraak & Smaak, Dave Allison, Jacques Renault, 80s child, Disco Tech, Deadly Sins, Black Loops, 78 edits, Homero Espinoza, Martin Hayes, Dj Moar, Coeo, Osmose etc.

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

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

TROY TOWN are back with their 3rd release and itʼs another dance floor focussed EP from a South East London mainstay. El Prevost has been a fixture of the underground London dance music scene for nearly 20 years - his first label, Linx Recordings, was at the forefront of the garage and grime crossover at the turn of the millennium signing early tracks by Kano, Wiley and Pay As U Go Cartel. However, over the past decade his productions in the world of house, garage and techno have brought him widespread respect amongst discerning A&Rʼs and DJs such as Third Ear Recordings, Patrice Scott and Ricardo Villalobos whilst building his own label and party series ‘No Speakersʼ. This EP is unmistakably indebted to the sounds of London but equally doesnʼt sound like anyone else out there at the moment. ‘A Little Politicalʼ, dripping in dub effects and toughened up with the immense delivery of poet Kyla Jenee Lacey, is full throttle and combines consciousness with a determination to fill dance floors. The broken beat influence of Ladbroke Grove and the Co-Op collective is given a hefty rejuvenation on ‘Nu Jazzʼ. ‘Wheelʼ and ‘Acid Tonerʼ are heads-down, deep and dubby. Both tracks that would ramp up the temperature in dark basements like Plastic People circa 2011.

Having spent the past few years quietly building up a dedicated crowd of followers and dancers as a club night, Scenic Route step out for their first offering as a label with three expertly crafted club cuts from Desert Sound Colony, an artist whose pumping productions have provided some of the parties’ most memorable moments. Since his debut release in 2014 on New York’s Scissor & Thread, Desert Sound Colony (real name Liam Wachs) has been refining a deeply personal club sound with releases for the likes of Futureboogie, Me Me Me, his own Holding Hands imprint and most notably of late, Nick Höppner’s Touch From A Distance. In addition to his productions garnering support from the likes of Midland, Raresh, Andrew Weatherall and Lena Willikens, Wachs himself is also a highly sought after DJ whose skills have seen him land bookings at some of the world’s most well respected clubs and festivals, including two stints at Berlin’s Panorama Bar already this year.

His prowess as a DJ has undoubtedly informed the music featured on the Cartographer EP. All three tracks are primarily designed for club use yet their intricate arrangements and undulating instrumentation ensure they remain captivating, despite the effectiveness of their functionality. The EP’s opener, “The Cartographer”, is a sleazy machine-driven odyssey, continuously building and evolving until snapping back into its original groove with a vengeance. “Gypsy Moth” sees Wachs team up with fellow Holding Hands affiliate Guava (real name Bradley Hutchings) for a dangerously syncopated drum workout doused in warped agogo bells, spliced vocals and a two-note bassline with a distinctly London flavor. Rounding the release off is “Budapest”. The combined power of the track’s interlocking kick and bass provide a solid stage for Desert Sound Colony to unleash an eerie arp and pads combo alongside a flurry of stuttering percussion and twisted samples while intermittently sprinkled with an unintelligible and downright ominous pitched down voice.

PLR is proud to host a variety of talented producers from around the hemisphere, from Berlin to Montréal to San Francisco. The label is a brainchild of independent artist Experimental Housewife and was kicked off by prolific producer Roche (100% Silk, Jacktone, Hobocamp) and his breath-taker A Genuine Effort To Make You Comfortable. Soon after, the spring saw italo-sprinkled dance floor beats followed by slamming techno and weirdo-tronica, a non-genre made of intriguing sounds that play tricks on DJs. In closing, the roster will be opening ears up with a wonderful miniseries of ambient releases before the final EP: arpeggiated pop from conceptual two-man band Star Service .

Premiere producers like Lily Ackerman (As You Like It, Mioli Music), CMD (Jacktone, basic_sounds), Golden Diskó Ship (Monika Enterprise, Spezialmaterial, Klangbad), BLEIE (B.O.D.I.E.S., 3am Devices), Mo Kudeki (Noctuary, Public Works), and Tape Ghost (Asterisk, Night Sea) have all signed up to the roster, releasing fierce and excitable works that they have had for a while but hitherto were not able to release to the public.

Reverenced names like Ryan Merry (now Elexos Park but formerly Ghosts On Tape), Roy England (Make Mistakes, Communikey), Caltrop (In The Dark Again), Loren Steele (Wolf + Lamb, Jacktone), and Philadelphia warriors Sean Thomas (Drumsong, Sound Between Movement) as well as bpmf (Schmer, Serotonin, Prototype 909) have all offered exclusive productions.

Mysterious and up-and-coming producers like Emmett Perlman (Wage Slave, Make Mistakes), Bad Person , gayphextwin (Jacktone), BIlagáana (VODER), and Atlas Of Nothing can be explored in the catalog alongside new names like Memeshift, The Hug , and Jaclyn Kendall .

Our spotlight mastering engineers for digital releases include David Last, Abe Duque, Dark Star Audio, David Tatasciore, and Helen Heß. Our resident and extremely generous/talented engineer for the year has been the one and only Roy England.

Wewantsounds continues its collaboration with Bob Shad's grandchildren, Mia and Judd Apatow, to present a 2LP selection of 13 turntable-friendly Mainstream Records tracks recorded between 1970 and 1973 and showcasing the label's superb blend of Funk, Soul and Jazz. All tracks remastered from the original tapes, most of them released for the first time since their original release with a few highly sought-after ones. Liner notes by UK journalist Paul Bowler. The Mainstream sound is unmistakable: earthy, rich and funky, it's the signature sound of producer Bob Shad. After working with such geniuses as Charlie Parker, The Platters, Billie Holiday and Janis Joplin over three decades, Shad decided to go back to producing Great Black Music in the early 70s through his label Mainstream Records and started releasing a formidable series of jazz albums known as the 300 series. Released between 1971 and 1974, these albums are the main source of this set. Coincidentally, it opens with one of the two tracks on the tracklist not produced by Shad himself. Saundra Phillips' "Miss Fatback" is nonetheless fascinating as it's one of cult disco producer Greg Carmichael's earliest productions from 1975 (before he went on to produce Inner Life, Bumblebee Unlimited, Universal Robot Band with fellow producer Patrick Adams). The other track not issued by the Shad sound factory is Almeta Lattimore's 7" single "These Memories," a truly great soulful track from 1975 and now a sought-after classic on the international Soul scene. Shad's forte was Jazz, and the sessions usually used the best musicians you could think of, including Bernard Purdie, Billy Hart, Stanley Clarke, Dom Um Romao, Joe Sample, Freddie Robinson, Gordon Edwards, Larry Willis, Wilbur Bascomb to name just a few. Filled with gorgeous Fender Rhodes chords and heavy basslines, they define the unmistakable Mainstream sound which had one foot in the great jazz and bop tradition and the other in the sonic jazz explorations of the early 70s. Oscillating between jazzed-up covers of soul hits like Jay Berliner’s "Papa Was A Rolling Stone" or Afrique’s "Kissing My Love" and more introspective originals such as Hal Galper's "This Moment" or Dave Hubbard's "T.B.'s Delight", They all have this perfect balance between groove and depth. One perfect example is Pete Yellin's "Bird and The Ouija Board," a superb 12 min opus starting off with a deep abstract improvisation before switching to an up-tempo funk beat fueled by drummer Billy Hart and bass player Stanley Clarke.

An outstanding artist since his earliest productions, Pablo Mateo now fully joins the ranks of Figure for his first album. On this versatile LP finally expands his complete creative vision of what techno music truly means to him.

Weird Reflections Beyond The Sky is an album that is accessible to all audiences. When engaged with actively, it holds narratives deeply connected to personal experience, going beyond what words or even images can describe. Confronting the listener with their own complexity and emotions is both its feat and feature. A beautiful use of technology and synthetic sounds as a means to journey far within.

An open invitation to drop all expectations and simply let the mind wander, creating an immersive soundtrack for each individual to explore.

Okinawan talent City1 has been making some serious moves with his unique dark productions as of late and we are honoured to welcome him to the Subaltern family.

* Speak Out feat. Rider Shafique
In the mighty title track City1 delivers a clinical slab of bass science which gravitationally pulls deep into a different dimension. The dreamy yet dark atmosphere and vibrant basslines are graced by the elevating bars of none less than the notorious Rider Shafique - one of bass music’s finest vocalists hailing from Bristol.

* Koroga
Going even darker, City1 opens up another world in this trip of a track. Koroga rides on relentless dark synths and keeps switching up the pace, leading the listener through a maze of eerie sounds - be careful though, the walls are closing in. Dangerous!

* Zee
Zee is just as otherworldly as the first two tracks. With heavy hitting basslines and snappy percussions, City1 delivers yet another absolutely unique roller. Whenever you thought the track had arrived at its peak, it takes another, even wilder turn.

Remastered 6 song mini LP​ originally produced in the
mid-80s *very in-demand with funk record collectors and
DJs worldwide. Featuring ​6 upbeat synth-driven, boogie
funk dance tracks​ *first officially licensed vinyl reissue*
Colours of the Rainbow contains the best 6 tracks from two rare South African LPs by recording artist Bibi
the Kid Msomi: 4 tracks from the ​1985 album Searching​, and 2 tracks from the ​1986 LP What Kind of Love
is This?
South African funk music from the 80s​ has recently gained recognition as ​some of the best funk
productions in the world​; yet so many titles remain virtually unknown outside of South Africa, especially
due to the scarcity of the original pressings (due in part to the destruction of any music perceived as
subversive by South African government censors at the time).
The level of musicianship on these recordings is simply world-class. Even ​Paul Simon​ ​was trying to work
with Bibi Msomi​ while recording his Graceland album in South Africa (read more about it in this ​exclusive
interview​).
Combining American and South African funk influences, these 6 upbeat dance tracks feature ​popular
synths and drum machines of the day​. The subversive lyrics and infectious grooves on these recordings
address the political turmoil during the peak Apartheid years in a way that was just subtle enough to slip
under the radar of stringent government music censors. ​Deep messages of freedom and universal
brotherhood are backed by​ some of South Africa's greatest musical talent​, including:
Mac Mathunjwa (​Street Kids, Neville Nash​), Sello Mphatsoane (​Bayete​), ​The Hot Soul Singers​, Cisco the
Champ Mokoena, Blackie Sibisi (​Step Ahead, Brenda & The Big Dudes​), Alistair Coakley (​Hotline, Stimela​),
Ladysmith Black Mambazo​, Jantshi Mayo (​Sipho Mabuse​), Peter Mokoena (​Pure Magic​), Solly Ledwaba
(​Juluka​), Joey Mabe (​Mahlathini and the Mahotella Queens​), Deborah Fraser (​Brenda Fassie​), Zamo
Mbutho, Banzi Kubheka (​Banjo, CJB​), Cyril Mnculwane (​CJB​), and ​Stimela​ ​vocalists​: Marilyn Nokwe, Tu
Nokwe, Hlengiwe Maphumulo, Beaulah Hashe.
Meticulously ​re-mastered with love for maximum impact on the dancefloor​; we hope you enjoy the
songs contained on this spiritual boogie masterpiece.

Georgian artist Sophia Saze releases her debut two-part album 'Self' on Francis Harris' Kingdoms imprint, with part one dropping on cassette this June. "The record embodies my story of duality within the context of identity, insomuch as the idea that every person has a deeper layer we don't show on the surface."
Born in Tbilisi, Sophia Saze is the daughter of political refugees who's spent her life living in numerous different countries before eventually finding home in Brooklyn. Finding it difficult to find her own identity due to living a nomadic lifestyle, the classically trained musician became entangled with electronic music before becoming a key player within New York's nightlife scene and launching her Dusk & Haze imprint in 2017.
A reflection of her struggles throughout life, 'Self' is very much a memoir of the many different places she's lived during her journey, including Georgia, Russia, USA, France and Canada. Contrasting to her recent productions, which are geared more towards the dancefloor, her debut longplayer is downtempo and features a medley of musical influences - mixed in two parts and released as a concept album on cassette. Maintaining a sonically raw feel throughout, 'Self' draws the analogy of analog to modern day digital culture whilst also taking a stance against perfection, whether integrating the distance crackle of her machines or intentional off-beat piano notes in minor. Part One was conceived, for the most part, during a sleepless yet inspired 48-hour studio session. Processed field recordings accompany samples from her childhood, such as soviet cartoons and intimate VHS recordings of her family. The result is a well-seasoned and personal story portrayed in fourteen tracks mixed together.
"I feel the element of patience is somewhat of a lost commodity in our generation, particularly for albums. We're consumed by track to track interpretations and constantly searching for the next instant stimulation. With this record, I wanted to reiterate the idea that if you don't have the willingness to sit through the whole thing, then you're not stepping into it with the right mindset to begin with."
Every artist who collaborated on the record is handpicked, such as vocalist Ricardo Rivera. The final production was also mixed by Francis Harris himself. All of their involvement means they share a fragment of the concept.

Following on from big recent releases from Neue Grafik & Oliver Night, CoOp Presents Sivey, with an all-new double-header of heat, 'Nobody Else' and 'Somebody Samebody'.

For those that don't know, Manchester-based Sivey became a player in the future beats scene a couple years back, releasing music with the LA-based collective Soulection, as a solo artist and via collaborations with Evil Needle, which came to fruition after a series of online beat battles, as well as releases and remixes with labels like Astral Black and Ninja Tune.

His last wave of output was greeted with enthusiasm by fans of soulful beats championed by artist collectives such as HW&W and Darker Than Wax, and saw Sivey subsequently spinning at events across the UK, and perform shows as far afield as Los Angeles and Tokyo.

Rooted in hip hop production, Sivey's largely instrumental tracks have brought together elements of millennial R&B, neo-soul, UK garage, jazz and 80s funk. In the few years since his previous releases, Sivey has continued to experiment with new ways of exploiting his diverse influences in his productions. As his listening habits became increasingly orientated around jazz and obscure 70s fusion records, his own productions began to reflect the shift.

The recent resurgence of the broken beat movement was something that also inspired him, admiring the balance between musicality and danceability of the genre. He made his first experiments with bruk in 2017 and found that it mixed perfectly with what he'd already been creating. Eager to share the results with the world, it made perfect sense for his first offerings of this ilk to find a home here with us at CoOp Presents.

These two tracks exemplify the ever-evolving progression of Sivey's sonics; the familiar deep keys and synth sounds of his previous productions are there, but nestled alongside more uptempo grooves, and the lush rhythmic complexity of bruk. Tied in with his love for jazz fusion, 'Somebody Samebody' sees Sivey reinterpret a late 70's track by Japanese guitarist, Kazumi Watanabe; this one also enlisting the help of Trian Kayhatu on keys. As well as the original tracks, prolific Selectors Assemble crew member Danvers adds in his own tasty heads-down version of 'Nobody Else', and label co-founder IG Culture (who recently received a Worldwide Award for 'lifetime achievement'!) provides a dope bruk-funk flip of 'Somebody Samebody' to close out the set.

Recent Arts is a duo conformed by visual artist Valentina Berthelon and musician Tobias Freund. Together they build live performances using video projections and experimental sound –charged with symbols, stories and poetry– thus generating sound environments that invite to enjoy the music while deeply connecting with our perceptions of the world and our sense of realities within it.

Though he only released a handful of records in the early to mid-nineties Chicago house legend Vincent Floyd aka Floyd Walker has gained a cult following amongst the Chitown trainspotters and hardcore house fraternity. His majestic productions have attained mythical status with serene synths and crystalline keys on new 'Time Machine EP' and the harder-edged deep anxiety of Kazarian remix, while Lola Allen deliver a magical ambience experience on her Outro mix. Studio don Vincent Inc always bring unforgettable impressions & inspiration for mind, body & soul. 4 tracks came together to tell music stories about hypnotic deepest stuff, depression, happiness, loneliness, love, miracles and magical experiences. And now we're asking other's to join the sound conversation

Matthew Puffett, also known as Future Beat Alliance, launches a series of EPs on his new ‘Reward System’ imprint. The new label will explore and dive deep into the mind of Matthew Puffett’s eclectic and unpredictable musical archives. Showcasing everything from lost and found DAT tapes from the FBA vault to brand new productions. Releasing his music on labels such as Delsin, Tresor, Eevo Lute and Rush Hour before now, here you will hear his recognizable style with warm synths, uplifting bass heavy grooves and dusty break beat rhythms once more. The six track ‘Reward System.1′ EP features all of this and more and is another exciting chapter in the Future Beat Alliance catalogue.

2023 Repress

A heaven-made match is now complete with Gerry Read's debut EP for Pampa Records. The British producer's distinctively twisted, lo-fi sound, combined with Pampa's deep-vein instinct for quality quirks, ushers in a new phase for two of house music's most celebrated names. The opening bars of 'It'll All Be Over' are immediately evocative, hinting at the patchwork style to come. Twangy banjo strings and a foot-stomp beat seem to herald a folksy arrangement, but that isn't to be. Soft floaty pads rise up to form an unlikely partnership, softening sharp edges and adding sophisticated melodic expression. Once a compressed vocal sample is introduced, the entire structure reveals itself and begins to spin and loop in the style of iconic French house productions. Propelled further along by the endearing drama of flooded bass drum kicks, falsetto voices and xylophone pings, 'It'll All Be Over' is immediately memorable and expertly architectured. Read's second cut, 'Satyricon,' is woven in the spirit of micro-house. Sharp waveform cuts, timely pauses, loops of noodling keys and hints of percussion shakers combine for a low-slung psychedelic effect. With the sunniness of a vintage folk-pop sample and sultry snatches of Spanish dialogue added atop a deep mid-tempo shuffle, Read secures his place alongside the Bradocks and Leclairs who came before him. On the flipside, Pampa's figurehead takes an expert turn at the controls of 'It'll All Be Over (DJ Koze remix).' The original's jagged edges are buffed out, and shined up into a gleaming disco house anthem. With its artfully timed strumming breakdowns and cowbell accents, it is an appetising teaser of the forthcoming summer.

Buffered Multiple is the techno A/V project of Vienna electro poster boys Microthol. Buffered Multiple return to Pomelo after their debut on our 20 yrs compilation and subsequent EPs on other imprints. “Buffer 05” starts off with “Prime Time” in super-saturated dub techno mode, its sublimely textured chords ambling hypnotically over a tense and pounding beat. “Shitty Track” changes gears into jack mode, with a bleepy morphing swing hook that drives up the intensity over a percussive beat and takes all the right cues from Chicago’s second wave productions. “Junolized” delves deep into the abyss again, its expansive echoes weaving intricate layers of dub over a foundation of bottomless bass.

Mysterious talent Clouds Of Kouros returns to their self-titled imprint to deliver the second EP on the
label this March, with three fresh cuts making up their 'Houghton Time' EP.

The enigmatic Clouds Of Kouros guise first surfaced in November of 2018, with the debut 'Reason's Why' EP picking up a slew of support from Secretsundaze through to Laurent Garnier and more.

Heavily influenced by the early UK rave scene, the project looks set to highlight key early inspirations from within the electronic sphere whilst keeping the focus solely on the music and not the artist behind the project across with each release on the imprint. The latest installment, the 'Houghton Time' EP, was written out of frustration after missing last year's edition of the festival through a last-minute transportation cancellation and in-turn returning to the studio to channel this frustration into a handful new productions. The result is an impressive fresh three tracker that takes cues from breaks through to deep house and beyond set for release on vinyl only this March.

Title cut 'Houghton Time' opens the package with authority as slick breakbeat arrangements combine with menacing basslines and infectious vocal hooks, before 'Diego's Groove' takes things deeper as dubby chords and bright melodies work in tandem. Last up, 'Hide2' completes the EP in style as the focus shifted towards punchy drum licks, resonant stabs and eerie melodies throughout.