Buscar:dem 2

Massano is back on Afterlife with another captivating EP. Following his exemplary debut EP, In My System, Massano returns to Afterlife with Shut Down. This two-track release unveils the next chapter in this artist’s evolution.‘Shut Down’ is full of exhilarating tension, utilising an undulating low end, bright synth lines and playful breakdowns to invigorate dance floors. On the flip, ‘Cybernova’ demonstrates Massano’s ability to combine mesmerising melodies and aggressive basslines to create wonderfully uplifting compositions. Spellbinding music designed to transport you into a realm of awe and wonder.

DJ Support: Saorise, Moxie and Niks

Semi Delicious return for their 19th edition via label head Demi Riquisimo’s ‘Perilous Joy’ EP.

The 5 track release effortlessly meshes the classic influences synonymous with the Semi Delicious sound whist maintaining a forward thinking approach to the dance floor.

The A-side consists of ‘Sinewinder’ & ‘Direct Fix’. A pair of four to four tools that can be noted for their functionality as much as their unique sound. ‘Sinewinder’ being a more diva, big room affected track and ‘Direct Fix’ airing on the side of deepness with a head turning bass line. The flip kicks off with the title track ‘Perilous Joy’ which offers a nod to the sonics of dreamy, progressive Italian house of yesteryear. Up next is ‘Thyme After Time’ and with it more psychedelic house deepness. Demi slows the pace on the balearic chugger Autoglide’ to close out yet another impressive outing for one of 2024’s most talked about imprints.

Repress.

The follow up of the acclaimed first volume of this compilation, a real discovery for many DJs and music lovers worldwide who didn't know that much about Zouk or DIY electronic music of the french west indies.
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The selectors Julien Achard and Nicolas Skliris continue the excavation of French Antillas vinyl from the 80's and the 90's and for this second volume, they found some really exciting new references which should be soon « classics » on the dancefloors.

Das mit Spannung erwartete WE STILL DON'T TRUST YOU ist das nächste Kapitel einer explosiven Kampagne. Sie feiert die historische Partnerschaft zweier kulturverändernder Legenden, die auf dem Höhepunkt ihrer Kräfte agieren, und zementiert ihr Vermächtnis als Hip-Hop-Pioniere. Wie bei seinem Vorgänger ist das Who's Who ihrer Kollaborateure vertreten und hebt die kultigste Rapper-Produzenten-Partnerschaft in eine ganz neue Stratosphäre.

Having spent the last decade evolving into one of dance music’s most sublimely effective producers, CWPT is delighted to welcome Theo Kottis at the peak of his powers, delivering a further four tracks that demonstrate a playful mastery of widescreen sounds for wide-eyed dancefloors.

Capturing the light still shining from his beloved ‘Lighthouse’, finally released earlier in 2024 via Dekmantel and escalated into notoriety thanks to support from trusted selectors such as Ben UFO, Francesco Del Garda and our own Palms Trax, title track ‘Rain’ retains a similar, blindingly authentic nineties reverence, finding ecstasy in a wash of cascading synths, powerful plunges of sub-bass and layer upon layer of elasticated everything.

The Scottish producer’s positive education in the foundations of club music with real personality makes itself known without indulgence; a belief in the subtle tweaks and imagination of classic tech-house, alongside a welcome flirtation with the over-the-top elements that create something potentially anthemic. In this regard, ‘Benirras’ proves to be pure pleasure for dancers who love to be toyed with, its stripped back opening giving way to slowly-escalating, wobbly-jawed hysteria.

On the flip, ‘Grazie’ proves as cordial as its title, a warm and refined slice of sleek house minimalism, a roller with Alfa Romeo sensibilities. Things take a more aquatic turn on ‘Lowkey’, a logically headsy conclusion that sees Kottis sensually bounce the word ‘electro’ around in that very style, its slower tempo and wider space allowing the impressive intricacies of his productions to float up for fresh air.

Demuja gets us ready for summer with four sublime, bass-drenched house & techno rollers on MUJA. Don’t sleep on this one!

DJ Feedback:

Honey Dijon -Amazing Ep!

Okain (Talman / Infuse / Pleasure Zone) -Nice Detroit vibe on Solid Pleasure and Square One

TEED Totally Enormous Extinct Dinosaurs (GrecoRoman, Polydor,) -loving solid pleasure and if you want

Peter Kruder (Kruder & Dorfmeister / K7) -Solid record ! Thank you !

Nightmares On Wax (Warp Records) -If you want is my jam on here

Laurent Garnier -Demuja does it again.... Great tracks , great EP *full support

HAAi (Coconut Beats) -Deep and groovy house tunes, love the vibe.

Dam Swindle (Heist) -diggin if you want!

Radio Slave (Rekids) -'Solid Pleasure' is great... Gonna test it out this weekend !

Gerd (4Lux / Clone) -great tracks... all are very cool... square one may be my fave!

"Promise": 1985 kam Sade mit einem Album auf demselben Niveau zurück: Auf das hervorragende "Is It A Crime" folgten die Klassiker "The Sweetest Taboo" und "Jezebel". Das Album wurde in den Abbey Road Studios mit halber Geschwindigkeit von den Original-Mastern gemastert. Das Mastering mit halber Geschwindigkeit erzeugt einen außergewöhnlich klaren Klang, der die Dynamik der Originalmischungen bewahrt. 180G Vinyl. Die Originalcover wurden einschließlich der Papierqualität und Druckmethoden reproduziert.

DJ Support: Enzo Siragusa, Archie Hamilton, Fabe, Fleur Shore, Us Two & VITO (UK).

UK based rising star DXNBY debuts on TRMNL Records as they reveal their next eagerly awaited EP on the Birmingham based imprint, and one of Holland’s newest hottest exports Marsolo completes the package on remix duties.

One of the main artists at the forefront of Bandcamp’s thriving underground market alongside releases on East End Dub’s Belief, Max Dean’s neXup and Ben Rau’s META to name a few, DXNBY brings his in demand signature garage and underground house crossover sound to the label with two killer cuts. The label has already offered up a plethora of sounds across the underground electronic spectrum with releases from credible names including East End Dubs, Yaya, Djebali, Ray Mono and Samu.l

Title track ‘Ozone’ oozes everything that TRMNL as a brand and the second city champions - warping basslines laid down in a fast-moving fashion for those peak time moments. ‘No Return’ continues the mind-bending journey with cleverly manipulated vocals, skippy drums and hypnotic samples before dropping into another uniquely assembled heavy hitting bassline.

Dutchman Marsolo follows up from impressive EP’s on Prunk’s PIV and East End Dub’s Eastenderz by stepping up with his take on ‘Ozone’ - as the remix takes you into after hours territory with skippy drums and a cutting bassline that creates moments encapsulating the true essence of the underground

2024 Reissue

Still in high demand and played by many dj's. Atavism gets a remastered reissue with an extra track included. Atavism Part 2 was written the same day as Atavism so expect another dancefloor killer.

Igor Radošević aka Cosmic G is next to join the E&X roster with his encapsulating “Human Spirit EP” for our first delve into 2024.

The Serbian DJ & Producer has been in high demand over the past 12 months releasing a plethora of well received records on respected labels such as Haws, Goddezz & Neptune Discs, ensuring a rapid rise through the progressive house & trance scene.

Both originals are backed by two stunning remixes from up and coming French talent Clint who has added plenty of raw energy into both his renditions, turning this record into a must have for any discerning DJ or record collector.

2024 repress

“The doors are where the windows should be, and the windows are where the doors should be”. If you had been in one of the more open minded all night raves in the early 90s you are likely more than familiar with Earth Leakage Trip’s ‘No Idea’.

You could write several pages about the 'Psychotronic EP' and still not nail it as well as Discogs user covert_operative's description of 'urban, British psychedelic music.' The Acid House narrative is all about ecstasy, but for many, especially outside of London, there was a lot of LSD involved. Things were edgier, too, with parties in derelict, liminal spaces. By the time this record came out in 1991, the rave was properly diverging from its house music beginnings.

The Psychotronic EP was the first release on the legendary Moving Shadow label. Its lead track 'No Idea' is both the perfect entry point to the catalogue and something of an outlier. Neil Sanford had been writing music for a few years before playing some demos to Rob Playford in his car outside a nightclub in Wood Green. Simon Carter got involved, and the pair went to Playford's studio to manifest the madness they'd been sketching with rudimentary gear.

'No Idea's use of samples was wholly inspired and far more surreal than so many of the dark-side tracks that were to follow it. A friend of Neil's had given him a record called 'Happy Monsters' and the lead track, 'Adventures in the Land of Ooog,' lent the unforgettable children's vocals. Neil initially had his doubts. Had they gone too far? However, while working on the track, Rob Playford's girlfriend ran in shouting, "you HAVE to use that!" And so it came to be.

As a footnote, the track did prove to be strong medicine, with at least one documented account of a promoter having to be talked down by his friends after hearing it when psychedelically altered.

The Psychotronic EP is a truly visionary piece of work, standing poised on the edge of the rave's burgeoning future and entirely outside it. As such, it's never not been a cool record, as appealing to lysergic adventurers as it is to house heads, hardcore ravers, or experimental music pioneers. And it has now been lovingly reissued by Blank Mind, for which I'm eternally grateful, seeing as my copy is battered beyond belief.


Written by Piers Harrison

Remastered by Graeme at the Exchange

Licensed with permission from Moving Shadow

Played by Autechre, Colin Dale, Colin Faver, Orbital

Die britische, in Nashville beheimatete Bluesrockerin Joanne Shaw Taylor stellt nach dem allseits gelobten Vorgänger "Nobody's Fool" aus dem Jahr 2022 erneut mühelos ihr Blues-Rock-Können und ihre sich ständig weiterentwickelnden Fähigkeiten als Singer-Songwriterin unter Beweis. Ihr neuntes Studioalbum "Heavy Soul" unterstreicht Joannes Gitarrenskills und ihre sofort erkennbaren, rauchigen, aber dennoch sinnlichen Vocals in sieben brandneuen Originaltiteln und drei fesselnden Coverversionen von Van Morrison, Joan Armatrading und Joe Simon. Joanne Shaw Taylor bekräftigt mit "Heavy Soul" erneut ihren Ruf als kraftvolle moderne Bluesrock-Musikerin und Ikone ihrer Generation.

Die in Los Angeles ansässige Dark-Melodic-Metal-Band Witherfall präsentiert ihr viertes Album über DeathWave Records. Der Vorgänger 'Curse Of Autumn' konnte großes Lob in der relevanten Fachpresse sowie die # 20 in den deutschen Album-Charts als auch US-BILLBOARD-Charts verbuchen.
Das neue Album wird von einem ehrgeizigen Zeitplan mit sieben Singles begleitet, von denen jede ein offizielles Video enthält, das die Geschichte des Albums voller Herzschmerz, Wut und Hartnäckigkeit erzählt. Das sind Witherfall, immer bereit, die Extrameile zu gehen, um endlich zur Speerspitze der internationalen Metal-Szene vorzudringen. Witherfall wurde 2013 in Los Angeles gegründet. Seitdem hat die Gruppe drei vielbeachtete Alben veröffentlicht. Die band macht keine Abstriche und engagierte für 'Curse Of Autumn' u.a. den international anerkannten Top-Drummer Marco Minnemann (The Aristocrats, Steven Wilson, Jordan Rudess). Die Band engagierte erneut den Produzenten/Studio-Zauberer Chris "Zeuss" Harris (Rob Zombie, Queensrÿche, Shadows Fall) als Ingenieur/Co-Produzent sowie für Mix und Master
Das Cover von Blake Armstrong (In Flames, Megadeth, Kataklysm, Harry Potter) bietet einen visuellen Gegenpol zur Musik auf dem Album sowie zu Michaels kompromissloser Text-Offenheit.
Neben der CD gibt es schwarzes Vinyl sowie zwei limitierte farbige Versionen!

The superduo formed by two authentic stars of the Italian dance scene is back with the ‘Rolling Wave’ EP on Mondo Groove. Daniele Baldelli needs no introduction; he has made a fiery mark on DJ history worldwide with his legendary sets. He built his eclectic and visionary style at the Baia Degli Angeli in the 1970s and Cosmic in the early 1980s, to the triumph of recent years, in demand at every latitude on the planet. DJ Rocca is one of Italy’s most inspired producers, his art forged in a mix of technique and passion, versatile enough to work alongside artists as diverse as Baldelli, Dimitri From Paris or one of the giants of Italian jazz, pianist Franco D’Andrea.

Daniele Baldelli & DJ Rocca are on fire in the four tracks of this new EP on Mondo Groove, which starts with the bleep sounds of the title track ‘Rolling Wave’, goes into orbit with the deep boogie of ‘Funk Infusion’ and a party number like ‘Marchin On’, and culminates in the refined disco-jazz digressions of ‘Focused Image’. A record that will be a future classic.

Classic South African house / Kwaito album on vinyl for the first time.

Originally released on CD in 1995, this album which is associated with the birth of South African street music genre – ‘Kwaito’ and dance/dress style ‘Pantsula’ is now remastered for vinyl from the original tapes – resulting in the best sounding version of the recording to date.


Regarded as one of the earliest full length Kwaito albums, ‘Sigiya Ngengoma’ was released just one year into South Africa’s new democracy in 1995. Characterised by ‘mid-tempo’ beats, heavy bass hooks, adapted breakdancing and vocals in informal Zulu and other South African languages; ‘Sigiya Ngengoma’ would form a critical part of the South African street music movement that now has its own fashion, crews and dance style.

It helped post-democratic South Africa define its own musical identity and would pave the way for other Kwaito releases that ultimately led to the emergence of Amapiano years later.

Despite recent speculation and curious confirmations of an association with the pivotal Production House from those close to the source, the identity of those behind this mysteriously initialled 1991 breakbeat hardcore banger has remained a closely guarded secret for over thirty years. Despite not having a follow-up and not benefitting from the hype of big name credentials to justify inflated asking prices it has remained in high demand for over three decades as a constant in informed record bags and on discerning wantlists. It will come as little surprise to many then to find out that it is in fact the work of none other than House Crew stalwarts Floyd Dyce and MC Juice. The missing jewel in Dyce’s Production House crown, this sole FZ outing was released on one of a handful of short-lived Production House sub-labels that served as platforms for Dyce’s prodigious output, and can now take its rightful place alongside his other production and writing credits with the likes of Acen, The House Crew, Brothers Grimm, DMS and Baby D. Available once again on 12” black vinyl and licensed with the full-cooperation of Dyce himself it has been faithfully remastered from the original studio source material with the lacquer cut by Beau Thomas.

2024 Repress

"Rumblism is the reason why this beautiful piece of plastic was made in my opinion. Its a fast and furious rushy track with a quick pace, extremely high pitched hands in the air keys, and plenty of chipmonk squeeks saying "Like this". Theres plenty of inspired change ups in the presentation of the main riff to keep you begging for more. Theres nothing to complain about with this track, its just so very good."

Originally released back in 1992, these tracks were written by Krome & Time whilst they were on Suburban Base and before they started Tearin Vinyl. This has been sold out for a very long time but the demand has built up, so we have decided to repress one more time.

Die in der Nähe von Philadelphia geborene Lizzy McAlpine wurde bekannt, nachdem sie ihre eigenen Songs und Coverversionen auf Soundcloud und YouTube veröffentlicht hatte. Im Jahr 2020 veröffentlichte sie ihr erstes Album "Give Me A Minute", mit dem sie sich als aufstrebende Künstlerin etablierte und Tausende von Fans begeisterte. Im Jahr 2022 ging ihr Song "Ceilings" auf Tiktok viral und eroberte die Charts auf der ganzen Welt. Lizzy hat auch mit Niall Horan, Noah Kanan, John Mayer, FINNEAS und Jacob Collier zusammengearbeitet und sich in der Folk-Pop-Indie-Akustik-Szene einen Namen gemacht. Die 24-jährige Amerikanerin präsentiert nun "Older", eine neue Single, die ihr gleichnamiges drittes Opus ankündigt. Die Platte wurde in Los Angeles von Lizzy und Mason Stoops (Ryan Beatty, Del Water Gap) aufgenommen und produziert, mit einer zusätzlichen Produktion von Ryan Lerman von Scary Pockets, Jeremy Most (Emily King, Norah Jones) und Tony Berg (Taylor Swift, Boygenius)

DJ Support: Homero Espinosa, Demarkus Lewis, Kevin Yost, Micky More & Andy Tee, Milk & Sugar, Hatiras, Ross Couch, Random Soul, Husky, Colette, Vincent Caira, Richard Earnshaw, T.Markakis, Mike Millrain, Dirtytwo, 4Peace, and many more.

After a few years of silence, the label FVR Street is back, 10 years since its inception, and thrilled to introduce the VINYLITUDES series: A selection of the best tracks carefully curated from the catalogues of La Vie D'Artiste Music and FVR Street.

The first opus is a fusion of Deep House and Disco House sprinkled with nostalgic French Touch vibes from the late 90s.

Eccentric soundscapes, cryptic atmospheres, unexpected rhythms – with the second episode of the Intelliance series, the concept label Augmented Research once again holds up a mirror to the progressive present and provides various perspectives on the innovative electronic club sound of a new generation.

A1
Raär's music manages to draw the masses beneath the surface of common perception. The blend of deep, organic atmospheres, liquid sound design and supersonic drums awakens a deeply rooted but rarely accessible state of mind. "Riparian Zone" is a tool for transcendental experiences.
A2
There are only a handful of artists like Nebuchadnezzar who have made a name for themselves and demonstrate that rules in electronic music are meant to be broken. "Fidget" is a good example of the obsolescence of obsessive genre categorization. Unpredictable rhythms and glitchy, whipping drums feel like a race against time (extended to almost nine minutes).
B1
With "Sea And Bunkers", Sukkube proves her virtuoso and versatile handling of modular sound synthesis. The rapid, loopy beat, accompanied by a serious and simultaneously playful melody and hissing atmospheres, generates a mysterious, fresh mood. Influences from different eras form an interesting symbiosis of futuristic, uplifting techno and nuances of classic styles.
B2
If an artist were given the task of dealing with vintage drums in the most innovative way possible, while at the same time retaining a sense of nostalgia, "Pragma" would be the clear result. Edict has broken the rules of classic techno styles, pushing polyrhythm and distortion to their limits.

Since 2019 Demdike Stare had been playing edits of Dolo Percussion’s bare-boned breaks in their DJ sets, eventually sharing them with Dolo’s Andrew Field-Pickering (Beautiful Swimmers, boss of Future Times) and fomenting a creative fusion that hits at the square root of their shared tastes for unruly, deadly rhythms. In a transatlantic back ’n forth - or what Kodwo Eshun termed a double refraction - they juggle the rudest aspects of UK hardcore, as derived from electro, breaks and garage-house - that would feed into Dolo’s pool of sound, and return to the UK via the likes of breakbeat wizard Karizma, who was a key touchstone for the whole late ‘90s broken beat movement key to Demdike’s tastes.

Still following the thread? It’s not that tricky - both US and UK operators favour breakbeat music more than anywhere else, and this devilish hook-up is the epitome of a conversation ongoing for generations now. At each parry, the three cuts here are exemplary of the way DJs, producers and dancers on both sides of the pond have pushed each other to new heights in a feedback loop designed to make the dance throw the maddest shapes.

‘DOLO DS 1’ racks up a full clip of flintiest breakbeat hardcore, pivoting gasping samples inna dervish of ruffneck syncopation, ruggedly distinguished from the pitching, gritty drum machine chicanery of ‘DS DOLO EDIT 1’, and their super crafty sidestep into the offbeats, hingeing around ghost snares and practically spectral levels of percussive suss in ’DOLO DS 2’ which basically sounds like a prime Autechre tumbling thru dub.

2024 Repress

Straight in the wake of their eponymous debut LP released on the label back in 2016, Weval return to Kompakt this year with their sophomore album, 'The Weight', breaking their pop-mellow, nostalgia-friendly facet further out in the open as they arrive "at this place again were everything felt spontaneous, new and exciting, like we had in the beginning". Orbiting around that ever luminous yet wistful melodic halo that surrounds their music, this second full-length effort sweeps an extra-wide and languidly woven palette of emotions and moods, making for a uniquely ambitious and generously coloured mosaic of sound. If the recording sessions "often started grumpy and emotionless" by Harm and Merijn's own admission, the pair was "surprised by the joy it gave us, which can be compared to the emotions we felt back in the first days of making music together"; subsequently reconnecting with that fresh, naïve feeling of "absolute creative freedom" they were after. The album is also the fruit of a whole new working process for them - more playful and unpredictable - which saw them switch from "guitars lying around to piano, onto our own synths and the most cheap quirky toys synths you can imagine", and involved "recording all of our own samples, voice and almost every instrument out of the box - which for us was a totally new way of working". "We've always wanted a narrative for the album, and finding the right order perhaps took the most effort" they explain; "we felt anxious, felt insanely positive, felt heartbroken again, felt in love again, and there was death, and even suicide around us. It was quite chaotic. As a whole, 'The Weight' breathes with that transformative richness, free of limits and rules, except perhaps to "do quick and not think too much". Amidst this collection of songs and instrumentals that live by Weval's singularly positive take on music - one that can "lift you up, and make you feel hopeful without being necessarily straight out 'happy'" as they define it, the title-track and lead single stays true to the duo's dynamic approach, putting on a fine balance of floor and dream inducing adaptability that sound engineer David Wrench (Frank Ocean, The XX, FKA Twigs, Caribou… etc.) subtly made palpable. There's heavy showers of funk drops pouring from endless bars of thunderstorm clouds and laid-back riffs beating a restrained poolside-party kind of pulse, but also sensual vocals rising from beneath the sheets and rueful polaroid-filtered ambiences to soundtrack all possible moments in life - from the most euphoric to those when music seems the only viable healing potion. More on the post-KLF, BoC-inflected electronica side of things, 'Are You Even Real' takes its listener for a round-trip across the star-studded dome and beyond, before songs like 'Someday' and 'Same Little Thing' head back down to a state of pulsating, earthly organicity, tense and mercurial as get. An arpeggiated slice of piano-strewn kosmische, 'Heaven' is another invitation to an epic-scale odyssey from the inner-spheres into the distant fringes of the outer-world. Weightless and airy, yet texturally dense and widely magnetic overall, Weval second LP is a synthesis of the duo's multi-angle take on electronics: blissed-out, heartening and infinitely free.
Nur zweieinhalb Jahre nach der Veröffentlichung ihres selbstbetitelten Debutalbums finden sich WEVAL zurück "an jenem Ort, an dem sich alles spontan, neu und aufregend anfühlt - so wie als wir anfingen zusammen Musik zu schreiben". An diesem Ort entstand "The Weight", ihr zweiter Longplayer, auf dem Weval sich ganz den Pop-verliebten, Nostalgie-freundlichen Facetten ihres Sounds öffnen. Stetig um den sehnsuchtsvollen Strahlenkranz ihrer Melodien tanzend, legt diese Platte noch vielschichtigere, mit feinster Präzision gewobene Gefühlswelten frei.

Obwohl die Aufnahmesessions nach eigenem Bekunden oftmals "miesepetrig und emotionsarm" begannen, so war das Duo überrascht darüber, wie schnell sich bei der Arbeit jene Freude einstellte, die sie aus ihren künstlerischen Anfangstagen kannten, eine Woge des frischen, naiven Gefühls der "absoluten kreativen Freiheit". Dieses Album ist die Frucht eines verspielteren und unvorhersehbareren Arbeitsprozesses innerhalb der Band, in welchem alles zum Einsatz kam, was ihnen in die Finger kam - von der ollen Gitarre, die in der Studioecke stand, über ein Piano und den bandeigenen Sythesizern und den sonderbarsten Spielzeuginstrumenten, die man sich vorstellen kann. All dies sowie zahlreiche Vocalaufnahmen dienten als alleinige Samplequelle - "was für uns eine völlig neue Arbeitsweise war". "Es war uns wichtig für das Album den perfekten Erzählbogen zu spannen. Die richtige Reihenfolge zu finden war ein extrem aufwendiger Vorgang", erklären Harm und Merjin. "Uns war bange, wir fühlten uns total selbstsicher, uns zerbrach das Herz und wir verliebten uns erneut. Wir waren sogar von Tod und Selbstmord umgeben. Alles war Chaos. Insgesamt atmet "The Weight" die Reichhaltigkeit dieser sich ständig verändernden Gefühlslagen, frei von Einschränkungen und Regeln - außer vielleicht "mach es schnell und zerdenke die Dinge nicht." Inmitten dieser Ansammlung von Songs und Instrumentals, die aus Wevals einzigartiger, von Zuversicht geprägter Herangehensweise entstanden sind - "Musik, die dich hochzieht und Hoffnung spendet, ohne dich notwendigerweise happy zu machen. Der Titeltrack "The Weight" steht exemplarisch für Wevals ambivalenten Ansatz, die feine Balance zwischen Dancefloor und Traumzuständen, perfekt in Szene gesetzt von Soundengineer David Wrench (Frank Ocean, The XX, FKA Twigs, Caribou… etc.).

Der schwer aus gewaltigen Gewitterwolken tropfende Funk, die eine verhaltene Poolparty suggerierenden Riffs, die sinnlichen, geisterhaften Vocals und ein verwaschenes Ambiente, das wie ein Album alter Polaroidaufnahmen alle erdenklichen Momente des Lebens festhält - von den euphorischsten bis hin zu jenen, in denen Musik der einzige Trank ist, der Linderung verheißt. Das post-KLF und Boards of Canada evozierende "Are You Even Real" führt den Hörer auf einen imaginären Flug ins Sternenzelt, während organisch-klingende Songs wie "Someday" oder "Same Little Thing" wie Quecksilber am Boden haften. "Heaven" ist eines jener "kosmische" Stücke mit wilden Arpeggios und Pianosprengseln, die Weval in den vergangenen zwei Jahren zu einer Live-Sensation werden liessen. Wevals Musik ist schwerelos und luftig, aber gleichermassen von dichter Struktur und von einer magnetischen Anziehungskraft. Ihr zweites Album "The Weight" ist eine Synthese aus dem multi-perspektivischem, kaleidoskopischen Verständnis von elektronischer Musik: Herzerwärmend, alles umschmeichelnd und unendlich frei.

Today, artist, producer, DJ and cultural trailblazer Peggy Gou announces details of her long-awaited debut album One of the most hotly-anticipated debut records in recent years, I Hear You will be released on 7th June 2024 via XL Recordings. The ten track album is the culmination of years of work for the Korean-born artist, who’s uniquely revered as both an underground icon and global sensation, sticking by her own unwavering vision to become one of the most in-demand electronic music artists and DJs in the world. Featuring previous singles, the 2023 chart-topping global hit “(It Goes Like) Nanana” and her Lenny Kravitz collaboration “I Believe in Love Again”, the LP sees Gou stepping into the next level of her artistry and boldly claiming her voice through the kaleidoscopic lens of ‘90s house music

Today, artist, producer, DJ and cultural trailblazer Peggy Gou announces details of her long-awaited debut album One of the most hotly-anticipated debut records in recent years, I Hear You will be released on 7th June 2024 via XL Recordings. The ten track album is the culmination of years of work for the Korean-born artist, who’s uniquely revered as both an underground icon and global sensation, sticking by her own unwavering vision to become one of the most in-demand electronic music artists and DJs in the world. Featuring previous singles, the 2023 chart-topping global hit “(It Goes Like) Nanana” and her Lenny Kravitz collaboration “I Believe in Love Again”, the LP sees Gou stepping into the next level of her artistry and boldly claiming her voice through the kaleidoscopic lens of ‘90s house music

Toronto-based artist and co-boss of Parallel Minds, Ciel, known for her distinctive, precise, playful, and intricately crafted electronic productions, delivers a vibrant new EP on SUZI titled "Sada’s Dream". Originally performed during a live set at MUTEK Montreal, Ciel has refined these initial ideas into a five-track journey that showcases her unique sound palette, marked by meticulous attention to rhythmic and melodic interplay.

The EP opens with "Be That As It May," setting a contemplative tone with complex rhythms and a haunting flute-like melody that gradually unfolds into a brighter, expansive atmosphere.
Following this, the second track "Viral Load" shifts towards a tougher sound, featuring digital bleeps and arpeggiators that swirl around modern dubstep elements, creating a dense auditory texture.

The third piece, "Divide and Conquer," blends airy textures with a robust, infectious bassline and glitchy, compelling melodies, demonstrating Ciel's ability to balance delicacy with power.
Moving forward, "Bubble Gum Pop," the fourth track, adopts a clubbier vibe with its vigorous house vocals and lively breakbeat drums, offering a sharp contrast to the preceding tracks.

Concluding the EP is "Sada's Dream," the title track. This fast-paced, playful composition marries minimalist rhythms with whimsical bleeps and snippets of vocals, ending the EP on a note that feels both conclusive and invitingly open-ended. "Sada's Dream" is a sonic tapestry that weaves together the subtle complexities of Ciel's signature style with a narrative that is both intimate and expansive, capturing the essence of her artistic vision.

Daydream is back with its first V/A in almost 3 years. Four tracks crafted by historical talents - Valen and Ali Demir with Valde - alongside two great additions to the crew - Thomas Wood & Venda. Top producers who deliver deep and dubby house filled with dreamy punchy groove.

Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!

Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.

However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.

A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!

Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".

The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.

The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.

Repress!

Straight Outta Belpaese,
disco - exotica - balearic for the demanding digger

"Creation" is the debut album by British songwriter, singer & pianist James Sayer and includes the three singles "Living It Up", "Chemistry" and Cherry".

After spending many years playing for others, Sayer says that "writing my own music happened completely by accident. But I'm so glad I recorded that one demo which ultimately spurred me on to create a full album all this time later." Sayer, often called an old soul due to his love of classic song writing and bygone eras comments that although technology has changed the landscape of the musical world today, making a record organically was still a must for him.

Originally from Birmingham, Sayer's fascination and love of music began at a very young age when he learnt all thing rhythm & blues and rock'n'roll from his dad's music collection of artists such as Elton John or Jerry Lee Lewis, later also finding a love of soul artists such as Michael McDonald, Aretha Franklin, Van Morrison and Earth, Wind and Fire. Sayer moved to London in 2012 where he began performing almost every night in piano bars, clubs and pubs; spotted by the likes of Tom Jones whilst holding down a residency at the world-famous American Bar at the Savoy hotel.

About recording "Creation" he says: "I've tried to capture all the styles I love - Soul, Rhythm & Blues, Gospel and classic pop music – but still create a sound that is all mine".

Glasgow based Seated Records return with more 1980s Scottish Post-Punk / New Wave material. In this 8-track mini compilation the label introduces the work of Stirling band 22 Beaches, offering a deep dive into music recorded between 1980-1984 - the majority of which has never seen the light of day!

22 Beaches formed in Stirling in the late 1970s as an evolution of the short lived group ‘Alone at Last’ - drummer Fred Parson’s and guitarist Stephen Hunter being the two who spanned the divide. Out of the six members of 22 Beaches, many were school friends, and the rest naturally fell together. The band toured extensively and played at a truly diverse set of venues across the UK: from a local swimming pool boiler room, to small nightclubs and university parties, to several fundraisers for the miners strike. Maybe most notably of all, drummer Fred Parsons described playing at what he calls “the Grangemouth International”, organised by local promoter Brian Guthrie and which featured an all-star lineup of 22 Beaches, The Exploited and the first incarnation of The Cocteau Twins. A coach was hired to ship the audience to Grangemouth from Stirling, the cost of which was included in the ticket. The gig then paused halfway through for a 'help yourself' buffet. Young promoters take heed. This is how it's done!

Over the course of the 80s the band released music on three different, and now sought after, various artists compilation cassettes. “What Day Is It?” and “Sadie When She Died” were released on a compilation of local Stirling artists 'The A.N.K.L.E File'. The track from which the current record takes its namesake - “Dust” - was initially released on a compilation-tape for the fanzine 'Another Spark'. And ‘‘Zoo” (also featured on this record) was first released on Glasgow label Pleasantly Surprised via compilation, 'An Hour Of Eloquent Sounds', where 22 Beaches rubbed shoulders with early music from Scottish names Primal Scream, Cocteau Twins, The Wake and Sunset Gun. Unfortunately, 22 Beaches never met the same level of commercial success as these others and decided to retire the project in 1984 - leaving their recordings and demos to gather dust (hehe)…until now!

This compilation, “Dust: recordings 1980-1984” follows the band's journey and the changes in their sound over the years. It moves from the raw, punk energy of early DIY recordings through to the A Certain Ratio style Balearica of their later pieces. The record's opener and title track “Dust” is perhaps the most shining example of the latter. Characterised by the plenitude of sonic space in the mix, “Dust” has an almost dub sensibility that is communicated through centrality of Parsons’ drums, McChord’s percussion, and Fildes’ Bass while the harmonising vocals of Sharkey and McGregor chant over the top to give the track its distinctive psychedelic edge. This is an atmosphere only exacerbated by the lofi quality of the recording which sits the vocals in the same aural realm as much 1960s psych-folk. On “Cartoon Boy”, the band strips things down further. A droning bass line persists through the tape fuzz and is accompanied by the sounds of a sole looping guitar chord sequence and McGregor and Sharkey’s vocals - respectively and carefully dancing around one another before harmonising in the most beautiful way. The result is a haunting and abstract Marine Girls style heartbreaker. ‘That Girl’ again delivers a dub adjacent rhythm section similar to that of “Dust”. However, on this instance crisp guitar chords, a distant, phased organ and blue-eyed soul vocal delivery, produce a track that could easily have been a lost Orange Juice recording from their sessions with Dennis Bovel. On “Somebody Got It Wrong” and “One Of Us” the band employ a more macro approach where a jangling guitar with an almost highlife-influenced tone, vocal ad-libs and syncopated percussion give the music a Talking Heads-esque swagger.

Taken together these tracks illustrate a clear trajectory in the band's sound, moving from from the high energy no-wave quality of early recordings towards a more dub influenced, and stripped-back sound - a sonic trajectory followed by so many bands of the time, not least those emerging from the diaspora of Manchester’s Factory Records.

On “Breathing’’ we hear the beginning of this transition, with the strong influence of the oddball NYC disco styles of Was (Not Was) and ZE records. All of this is meshed together with the residual punk rock energy of 1980s UK. This combination is employed to excellent effect with the addition of the distinctly Scottish (and what the band confirmed to me to be spontaneous) vocal delivery of: “Do you love me? Do you want me?” “Aye!” “Do you love me? Do you need me?” “Naw!”.

On the record’s closing tracks, “Zoo” and “Talent Show”, we hear early examples of the band’s work, playing with their rawest all-in-one-take live energy where Hunter’s spiralling guitar riffs and McGregor's distorted vocal exclamations lead the charge. The band recalls that these initial-forays did not always translate so well into multitrack recording and overdubbing: “the deconstruction took away some of the band's natural feel”. On “Talent Show” the record ends with Sharkey delivering an almost unintelligible spoken word section over the top of the track, making for one final, disorientating, almost manic slice of post-punk.

These tracks from 1980-1984 chart the progress of a unique contribution to the world of Scottish Post-Punk and New Wave, encapsulating not only the musical trajectory of 22 Beaches but also echoing the broader sonic landscape of 1980s UK, a testament to the adaptability and creativity of the UK’s underground music of the time.

Following his debut EP ‘En clair-obscur’ and a series of singles earlier this year cementing his place as a rising name in the world of cinematic soul & funk, Hamburg’s finest cinematic soul artist ‘The Offline’ announces his debut album 'La couleur de la mer'.

Reminiscent of film scores from the 60s and 70s, The Offline worked with co-producer Tim Liztenberger to channel the influence of film composers such as Francois de Roubaix and Brian Bennet, creating his own soundtrack on ‘La couleur de la mer’. Inducing images of manorial, fog-swept villas at the sea's edge, silhouetted sailing boats and cigar-chomping villains attempting to thwart the mission of an imaginary hero, the record is a masterfully composed sonic journey. Experimenting with themes and atypical song structures, the music moves from dramatic cues to fragile romanticism. It incorporates psychedelic spaciness, retro soul and hip-hop sensibilities informed by The Offline’s extensive record collection and crate-digger status.

“Ever since I was a child, I was fascinated by the soundtracks from the 60s and 70s, and I always wanted to make an album in the film score direction. I wrote about 30 demos, kicked half of it and stuck to the ones that felt right in the dramaturgical structure of the ‘movie'. Interestingly the main theme was set early on while writing the album, which made the writing process much easier.”

Aptly named, ‘Thème de la couleur de la mer’ opens proceedings, establishing the core motifs of the record. Haunting flutes and xylophones lead the way into Khruangbin-esque guitar lines, which sit against a hip-hop canvas that returns on boom-bap head boppers like ‘Quelque chose reste’. Retro soul revival takes precedence on deep cuts like ‘Un bout de chemin’, with wah-gated guitars interacting with emotive cello lines and symphonic string & horn sections.

The Offline came to life when composer and photographer Felix Müller travelled the Atlantic coastline in the south of France with his analogue camera, capturing beach life on film. After coming back to Hamburg, he started writing songs as the sonic counterpart to the analogue visuals. His Debut EP ‘En Clair-Obscur’ includes five tracks that capture the essence of his journey and the feeling of a cool summer soundtrack.

Following the resounding success of Rythm by Nature's first release by Nail, the imprint's second outing, "Deep Cuts", builds upon the previous momentum and introduces label owner SaPu for his first solo EP. "Deep Cuts" features three groove-drenched original works and a foot-stomping remix from Berlin-based groove master and sound wizard Tripmastaz.

Drawing from his 15+ years of experience in the scene, "Deep Cuts" displays SaPu's impeccable production skills and evident passion for deeper house grooves and hypnotic rhythms — the ideal music for extended dancing marathons. The EP's first track, 'Roll Out' (A1), is a classic, tech-house-infused banger: funky bass, filtered samples, and snappy percussion elements. Tripmastaz's version, 'Don't Let Joe Change the Name Dub' (A2), adds new layers of depth to the original, infusing it with dubby, sample-based elements and warm chords. SaPu's inclination for old-school grooves shines through on 'Clappin Iron' (B1), delivering Detroit tribal vibes punctuated by stabby synths and rolling basslines. Closing off the EP, 'Keep it Trill' (B2) provides a relatively stripped-down approach, allowing SaPu to demonstrate his innate skill in dubby sample manipulation.

A1. Renowned producer, Bodeler, showcases his mastery in the minimal genre with his first contribution to the MBK collection. Combining intricate rhythms with subtle variations, he crafts a hypnotic sonic journey that expresses his signature techie groove while still capturing the essence of minimalism.

A2. Franco Cinelli, another accomplished Argentinian DJ and producer, lends his unique touch to Bodeler’s minimal masterpiece in an exceptional remix. Cinelli’s interpretation provides us with an immersive experience, with every beat and sound thoughtfully placed to convey a distinct musical narrative. With this submission, Side A displays the seamless synergy between two influential figures in the global minimal scene.

B1. Flip to the B-side and you will find an incredibly soulful composition from Nicola Brusegan and Camilo Gil. These two join forces to create a sublime deep house track that transcends boundaries, featuring a familiar sample of an iconic hip hop group from Brooklyn’s past. Lush chords, pulsating basslines, and ethereal textures create the ideal dance floor tune.

B2. ’Take A Groove’ is paired with a remix that has quickly worked its way through clubs around the world. Jorge Caiado shares his perspective of dance floor atmospheres, demonstrating his ability to craft a remix that stands as an artistic statement in its own right. When the acid hits, you’ll know why this track is creating such a buzz!

Nach den ersten Charterfolgen von Kollegah, Favorite und Shiml folgt der zweite Labelsampler von Selfmade Records, "CHRONIK II", auf dem auch Selfmade-Neuzugang Casper erstmals vertreten ist.Auf 18 Tracks erlebt man die vier höchst unterschiedlichen Rapper Casper, Favorite, Kollegah & Shiml in Höchstform, sowohl solo, als auch auf gemeinsamen Songs. Nachdem die erste Hälfte des Samplers in erster Linie nach vorne geht und Spaß macht, werden gegen Ende auch sanftere Töne angeschlagen.Mit Olli Banjo, Marteria, Edo Maajka, Farid Bang, MontanaMax & SunDiego konnte man sich außerdem erstklassige Features an Land ziehen, die "CHRONIK II" endgültig zur Pflicht für jeden Deutschrap-Fan machen!Produziert wurde der Sampler zum Großteil vom mehrfachen Gold- und Selfmade-Hausproduzenten Rizbo, sowie von Newcomerproducer TiKay One. Weitere Produktionen stammen von Bjet, Alper, Joshimixu & Mauvais Garcon."CHRONIK II" macht die Ausnahmestellung von Selfmade Records im Deutschrap eindrucksvoll deutlich. Wer glaubt, deutsche Rapmusik sei nicht mehr interessant, wird hier vom Gegenteil überzeugt. Nie war ein Labelsampler vielseitiger und musikalisch hochwertiger.Neben der CD liegt "CHRONIK II" als besonderer Bonus die DVD "Selfmade Vol.1" bei. Diese DVD ist keineswegs nur Beilage, sondern ein vollwertiges, eigenständiges Produkt mit 2 Stunden Material. Sie enthält neben einer ausführlichen Tourdokumentation, Studioimpressionen und nie gesehenem Making Of-Material exklusive Einzelbeiträge aller Künstler. So sieht man etwa Casper als Reporter auf der Berlinale oder Favorite bei einem außergewöhnlichen Konzert in einer JVA.

Altars is the debut EP from Detroit's own Deon Jamar.

This album kicks off the catalog of his newly founded record label, Black Music.

Black Music was originally an art exhibit, concert, and party series founded by Deon and Brian Oscar (Wrckles). Inspired by the legacy of those before and the work of peers today, these events were made to honor the lineage while also demonstrating the golden cord that connects all of our music throughout genre and era.

Fusing these worlds together informs the DJ as well as the producer.

A radical objection to industry standards, leaning more into the energy and depth of sound.

Black Music, the label, will carry this same tradition.

After huge demand, the instrumental mixes of NJOI’s unreleased tracks are now here in the shape of 'The Dubs', complimenting the duos recently unveiled 'Hidden Gems' vol 1 & 2 and their 'Collected' album. These iconic tracks became a huge part of NJOI’s original live set and the iconic mixed 'Live In Manchester' album over 30 years ago. After huge demand since their televised 1990 Brixton performance, they're finally available as fully extended individual recordings.

Warehouse Find - Test Pressing!

Time to welcome Kresy to the label with three original tracks of immaculate left of centre house. With only a clutch of releases his name may be new to many but if you dig deeper you'll find he's definitely moving the right circles. His debut release on John Talabot's Hivern Discs gave some broad exposure, picking up spins from the likes of Four Tet's Keiren Hebden, Jenifer Cardini and Nick Hoppner. Remix requests followed too with releases on Exquisite Pain, Southern Fried and Lovemonk all getting the Kresy treatment.

2014 looks equally busy with material forthcoming on Jay Shepheards Retrofit as well as DJ dates taking in Corsica Studios and Panarama Bar.

On his Freerange debut Kresy kicks off with Sweet Dangerous MC's, a shuffling, raw, 90's inspired cut which treads firmly forward rather than backward. The beats are crunched and jacked to perfection while the pads hiss and fizz all the while punctuated by the sweet dangerous MC in person.

Next up is Last Cocktail Of Stallone where echoes of Studio54 combine with the stomp of jacking Chicago house to produce a fresh fusion for 2014.

Flipping over we have a brilliant reinterpretation of Last Cocktail Of Stallone by west coast house heroes Vin Sol and MATRiXXman. Here the duo clearly had a fun session firing up the hardware drum machines and delays, reworking the rhythm track into a steady yet subtly massive warehouse jam primed for the dancefloor.

Finally, we're treated to the elegant beauty of Midnight In Manhattan where melancholic piano chords lay the foundation for an echoing sax riff to take centre stage. An original, interesting and above all deep slice of house that demonstrates Kresy's diversity and talent perfectly.

Repress!

Straight Outta Belpaese, MORE disco – exotica – balearic – Italo - funk for the demanding digger!

When do Belpaese ever disappoint. A double header of hidden edit treasures, cut loud on either side of 12" for some much needed good vibrations.

2024 Repress

Witness the fusion of two distinctive creative forces in the "Demons & The Ghost" EP, an unparalleled collaboration between VOXNOX's core artists, Blame The Mono & DLV.

This groundbreaking 4-track EP is an explosive blend of raw energy and unmatched creativity, designed to ignite dance floors across the globe. Prepare yourself for a sonic journey as Blame The Mono & DLV unleash a bold and unforgettable testament to the VOXNOX sound. Don't miss it - destined to become a classic.

That true beauty lies in the essentiality and meticulous combination of a few elements is sometimes not just a cliché. The delicate blend of Roland CR-78, acoustic guitar and dissonant organs that intertwine in Open Windows is a vivid demonstration of this. It is these few elements, now distant and hinted at and now close and deafening, that paint the backdrop of melancholic nostalgia where laconic whispers move the listener within the paintings that bear the sonic signature of Human Figures. To Daniel Lewis’ new project, which has seen its springboard through releases on the label of his friends at Frigio Records, perhaps the adjective “new” is already quite tight. He has built a very recognizable sonic tibre, an influence of producers and listeners at different latitudes of the post-punk and wave scene.

In the 8 canvases of Open Windows the folk tradition is repainted in a more contemporary guise: the sweet and sad litanies are alternated with fast and frenetic stornelli in which the combination of tradition and experimentation constitutes the stylistic signature. The open window through which the listener has the opportunity to look out in this album does not, however, give onto a natural external panorama. It projects into an inner world where introspection and silence are the only chance to grasp its sublime beauty.

To Follow Polaris" ist ein neues Progressive-Rock-Album von The Tangent, das es in sich hat. Das ist nicht unbedingt eine Überraschung...dafür ist die Band bekannt. Aber gleichzeitig ist es auch etwas anderes. In einem Jahr, in dem die Mitglieder von The Tangent auf der ganzen Welt mit Steve Hackett, Soft Machine, Karnataka, David Cross, It Bites, Cyan und anderen auf der Bühne standen, wurde klar, dass es keine Zeit geben würde, sich für mehr als einen Gig im April 2023 zu treffen. Also einigte sich die Band darauf, dass Bandleader und Hauptsongschreiber Andy Tillison das Material sammeln und ein Album von The Tangent ganz alleine aufnehmen würde. Es würde immer noch The Tangent heißen. For One. Das zwischen Januar und November 2023 produzierte Album zeigt Andy in gewohnter Weise mit seinem Mehrfach-Keyboard-System, fügt dem Mix aber seine erste jemals veröffentlichte Performance an der Bassgitarre und seine zweite am Stick-driven (elektronischen) Schlagzeug hinzu. Hinzu kommen elektrische und akustische Gitarren und elektronische Bläser, und dies ist in jedem Sinne des Wortes eine Full-Band-Aufnahme. Vom Konzept her behauptet Andy, das Album sei, ähem, "sehr optimistisch", aber regelmäßige Hörer seiner Arbeit werden korrekt vermuten, dass dieser Optimismus nicht unbegründet oder zu simpel ist und dass Andy Hindernissen, die diesem Optimismus im Wege stehen, sehr kritisch gegenübersteht. Und das Album blickt ebenso sehr in die Dunkelheit wie ins Licht. Insgesamt lautet seine Botschaft, dass es ungeachtet des Fortschritts und der großen sozio-politischen Schwierigkeiten, die mit dem scheinbaren Ende der "Wahrheit" als Maßstab einhergehen, bestimmte Dinge gibt, die etwas weniger vergänglich sind und denen man folgen kann, und er verwendet den Nordstern, Polaris, als Metapher für Hoffnung und Beständigkeit. "To Follow Polaris" wird als Deluxe Collector's Edition Gatefold 180g 2LP (ebenfalls mit Bonustrack) erhältlich sein.

Repress.

One of Stockholm’s finest exports, Elfenberg arrive at Bordello with four slices of synthesizer goodness. The duo open with “Forever Alone”. A cruising arpeggiator steers its way through glistening snares, rolling kicks and classic italo vocals. Night falls in the jungle “Conga Coronation”. The treetops bristle with birdsong, thickets of bongos, toms and rain sticks lead a path to dawning melodies. A wonderfully textured percussive piece, the track is intricately carved and demonstrates the diversity and depth of Elfenberg. The disco dipped futurism of “Sphere Of Missing Out” follows. Echoes of “Conga Coronation” rhythms are countered by beaming synth bars and vocoder lyrics with the Swedish pair pushing for the floor. “Cosmic Tribune” is the curtain close. Astral chords, spiralling key shifts and incising drums coalesce in this space inspired finale. A truly stunning debut from this talented partnership.

Über drei Jahrzehnte nach ihrer Gründung durch Leslie Mandoki, setzen Mandoki Soulmates mit ihrem Album "A Memory Of Our Future" nicht nur musikalisch neue Maßstäbe, sondern präsentieren ein produktionstechnisches Meisterwerk: Das gesamte Album wurde analog aufgenommen und produziert - vom ersten Ton bis zum fertigen Vinyl. Die Produktion des rund 80-minütigen Konzeptalbums ist ein seltenes Unterfangen in der heutigen Musiklandschaft. Mit durchgehend analoger Signalverarbeitung vom Mikrofon bis zur Vinylpressung ist die Produktion von "A Memory Of Our Future" ein Manifest von Präzision und Leidenschaft, die in jedem Ton des Albums zu spüren ist. Das Mastering des analogen Magnetbandes durch Greg Calbi im renommierten Sterling Sound Studio in New York und der Vinylschnitt in den Emil Berliner Studios sind ein Symbol für die audiophile Exzellenz des Albums. Mit einem Setup, das in der gegenwärtigen Musikproduktion kaum noch zu finden ist, und mit der die Band eine Wärme und Lebendigkeit in ihrer Musik eingefangen hat, die in digitalen Aufnahmen oft verloren geht, haben die Soulmates ein Werk musikalischer Vielfalt geschaffen, das von Prog bis Jazz Rock reicht, und kompositorische Reife, spielerische Leichtigkeit und kunstvolle Solos mit großen Spannungsbögen und tiefgründigen Texten zu gesellschaftspolitischen Themen verbindet. Die generationsübergreifende Supergroup von Rock- und Fusion-Großmeistern mit Ian Anderson (Jethro Tull), Mike Stern, Al di Meola, Randy Brecker, Till Brönner, Bill Evans, John Helliwell (Supertramp), Cory Henry, Richard Bona, Steve Bailey, Simon Phillips (Toto), Leslie Mandoki, Tony Carey (Rainbow), Nick van Eede (Cutting Crew), Jesse Siebenberg und Mark Hart (beide Supertramp) ruft mit dem Album zum Handeln gegen Spaltung und für Menschlichkeit auf. Mit "A Memory Of Our Future" gelingt den Soulmates eine einzigartige Verschmelzung audiophiler Exzellenz und gesellschaftspolitisch relevanter Musik. Dieses Album ist nicht nur für Fans von Prog und Jazz Rock, sondern für alle, die echte Musik zu schätzen wissen.

Dj Nitro, nos sorprende una vez más con un nuevo lanzamiento bajo el sello discográfico Blue Roots Label. Este artista incansable nos presenta su última creación mussical, un álbum cargado de energía y ritmos que te transportarán a otra dimensión.

Desde sus inicios, ha demostrado ser un talento excepcional. Su pasión por la música electrónica nació desde muy joven y se ha convertido en su vida. Ha logrado conquistar a miles de seguidores en todo el mundo, y ahora, con este nuevo lanzamiento, está listo para llegar a aún más personas.

Este artista eleva la escena Old School con su último lanzamiento.
El vinilo presenta tres pistas emblemáticas que encapsulan la esencia única del sonido de DJ Nitro. La primera, “A – Luminosity “, es un viaje hipnótico a través de capas de ritmos vibrantes, melodías y vocales que tejen una atmósfera de euforia sonora. Esta pista se erige como un faro de creatividad y energía pura, donde los beats trascienden el tiempo y el espacio.

Por otro lado, “B1 – All I Want You” encarna la pasión y el deseo con una fusión cautivadora de ritmos y progresiones melódicas que atrapan los sentidos. Esta pieza es un tributo a su amigo F.EE D.EE y nos demuestra la maestría para combinar la intensidad emocional con la profundidad musical.

El cierre de este excepcional vinilo lo lleva “B2 – Mixed Feelings”, una pista que refleja la versatilidad del DJ al explorar diversos matices sonoros. Esta composición lleva a los oyentes a un viaje emocional donde se entrelazan distintas sensaciones.

Con este nuevo lanzamiento, reafirma su posición como un pionero en el universo de la música electrónica Old School. Su habilidad para fusionar lo clásico con lo contemporáneo y su talento para crear paisajes sonoros únicos han consolidado su lugar en la vanguardia de la escena musical.

El vinilo estará disponible en edición limitada, lo que lo convierte en una joya codiciada para los coleccionistas y amantes de la música por igual. Prepárate para sumergirte en la magia de DJ Nitro con este cautivador lanzamiento en Blue Roots Label.

BRL0001 NITRO – BLUE ROOTS es un verdadero tesoro musical. Cada pista del álbum está cuidadosamente diseñada para llevar al oyente a un viaje sonoro inolvidable. Los pianos acompañados de bonitas vocales y los beats irresistibles te atrapan desde el primer segundo.

Este album sin duda es una combinación perfecta de elementos clásicos y vanguardistas

The VA theme on the LP series under the name Untitled || continues to explore the subject of 8 different minds from different corner of the globe connected by the principle and love for the audio frequencies in line with Exarde. Featuring two artists which already dear to label due to the fact of past releases on it and six new ones who have become instant people of love and admiration for me.

From the more deep and mellow to the higher pressure for the brain this double disc shall meet your demands. The art theme of this one is blobs & globs from space, whether they are emerging, fighting with their own shadow, or just simply floating and co-existing. This shall conclude my rambling for this body of work as I go and put these eight essences through my ear canals once again. Great deal of thanks for the hard work and dedication of these talented conductors.

Time Splitters is a various artist compilation created and produced by Richmond VA based Deskulling in collaboration with veteran Spanish Town JA artist I Jahbar between 2021 and 2023. This 21 track 50 plus minute Dancehall epic also includes other veteran vocalists such as G Sudden, RDL Shellah, Buddydon, and Darkchild plus newer talents such as Fearless, Longdon, Latty, King Kush and 1 Solar Boss. Alexander West who passed away in 2023 contributes an ethereal and heartfelt album closing performance on “Granny Grenade”. Time Splitters is a sprawling creation that captures a multiplicity of emotions, life complexities, spiritual evocations, and musical dimensions. Deskulling's eclectic productions are rendered to the perfect minimalism and provide a rich and varied platform for vocal performances that move between dark and light, sad and joyful, heavy and soft. A lot of work went into this release over a few years from many people during times of inner and outer complexities, turmoils, and tribulations. This release musically, lyrically, emotionally, represents life's spectrum's fully. Thanks for listening.

Universe City's 1976 12 inch promo release, featuring 'Can You Get Down' and 'Serious', gained cult status in the disco scene. Produced and arranged by John Davis, the limited release and the subsequent demand over several decades, fuelled in part by regular plays from tastemakers like Sean P and Dave Lee, highlight the enduring popularity and influence of this particular record within the disco community. John Davis, a highly influential figure in the disco music scene, particularly during the 1970s. As a composer, arranger, and producer, Davis played a crucial role in shaping the sound of disco and funk music that can be heard throughout this release. Presented here officially for the first time since it’s limited promo release 48 years ago, this exclusive RSD release, lovingly remastered will be an essential purchase for any disco lover! Mint copies regularly changing hands for £100, this is a 'do not miss!' Delivered in a glorious Universe City band sleeve, limited to 500 units.

Brian d’Souza (fka Auntie Flo) teams up with in-demand DJ Or:la, harpist Róisín Berkeley and celebrated artist Jana Nicole for a release celebrating the humble mushroom. Originally commissioned for the Hayes Mycelium Pavilion at Glastonbury Festival 2023, these two pieces represent the artist homage to the unique power of connection within nature - the mychorrizal network that humans could do well from learning from. d’Souza’s piece uses a process of biosonification, picking up electrical impulses from four different mushroom species (Oyster, Reishi, Lion’s Mane and Shiitake) and turning them into musical notes. The 18 min piece is a literal ecological sound walk into the mind of the mushroom. Irish techno artist/DJ Orlagh Dooley aka Or:la debuts with her piece created in collaboration with harpist Róisín Berkeley.

Glacial textures and delicious harp glissandos form a mushroom habitat that exists in peace and harmony. The bespoke art work was created by multi-award winning artist Jana Nicole, who used a combination of collage, digital photography and manipulation to put together an art piece that resembles the depth and beauty of the mushroom and its mycelium. The limited edition vinyl will include a scratch and sniff smell component and incorporate UV paint that will only show up in dark light, revealing a different perspective as mushrooms do in the wilds.

A State of Flo supports Earth Percent. 10% of the revenue generated from this release will be paid to environmental charities.

Oro Azul‘s debut offering, ‘Water Seeds,’ takes us through 4 shades of an aquatic garden. Dembow floats underneath the waves while woodblock melodies bubble up through the weeds. Sub bass shifts the tide. Some sounds are moss-like, a protective balm. Other tones come through as minerals and metals, shining in the refracted light from above.

A collaboration between Ultima Esuna and Michael Red, the music of Oro Azul took shape over the course of a year of purposeful and transformative studio sessions. This release follows the pair’s solo releases on DJ Python’s Worldwide Unlimited, Nervous Horizon, and Isla.

A necessary agitator in the city, Bruno Trigo Gonçalves signs, while Phoebe, some of the most desirable sound infusions of the moment. The founder of Troublemaker Records, collaborator of Rádio Quântica, resident DJ at the “mina” party and also one of the faces behind the Planeta Manas space, has multiplied himself in live performances and brought a handful of news in recent years. “If I was simple in my mind, everything would be fine”, under Rotten Fresh label and “Love is Patient, Love is Kind, Love Will Make you Lose your Mind” by Sweet Love Making, a label that he jointly owns with Bleid , demonstrate Phoebe's bird's-eye view. This vision includes allusions to different languages of dance music, ambient music and other personal cosmologies that define him as an absolutely free producer.

- Horse Meat Disco “BOOOOOOM”
- Alison Swing - “hot tracks!”
- FYI Chris - “bangin - love all these tunes <3”
- Nikola Baytala - “JENSEN INTERCEPTOR REMIX !!! AFTERNOON BLAZE !!!HYPEZONE 5000 !!! BASS IN YOUR FACE !!! DISCOS EXTENDES KILLIN IT !!! SUBWOOFER ALERT !!! ”
- Turbojazz - “Supa cool EP!”
- Daniel ( Happy Endings) “Simply brilliant, every single track.”
- Nita Aviance“oof, Go is just naaaassssttttyyyy! very excited to bring this one to the floor. the whole EP goes off, really, FAB release. thank you for sending!”

The making of Congo Funk!, our long-awaited journey to the musical heart of the African continent, took the Analog Africa Team on two journeys to Kinshasa and one to Brazzaville. Selected meticulously from around 2000 songs and boiled down to 14, this compilation aims to showcase the many facets of the funky, hypnotic and schizophrenic tunes emanating from the two Congolese capitals nestled on the banks of the Congo River.

On its south shore, the city of Kinshasa – capital of Democratic Republic of the Congo, the country formerly known as Zaïre – is often seen as Africa’s musical Mecca, the city that spawned such immortal bands as African Jazz, O.K. Jazz and African Fiesta, and the place to which aspiring musicians from throughout the continent would go to make a name for themselves.

But the city of Brazzaville on the north shore of the river – capital of the Congo Republic – played an equally important role in spreading Congolese sounds continentally. In addition to producing legendary bands such as Les Bantous de la Capital, it was the powerful transmitters of Radio Brazzaville that allowed the unmistakable groove of Congolese Rumba to be heard as far away as Nairobi, Yaoundé, Luanda and Lusaka thus turning the electric guitar into the continent’s most important instrument!

Although the musical landscape of these cities had been defined by a core group of bands in the late 1950s, the modernisation of Congolese music has been steadily evolving until the events surrounding the Muhammad Ali vs George Foreman boxing match marked a turning point. The promoter of that event known as “Rumble In The Jungle” was none other than the notorious Don King who needed 10 millions dollars to get Ali and Foreman into a boxing ring. The only candidate willing to put this kind of cash on the table was Mobutu Sese Seko, President of the Democratic Republic of the Congo.

Mobutu - the megalomaniac dictator who got to power with the support of the United States and Belgium in exchange for unlimited and affordable access to the riches of the country - had a soft spot for music and it doesn’t come as a surprise that he agreed to a three-day live music festival being organised prior to the “Rumble”. Zaïre 74 - as the festival was dubbed - was meant to hype the boxing match and many stars were invited.

Although a myriads of artists flocked in for the occasion, it was the performance of James Brown on Zairian soil that caused havoc among the younger generation, inspiring hundreds of would-be musicians to take up their electric guitars and reverbs cranked to the max in search of a new sound in which hyperactive Rumba was blended with elements of psych and funk. While the results were very different from the popular music of the three Musketeers - as Tabu Ley, Franco and Verckys were known - they weren’t a complete break with tradition.

These new sounds emerged at a time when the Congolese record industry – previously dominated by European major labels – was experiencing a period of decline due to rising production costs and needed a radical change. The void was filled by dozens of entrepreneurs willing to take chances on smaller scale releases. It was the beginning of a golden age for Congolese independent record labels, and the best of them – Cover N°1, Mondenge, Editions Moninga, Super Contact – preserved the work of some of the region’s finest artists, while launching a generation of younger musicians into the spotlight.

The movement was greatly helped by legendary radio shows but it was the dynamic productions of Télé-Zaïre that set the dynamite on fire. Legend has it that TV shows were so huge that president Mobutu himself ordered RTV du Zaïre to put on daily concerts since it halted criminal activities for the duration of the evening.

Congo Funk! is the story of these sounds and labels, but most of all it is the story of two cities, separated by water but united by an indestructible groove. The fourteen songs on this double LP showcase the many facets of the Congolese capitals, and highlight the bands and artists, famous and obscure, who pushed Rumba to new heights and ultimately influenced the musical landscape of the entire continent and beyond.

Hello roofers, here’s our latest EP, masterfully crafted by the exceptionally talented Guile. This collection is a vibrant journey back to the iconic ‘90s, featuring an exquisite blend of synthesizers and sounds that defined the era. Immerse yourself in the fusion of Progressive Trance and House, enriched with the unique additions of whistles, orchestra hits, and organs, all skillfully mixed to recreate the electrifying energy of electronic music’s golden age. Guile’s artistic prowess shines brightly throughout this EP, demonstrating his remarkable ability to transport us back in time with precision and flair. Each track is a testament to his talent, offering listeners an unparalleled auditory experience that resonates with the spirit of the ‘90s while standing out in today’s music scene.

Griffé is back and starts 2024 on a high note with Five Ten, Lausanne based producer & dj, co-founder of Flight Mode. His Surveillance EP highlights his love for acid, breaks & electro while delivering a gloomy and anguish atmosphere. Four powerful tracks for the darker hours of the night.

2024 Repress!

Die erste LP ist immer ein Grund zu Feiern, und mehr noch auch ein Grund für freudige Erwartung (auf mehr): nun also, Respekt Leute, denn es naht die Premiere: die erste LP von Marek Hemmann, dem vielseitigsten Elektrotüftler diesseits der Saale.

Mit "New Blue Sun" veröffentlicht André 3000 ein unerwartetes, rein instrumentales Album, auf dem Andre Flöte spielt und von anderen talentierten Musikern begleitet wird. Auf dem von Andre 3000 und dem Multiinstrumentalisten Carlos Niño koproduzierten Album "New Blue Sun" spielen Nate Mercereau, Surya Botofasina, Deantoni Parks, Diego Gaeta, Matthewdavid, V.C.R., Diego Gaeta, Jesse Peterson und Mia Doi Todd.

Diese limitierte 3-LP-Vinylauflage ist auf 180 g schweres schwarzes Vinyl gepresst und verfügt über ein ausklappbares Poster, bedruckte Innenhüllen und eine Notiz des Künstlers.

Jack's House Recordings favourite (Alex Arnout), is back with another 4 track solid EP. This is the 3rd EP with Alex signed to the label. Alex was the first artist to release on the imprint back in 2016 with sell out Confirmation Bias ep followed by the Sync Jam release and further productions on some of the Jacks Tracks VA series. This latest offering with the new Burn EP does not disappoint


This limited vinyl press offers 4 distinctive tracks showcasing Alex's ability and talent to seamlessly blend influences from different genres making his production unique creating his staple sound.


First up is Burn which kicks of with tough tech beats quickly followed by some punchy chords before it develops into a beautiful fusion of an energetic original tech house sound merged with what can only be described as a pure soulful touch with the vocal snippet which occasionally and simply sings the the title track lyric (Burn). You could describe it as Tech soul if that were a thing. Punchy, warm and energising with a touch of a romantic notion in there while maintaining the techy roots, you will have this on repeat.


2nd up is Tribespeople, which takes you into Alex's tougher side. Leading with a full on kick and rounded sound, it is perfectly suited for true underground dance floors at the height of their energy, or to wake it up, this track is made for the committed clubber that really likes to go for it ! The track is laced with subtle fills that will jog your memory and take you back to the original days of rave. This is pure underground bliss.


On the flip side, is the popular Punkadelic. This was originally released back in 2022 on Jacks Tracks VA Vol 5 alongside tracks from Terry Francis, Lex & Legit Trip. It was always intended to be a vinyl release, so by popular demand, it is finally going onto wax, where it deserves to be. Punkadelic is dark with a real techno vibe, but even in here, if you have a good ear, you can hear subtle touches of Jazz in the percussion, which yet again showcases Alex Arnout's unique talent to fuse elements of different genres in an especially classy way.


Last but by no means least, is a slightly different flavour with the track Recall. This is a slightly more laid back number, but still punchy with a good chug to it, and keeping within the sounds of the underground. Vocal snippets are spoken and broken throughout the track laced over some ghostly chords accompanied by swinging hats, claps and a fierce bassline.

New edits label from the Deep&Disco crew outta NYC. 2 Killer cuts given a revamp and shine for the dancefloor.

Pressed on heavy weight 180g vinyl limited to 300 pressings hand stamped.
DJ FEEDBACK

Craig Smith (6th Borough Project) - Lovely edits, well produced and expertly put together. Good luck with the label chaps

Guy (Sleazy Beats, Monsieur Monod) - What a delightful debut for your new label. Feel The Rhythm is an irresistable boogie groover. We'll be playing these puppies all over the place! All the best with the release and label.

aliOOFT (OOFT! Music) - Being playing this for ages, good to see it being released. Best of luck with the label - I look forward to more Razor N Tape jams!

Sleazy McQueen (Whisky Disco) - Dig it, man!

Onur Engin (OE Edits) - Nice one! I'll definitely support this.

Jimpster (Freerange) - Nicely done. always a good one to have in the bag. cheers for the good edits.

Trujillo (Apersonal Music) - So Tight is a dope warm disco for the dance floor!, will spin it!

The Glue (Kolour) - Great edits both of them, we will keep an eye out for more stuff from you guys for sure!

Leftside Wobble (Futureboogie) - A pair of filtered boogie beauties.

Alkalino (Much Love) - Like both, but "Feel the Rhythm" is my fav.cheers!

Matthew Bandy (Z Records) - Solid edits here, will be getting support on both from me. Cheers.

Sell by Dave (Bedmo Disco, Juno Plus) - Excellent first release lads - enjoying both tracks. The edits scene needs some fresh cuts/styles, and you've delivered on these. Major props - can see both getting plenty of plays in Bedmo Disco sets this summer x

Daz (Get Down Edits) - So Tight never fails but this is my first time hearing Feel The Rhythm & cant wait to play it out its sounds excellent, have a gig @ Disco Deviance this sat & cant wait to play these at it :)

Mike W (Kolour Recordings) - Been looking forward to RNT001 and it does not disappoint one bit! edits that drip with funk & soul .. just like they should. got a nice batch of gigs in the pipes and these will definitely be seeing their way into my rotation as well as the full gambit of chart support! cheers j. kriv & aaron dae .. got yourselves off to a nice & tidy start .. best of returns to ya!

Nelue (Groove Democracy) - Both sound great!

South West Seven (SWS Music) - Love it!

Kid Color (Dollar Disco) - Slammin' work if I could say so myself!

The Beat Broker (Flexx) - So Tight is exactly that. Killer unstoppable groove. Love it!

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, it's catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. The mighty 'Roller Rink Funk' by Shift is the next reissue from the archives and never has a jam been more aptly named!

Another class act from the plethora of uptown groups that were associated with Queen Constance and her orbiting planets, Shift was possibly yet another 'studio' group put together for this one time release. The co-production nous and involvement of long-time associate Bernard Thomas lends these cuts some serious B-boy credentials. Thomas was involved in a lot of the P&P era early Rap material, as well as working with BDP and lending his skills to releases on the cult Rap label Zakia too. Needless to say, this particular release is that magic funky frisson between Disco, Funk and the earliest stirrings of Hip-Hop, an especially rich vein of music. As the title suggests this one is meant to be heard at the roller rink, the syncopated rhythms mimicking the skaters movements and repetitions. As with any good roller-skating Funk record (there are many!) it doesn't take long for you to want to hit the dance-floor, whether it's to skate or to simply get down. An often tricky record to find in it's OG state, commanding 'collectors' prices, 'Roller Rink Funk' is back on the block for all the Disco freaks for 2018. Perfect.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

Same track on both sides

2024 repress!

The dynamic NZ brother duo known from Mule Musiq, Rhythm Section and their own In Dust We Trust impresses with a superb collaborative EP of highly emotional music!

‘Emotional Intelligence’ fills the A-side seeing them team up saxophonist and fellow kiwi jazz legend Nathan Haines and South London’s own Dave Koor aka. Modified Man.
On the flip-side they join forces with Chicago’s Lee Pearson Jnr (he's known for his writing for Larry Heard), K. LaDawn on vocals and rising star Joe Armon-Jones on keys.

A blissful experience throughout and another demonstration of "Chaos In The CBD’s" with maturing, amazing production skills!

Hope, you enjoy.

repressed !

Foremost international techno outlet Drumcode is delighted to announce the release of its next full-length album, 'Satellite', by enduring Italian techno talent Sam Paganini.

Though he has been active since the mid nineties, recent years have been hugely successful for Sam, with searing techno EPs coming on revered labels such as Riche Hawtin's Plus8, Sven Vath's Cocoon and of course, Adam Beyer's Drumcode. In his time he has been responsible for underground hits like 'Zoe', 'Polyester' and 'Fire In My Arms', all of which demonstrate his dynamic understanding of sexy, dark and hypnotic techno grooves and at the same time have earned him plenty of great Beatport chart positions as well as respect from the best in the game.

Incredibly, 'Satellite' is Sam's first full-length album. Informed by his DJ gigs at legendary places like Berghain in Berlin and Cielo in New York, the album starts with a dystopian bit of sonic scene setting, as if a space ship is charging up ready to take off.

Das neue Album führt Usher mit seinem Freund L.A. Reid zusammen.

Usher hat die Musik, die Kultur und unzählige Leben verändert. Der mehrfach mit dem Grammy Award ausgezeichnete internationale Megastar, Schauspieler, Tänzer, Unternehmer und Philanthrop wird auch im Jahr 2023 und darüber hinaus für Veränderungen sorgen. Er hat weltweit mehr als 80 Millionen Platten verkauft und Dutzende von Auszeichnungen erhalten. Gleichzeitig hat er auf dem kleinen Bildschirm in NBCs The Voice und auf der großen Leinwand in Blockbustern wie Hustlers brilliert. Darüber hinaus hat er sich unermüdlich als engagierter Menschenfreund hervorgetan, indem er zig Millionen Dollar für verschiedene Zwecke sammelte und mit seiner New Look Foundation die Jugend förderte. Seit 1999 bietet er jungen Menschen in unterversorgten Gemeinden Chancen und ermöglicht ihnen, sich zu entfalten und scheinbar unmögliche Träume zu verwirklichen. Als echter Ausreißer ist er auf der Bühne seiner ausverkauften My Way Las Vegas Residency ebenso zu Hause wie auf einer Kulturmission der Regierung 2016 nach Kuba als Teil des Presidential Committee for Arts and Humanities von Präsident Barack Obama. Dieses Album stellt die kreative Wiedervereinigung von Usher und L.A. Reid dar, die seit dem 2004 erschienenen Album Confessions mit Diamant-Zertifikat nicht mehr zusammen gearbeitet haben. Das Album wurde hauptsächlich in Atlanta, GA mit vielen der angesagtesten Produzenten Atlantas aufgenommen, darunter Sean Garrett, Lil John, The Avila Brothers, Mel & Mus, Tricky Stewart, Rico Love, The-Dream, Jermaine Dupri, D Mile und viele andere. Es gibt Features von Summer Walker, 21 Savage und Latto.

An adventurous percussion playground Trio inclassable qui explore les rythmes et les sons, Spëcht a ouvert un terrain de jeu singulier autour des percussions en donnant une nouvelle dimension à des instruments acoustiques.

Darbuka, gongs, kalimbas, riqq, doholla, bendirs,... sont à la base de leur univers percussif et mélodique qui oscille entre sons organiques et textures atmosphériques, paysages sonores aux accents de transe et grooves entraînants.

Après la sortie du premier EP "Dawn" sous le nom de groupe "Hands in Motion” », letrio sort « Triptyques » et propose une expérience évolutive en trois temps progressifs.


“The trio includes three of the top percussionists in Belgium Simon Leleux, Robbe Kieckens, Célestin Massot their music is a rich world of stimulating transglobal rhythms and transfixing sounds” World Music Central It's an exciting time for music lovers and fans of innovative sounds, as the band formerly known as 'Hands in Motion' makes a refreshing re-entry into the music world under a new name: Spëcht. With their latest album, 'Triptyques', Spëcht promises an immersive listening experience that retains the deep-rooted essence of the band while exploring new musical horizons.

After a period of artistic development and introspection, Spëcht has decided that the name change is a natural step in their musical journey. The name 'Spëcht' not only reflects their renewed focus and energy but also their commitment to creating music that is both powerful and sophisticated, just like the bird of the same name.

Triptyques' is an album composed of three parts, each highlighting a unique aspect of the band. This conceptual masterpiece takes the listener on a journey through various musical landscapes, from melodic harmonies and huge percussion elements with complex rhythms to bold experimental sounds. Each 'triptych' stands alone as an individual work of art, yet together they form a cohesive and captivating story.

With 'Triptyques', Spëcht demonstrates a maturity and depth in their musical expression that will surprise and charm both loyal fans and new listeners.

Introducing "Solace", a captivating 6-track EP by dubstep virtuoso Bukkha.
Crafted amidst the stillness of 2020's turmoil, far from all the noise pollution of everyday life, each track is like an unique demonstration of Bukkha's emotional state throughout these tumultuous times. "What came out was not forced and was just a very natural and fluid process" said Bukkha about working on this EP.
"Solace" also features an exclusive collaboration with soulful Drum & Bass artist Redeyes.
Embark on this heartfelt musical journey where Bukkha's passion and authenticity resonate through every note. As Bukkha eloquently puts it, ''I have always found comfort in music. I hope that the people listening to this record will find solace in it as well.''

Ozone were a group on Motown between 1980 and 1983. They were put together by Charles Alexander Glenn from Nashville where he had a band The Endeavors. He then brough his best musicians to Los Angeles where Billy Preston recommended to Motown they become the touring band for Teena Marie. They also played for Luther Vandross and then recorded five albums for Motown. “(Our Hearts) Will Always Shine, also credited as “Our Hearts (Will Always Shine)” on Motown has become a timeless and in demand modern soul record, copies of the 7” original now commanding in excess of £300. It has a Gene Page (of Barry White fame) string arrangement and is produced by the group with Michael Stokes (Creative Source, Enchantment, Magic Lady, LTD, Active Force etc)

Monty Luke release ‘Nightdubbing’ LP on Rekids.The Black Catalogue bosses' second album explores dub-infused dance music and, following the recent two EP drops on Rekids, will be released on Radio Slave’s imprint on 29 March. Succeeding part two of Monty Luke’s ‘Nightdubbing’ series on Rekids, the US-via-Berlin artist unveils an album of the same name on Radio Slave’s lauded Rekids imprint. ‘Nightdubbing’ encompasses the first two instalments and adds five more tracks of intricate sonic material, completing this gorgeous work of art already supported by Fred P, nd_baumecker, Louise Chen, and Laurent Garnier. Luke’s ‘Nightdubbing’ album starts in the club, with the rave-primed ‘40 Acres And A Terabyte’ utilising the rich melodies of deep house alongside the crushing weight of subs. It is followed by the title track, with ‘Nightdubbing’ taking a more traditional house route, its soothing sounds enveloping the listener while honing in on that reverb sweet spot. Black Catalogue boss and former Planet-E label manager Monty Luke’s timeless ‘Nightdubbing’ effortlessly traverses deep house and techno rife with bass-rattling low-end and experimental rhythms. It is no surprise, then, that the album is heavily inspired by ‘70s and mid-80s dub reggae, seeing Luke incorporate and modernise the genre’s iconic rhythms, spoken word poetry, and spacious bursts of harmony across the LP. ‘Bob Molly’ picks up pace with nods to Caribbean dem bow-like rhythms of old, Monty Luke filling the space between its infectious beat with tumbling percussion and echoing plucks. Tracks like ‘Supernova’, ‘New World / Old Future’ and ‘Starstorms’ return to the modern-day traditions of club music while ‘Future Mystic’ and ‘Avant Garde Dance Hall ‘, again find room in between the dancefloor and sound system listening sessions. Monty Luke spent ten formative years in Detroit, where the city's unique musical spirit influenced him immensely. He has since distilled this experience into the music he has released on labels like Rekids, Planet-E, Hypercolour, and his own Black Catalogue. His raw, dub-infused sound comes with plenty of futuristic designs, and this final complete iteration of ‘Nightdubbing’ continues to push the boundaries of his music.

Die norwegischen Pioniere des Avantgarde/Progressive Black Metal BORKNAGAR kehren mit ihrem monumentalen 12. Studioalbum "Fall" zurück, das 8 majestätische Tracks mit 54 epischen Minuten Spielzeit enthält und erneut von Jens Bogren / Fascination Street Studios (Opeth, Amon Amarth, Kreator) brillant gemischt wurde. "Fall" ist der Nachfolger des hochgelobten Studioalbums "True North" aus dem Jahr 2019, kommt mit atemberaubendem Cover-Artwork von Eliran Kantor (Testament, My Dying Bride, Sodom).

Slowaxx is the solo project and live band created by Riccardo Chiarucci, a music producer, arranger and composer based in Tuscany (Italy). His first album ‘‘Shapes Interfusion’’ features a unique blend of jazz, electronic music and hip-hop, recorded with a collective of musicians and the rapper Young A.M.A.



The creative process of the album involves a mix of home-studio production and live recorded sessions. Starting from ideas and demos from Riccardo, all tracks are the result of collaborative jams with musicians bringing their own styles and perception to the table. These sessions created a dialogue of personal vibrations, blending together to emerge as a collective soun