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Lorenzo De Blanck breaks new ground and makes his Hot Creations debut with ‘Feel My Desire’. With an impressive year under his belt, earning recognition as one of the ANTS’ ‘Next Gen Top 10’ plus success on labels such as Hottrax, Moon Harbour, Repopulate Mars, Italian DJ/producer Lorenzo De Blanck now makes an electrifying debut on Hot Creations with ‘Feel My Desire’. The release showcases three thumping tracks already garnering support from leading figures, including label boss Jamie Jones and Joseph Capriati, embodying the label’s reputation for propelling pioneering artists to the forefront.

The title track ‘Feel My Desire’ combines speaker-rattling basslines with an unwavering sonic landscape, meticulously crafted to ignite a dance floor frenzy, while ‘Energy’ locks in a slick groove with percussive rhythms and eerie vocal snippets for a hypnotic trip. Closing out the release, Show Me The Way’ lightens the mood combining bouncing drums beneath a slick sample of Dave Lee's 2003 hit ‘The Way’, before blending escalating synths for a rolling workout.

Repress.

If God had a disco, the DJ would be playing California gospel-soul group The Supreme Jubilees. 'We won't have to cry no more,' the tuxedo-clad group would sing, in high, angelic vocals over smooth grooves. 'It'll all be over.' Prepare to dance and contemplate death all at the same time.

A band of brothers and cousins, the group was founded from two familes: brothers Joe and Dave Kingsby plus Dave's son David Kingsby Jr., and keyboardist Leonard Sanders plus his brothers Phillips (drummer), Tim (bassist), and Melvin (tenor). The Sanders clan grew up singing together in the Witness of Jesus Christ church in Fresno CA, where dad Marion was pastor. Guitarist Larry Price-who belonged to neither family-completed the line-up that recorded the group's first-and, prophetically, only-album, It'll All Be Over.

Released in 1980 on the group's own S&K (Sanders & Kingsby) label, It'll All Be Over pinpoints a fatalistic mood exemplified by the title. Its lyrics drawn from the Old Testament, its sound from the church by way of the disco, and it's a feel captured by the album cover-a low, orange sun setting over the Pacific ocean. It is, as Jessica Hundley observes in the brand new liner notes, 'both apocalyptic and seductive.'

Making the album was not easy. Sessions began in Trac Record Co, a country and western studio in Fresno, CA, where the engineer was so put out by the group's requests for heavier bass in the mix, he stopped the session and kicked them out. They left with four songs-one side of the album-and the record was completed at Sierra Recording Studio in Visalia, CA. Leonard Sanders reported having a spiritual encounter in his sleep while in Visalia; the next day he recorded his part of the album's title track in a single take.

After the LP was pressed, the group took their music on tour, first in California, where they played with acts including the Gospel Keynotes, The Jackson Southernaires, and the Mighty Clouds of Joy, and then on an ill-fated trip to Texas. A follow-up album was planned for 1981, but it never materialized; having slept sometimes a dozen to a room in Texas, the men in the band were reluctant to leave jobs, wives, and kids for the hardship of the road. The group simply fizzled out, even if the friendships never did. 

A copy of the album sold to a fan on that Texan tour made its way to a San Antonio record store, where it was discovered nearly three decades later by collector David Haffner (Friends of Sound). He managed to track down the Kingsby-Sanders clan at a Fourth Of July barbeque in Fresno in 2004. And he eventually introduced the group to Light In The Attic Records, which now presents the album, restored, remastered, and available to the public for the first time.

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.

TufStuf Records is a Jungle, Hardcore & Jungle Techno vinyl and digital record label from London UK. Run by head honcho Arkyn. The sounds of the label are heavily influenced by the authentic 1992 - 1994 rave vibes. But have a modern and cutting edge take on the original energy of the early 90's. Expect raw and hard hitting drum breaks, low pressing sub bass and ravey and emotive synths.

Inspired by Muddy Waters and other blues greats, the South London blues-rock band Killing Floor was formed in 1968 with lead singer and harmonica player Bill Thorndycraft, guitarist Mike Clarke, bassist Stuart McDonald, pianist Lou Martin and percussionist Bas Smith. This self-titled debut set, issued by the independent Spark label (and licensed to Sire for US pressings), was produced with care by former DJ John Edward, based on Chicago blues material, as heard on the cover of Willie Dixon’s ‘You Need Love.’ This is the band at their rawest beginnings, a grittier traditional blues set that contrasts with later work for Larry Page.

2023 Repress

Best Record lights up a surefire classic from the annals of Italian dance music, made courtesy of Italo-Disco heavyweights Klein & MBO, who were not a company looking to get rich, but just 2 individuals: Tony Carrasco (USA), Mario Boncaldo (Italy), in one word... LEGENDARIES! with something burning inside to share. Italy certainly had a huge influence on the nascent Chicago house scene which embraced the best jams of Italo-Disco and created a movement of those simple yet complex sounds like those of "The MBO Theme", beautiful song, smooth and sweet, to give you time to think about some amazing dance moves and bring back very beautiful memories. The song was originally a hit created by the likes of Ron Hardy thanks to his punchy synth bass and captivating European vocals. So this was the first house song ever made and it's from the '80s, loved from the beginning by Derrick L. Carter, one of the pioneers of House Electronica in Chicago and Farley "Jackmaster" Funk, who broadcast on WBMX-FM of Chicago as a member of the DJ team Hot Mix 5. Pure Italo-Disco! Simple analog drum machine (sounds like a TR-606) and analog synthesizer, which in the case of Klein & MBO, is most likely a Sequential Circuits Pro-one. Italo's first purely minimal songs from the early 80s. This sought-after dancefloor gem has been given a faithful remastering touch, as is the Best Record method, which also brought out a previously unreleased edit of the track called "Italian Version", which extends the club qualities of the jam to the maximum impact of the party.

Shortly after the great Envision EP (Xistence 001) Dublin based Phil Robertson DJ/Producer alias Arbilla back with it’s second release on his own imprint Xistence Records. This 4 tracker EP brings some dark Detroit Techno where classic meets the modern sound. The title track “Moving Forward” is from the deeper side of techno, futuristic synth melodies with heavy claps and bleeps.

Detroit’s techno legend, lifetime member of Underground Resistance, master of the darkness James Pennington aka Suburban Knight on remix duty... pure Detroit machine funk, more groove oriented version with filthy bass. Flip side track called Windjana is solid but with a classic claps/hihats which driving by a massive bassline.

Life Scenario with dark melodies,heavy percussions, and killer bassline inspired by James’ sound and shows mad respect & much love for Motor City underground.

On October 20, 2023, Anetha will release her third tempetuous compilation on her label Mama told ya entitled MTY-AIR «Mille attaques, les vents contrèrent», just one year after MTY-TERRE «Contre tout, toutes et tous, la terre demeure» and two years after MTY-EAU «L’eau repousse les feux agressifs».

Through air element, the compilation comes up with the collaboration of 22 artists with 20 tracks, divided into 4 vinyls: Once again, Anetha carried away with her a generation of electronic artists from around the world to simply blow our mind.

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ON AIR: After twelve successful releases on Mama told ya, Anetha paraglides in our skies with the stormful MTY-AIR, a volatile new compilation: 4 swirling vinyls, 20 aerodynamics tracks, 1 wind blowing perfume.

Entitled «Mille attaques, les vents contrèrent», it will be the third of a series around the four elements. Capricious yet vigorous, air sweeps out everything on its way. Nothing can save you when you’re in the eye of the cyclone: prepare to fly hard. Alongside our windbreaker artists, skydive into the celestial vastness of sound: Gusts of disturbed techno, squalls of groove, mental tornado, minimal bass hurricane, cloudburst of psytrance… Time to get some fresh air.

Piercing pampero, mad mistral, forceful cierzo are blowing, blazing khamsin, steady sirocco, sharp shamal, dank nor’wester are entwining… Techno winds from all around the world are joining the fight against humanity. This is « Endgame » (B2). Final chapter, twisters and typhoons are cleansing the surface of earth, overthrowing everything on their path. Poor soul, don’t try to confront air’s blast as it will « Facelift » (D2) the shit out of you in less than a second. Take shelter as air is untouchable, unpredictable, unstoppable. Or if you’re brave enough, you’ll jump into the sky, looking for the currents to carry you up, sailing whirlwinds, riding airwaves, on the road to the « Temples of Quantum » (H2). Now jump!

The artwork has been once again entrusted to visual artist Karin Kimel, who worked on MTY-EAU’s artwork. She delivers an aerial scenery where supernal wafts are swirling, embalming our air. Diplomatie Studio took care of the design, mastering was entrusted to Sixbitdeep. And for the second time, with a direct message from earth to Earth, we opted for recycled vinyls.

Didattica is the first album from Zetas, a female rap duo coming straight out of the city of Salerno, on the south west coast ofItaly. Entirely produced by beatmaker, rapper and DJ/producer Tonico 70, a true veteran of Southern Italian hip-hop,the full-lengthdebut isreleased on DJ's Choice, a partner label of Four Flies Records.

Born between the 90s and 2000s, rappers Annarella and Miriade were exposed to the world of underground hip-hop from an early age, jamming and freestyling. Rather than going for the sounds of trap and auto-tune that are so popular in their age group, however, they immediately embraced the spirit of old school rap, withitsboom bap vibes. As suggested by the album's title itself (which translates as 'teaching' or 'learning') they view of rap as a school – that is, as an art form where constant training is key if you want to stay true to your values and identity.

With the help of producer Tonico 70, Zetas have created a record that is fresh and contemporary, while paying tribute to the past.They rap about everyday urban life in the exuberant dialect and slang of their native city, delivering raw rhymes with a tightand very expressiveflow, while Tonico70 uses a classic sampling approach but also incorporates real instruments into his beats–Antonio D'Apolito's guitar, Peppe Maiellano's keyboards, Giuseppe Desiderio's bass and Giuseppe Limpido's drums.

The result is an excitingcombination of funk, soul, dub, R'N'B, reggae, and even electronic influences,one where deep bass and syncopated rhythms blend wonderfully with the melody, urgency and authenticity of dialect rhymes.

Keita Sano is a prolific Japanese producer who has released on revered labels such as Mister Saturday Night, Lets Play House, Morris Audio and 1080P. His fusion of dark, distorted, acidic textures and crunchy disco beats gives his produc tions a unique sound which works perfectly for Delusions Of Grandeur and the label is proud to welcome him for his debut DOG EP entitled Love Is Emotion.

The title track comes on like a proverbial runaway train with heavy, pounding beats and bassline forging things ahead while the most twisted, tripped out FX rise and fall creating an absolute juggernaut of a track which takes no prisoners. A decept ively simple DJ tool which is loaded with drama for maximum impact on the more left of centre dance floors.

Up next we have Violet which takes a low-slung deep house approach but with the grit and dirt that Keita always brings to the party. The first half of the track teases with tension-building chords and syncopated bassline which bounces around a massive four on the floor kick drum. Things fall away in the middle of the track to reveal a beautiful, heartwarming piano part, setting the scene before things get truly epic with orchestral strings bringing a touch of the film noir to proceedings.

I’m A Man picks up the pace again for an intense acid work out which pushes the sonic boundaries to the limits with seriously warped FX creating mayhem around a simple, percussive disco groove. As secret weapon DJ tools go, this is right up there.

Closing out this mind-bending release Keita remains in experimental mode on Love Is Emotion offsetting melodic arpeggios and sweet chords with off-kilter sonic madness ensuring things remain dark, dirty and deep.

For this album Ghetto Kumbé has enlisted an all-star roster of artists from four different continents, they’ve put together a fresh version of their debut album that’s been specifically geared to the world’s diverse slate of dancefloors, whether at home or in the club, this double 12” 45 RPM is the perfect format to experience this music. There's no denying the power of the drum. It's primal, it cuts across borders and most importantly, it makes you want to move. Ghetto Kumbé don't just understand that they celebrate it, and it's why the tambor was at the heart of the Bogotá-based trio's 2020 self-titled debut album. Rooted in mysticism and the Afro-Caribbean rhythms they'd grown up with all their lives, the critically acclaimed LP thrillingly updated the traditional Latin template, folding in elements of modern hip-hop, house and bass music while also delivering a transportive Afro-futurist vision. On Clubbing Remixes, that vision has been further amplified, as Ghetto Kumbé who were already one of Colombia's most prominent alternative acts have now gone fully global; enlisting an all-star roster of artists from four different continents, they've put together a fresh version of their debut album that's been specifically geared to the world's diverse slate of dancefloors. As the title implies, the new LP is meant for the club, which is why Ghetto Kumbé have turned to Latin music heavyweights like Trooka a multiple Grammy winner whose resume includes work with Lin-Manuel Miranda and Residente and Monte (a.k.a. Bomba Estéreo founder Simón Mejía), along with top-shelf DJs like Nickodemus and Uproot Andy, two NYC artists who've spent decades championing Afro-Latin rhythms. True to the LP's global spirit, the record also includes reworks from batida maestro DJ Firmeza, fellow Afro-Portuguese outfit Studio Bros and Parisian house groovers Les Enfants Sauvages, plus genre-blurring remixes from sonically adventurous Colombians Montoya (himself another ZZK artist) and Cero39. Even the artwork on Clubbing Remixes is a remix, as Ghetto Kumbé have tapped Uganda's Denzel Muhumuza to transform the cover of their debut album into a new, explicitly Afro-futuristic illustration. Depicting a strong Black face and glowing neon fauna beneath a sparkling moonlit sky, the fantastical image speaks to both the ritual magic and Afro-indebted heritage of Ghetto Kumbé's music, and thanks to Clubbing Remixes, the group's passionate, drum-fueled sounds will soon be blasting out of soundsystems around the globe.a

Gottwax is back with its seventh instalment, and this time, the reins are in the hands of the Beeyou co-founder and FUSE regular, Laidlaw. Laidlaw showcases his unparalleled talent and versatility as a producer in the 'Prophecy' EP, solidifying his status as one of the rising stars in the scene. This four-track EP takes listeners on a journey through deep house, stripped-back grooves, and breakbeat, making it an absolute essential for every discerning DJ's collection.

The EP kicks off with 'Wait Till The End,' a deep house gem with a playful bass line, moody chords, and sparkling top notes. Each element is thoughtfully crafted, blending harmoniously to create an atmosphere that subtly builds throughout the track. 'Wait Till The End' is a flawlessly realised tune, serving as an incredibly strong start to this EP.

Next up is 'Planet 727,’ is a minimal groover with deep, subby bass and hints of tribal drums, infusing the rhythm with captivating movement. This track is one for late-night, ensuring the dance floor keeps moving till the early hours.

As the title track of the EP, 'Prophecy' does not disappoint. This groove-laden breakbeat track is brimming with deep sub bass and intricate textures, leading into an infectious melody. A must-have in every DJ's bag, 'Prophecy' will undoubtedly be the soundtrack for countless future parties.

Closing out the EP is 'That Was Well Quick,' a high-energy composition adorned with mesmerising melodic textures. With its hypnotising baseline groove and captivating top lines, this track creates an infectious atmosphere, injecting an electrifying energy into the dance floor. 'That Was Well Quick' is an absolute essential for all devoted electronic music lovers.

We are beyond excited to welcome Laidlaw to the Gottwax family and share this incredible release you. Prepare to be taken on an unforgettable sonic journey with the ‘Prophecy EP’.

Tibi Dabo returns with ‘Overture’, a from his forthcoming Crosstown Rebels album, with remixes from Map.ache and Aline Umber.

A label favourite having dropped his ‘Isla’ EP on Crosstown Rebels back in 2022, ahead of his much-anticipated debut LP comes this third superb taster from it. The superb ‘Overture’ is an eight-minute gem with super smooth percussion and elastic grooves, with wispy sci-fi chords and gentle synth modulations. It’s full of future feels and catchy drum funk that is sophisticated and smartly detailed with chopped-up vocal fragments.

First to remix is Liepzig’s Map.ache, co-founder of Kann Records and half of Manamana. His take builds with fatter drums that are just as infectious, while rippling synth loops weave in and out as flashy basslines cut loose, and balmy pads add extra cosmic absence to a hypnotic mix of the heady and the physical.

Aline Umber, a collaborative live project from French composers, producers and DJs Aline Brooklyn and Aman Umber, are second to remix. They run the Airfunk label and are no stranger to playing cult spots like Rex Club in Paris. Their ‘23% Eventide’ mix is a blissed-out and synth-laced trip with subtle, smeared chords and starry-eyed keys that have you gazing off into the distance as you get lost in the warm drums.

Italian legend Walter Del Vecchio aka Quiroga pays tribute to the acid house era on Hell Yeah with a new package that comes with two originals, an ambient mix and a remix from cult hero DMX Krew.

Quiroga released his last sublime album Passages on this label and it came as the latest entry into a discography filled with beauty and detail. He is a talented musician from Naples who has his own left-of-centre take on the Mediterranean sounds of the city, as he shows once again here with a house-leaning outing.

Quiroga has teamed up with cult musician Dario Bassolino and called upon Whodamanny's mixing skills for these new tracks. First is 'Once Again', a punchy and chunky house cut with skewed bass spraying about the mix. Its rough analogue edges are lit up by searing acid lines that never quit and will turn any party into a cauldron of intensity. The Ambient Version is a full-flavour downtempo workout that keeps the wild acid lines, adds in some FX, old-school piano chords and a yelping female vocal next to a blissful breakdown. 'Once Again' (DMX Krew Remix) is then a bumping acid-electro monster with fat drums and the manic 303 offset by serene chord work to make for a perfectly emotional dance floor delight.

'Freak The Funk' is a second original cut, as rides of crisp snares and snapping drum breaks blend with a warm bassline and smeared cosmic chords up top. It's a classy peak-time house cut with magical pixelated synth melodies.

Alongside superb artwork from PlanetLuke, this is another essential package from Hell Yeah.


DJ Support:

Sean Johnston (ALFOS), Kristian (AME), Fango, Front De Cadeaux, Sinchi Collective, Phat Phil Cooper, Balearic Gabba Sound System

Roy Davis Jr. & Byron The Aquarius and Jamie 3:26 & Danou P remix Radio Slave’s Wildlife.

‘Wildlife’, released a few months back, found Radio Slave tapping into his house and disco roots. It proved a dancefloor smash that got support from a wide array of artists, from DJ Bone and Tim Sweeney to Roman Flugel and Axel Boman. As such, the artists chosen to remix come from similar backgrounds and bring all new perspectives to this irresistible gem.

First up are Chicago house legend Roy Davis Jr. and keys playing maestro Byron The Aquarius. Both make the sort of dusty, feel-good deep house that will never grow old and have done so on the scene's best labels. Their sizzling seven-minute rework of 'Wildlife' has jazzy, life-affirming keys and smeared synths that bring the warmth. The drums are rubbery and inviting, and the whole thing brings real musicality to the floor.

The second remix is from original Chicago innovator, deep digger and edit king Jamie 3:26 and a young Dutch artist he has long since mentored, Danou P. Between them, they have cooked up gems like 'What It Is' together on Shake Records and remixed for Defected, all with a healthy respect for disco, funk and soul from the 80s onwards. Their take on 'Wildlife' is a piano-laced and upbeat party starter. Noodling bass riffs,zippy synth details and lavish chords make for a sophisticated sound that will swell the heart.

Lady Tazz’s Mind Medizin imprint drops its third release this April with Linear System’s ‘Simian’ EP.

Hot on the heels of no.name’s recent ‘Unseen’ release, catching the attention of Luke Slater, Ben Sims, Truncate, Shlomi Aber and B.Traits, Mind Medizin continues its upward trajectory with a groovy third instalment. Here, Italian DJ and producer Linear System (Symbolism/Edit Select/Planet Rhythm) takes the reins with his warehouse-ready ‘Simian’ EP.

Sinister pads creep over chugging percussion, alarming bleeps and moody basslines in the loopy ‘Simian’, before rolling low-ends meet eerie analog synths in ‘Unknown Object’ as heavy claps complement crashing cymbals in this other-worldly cut.

If the name of this collection of traxxx offends you, move on — there’s no hope for you here. If, on the other hand, Toribio’s salacious fun-pun cracked your cool exterior, here’s an introduction to a set of bangers that helps exemplify New York’s increasingly exuberant dancefloor, and what producer/DJ Cesar Toribio brings to it. His is a ribald, rhythmic take on dance music, neither for the weak of musical character (purists need not apply) nor for the weak of ass (-shaking). In fact, the proof is right there, in Toribio’s label’s and monthly party’s name: Bring Dat Ass. This command is not optional, but *the* key ingredient for a good time.

The five songs Toribio has created for “Tongue In Cheeks,” BDA’s first release, comprise a horny melting pot of tribal house and Linn-drum plug-ins, minimalist synth textures and basslines, hi-hats reminiscent of electro and freestyle classics, some of which are infused with New York’s Latin club history and futures. The lead-off track, “No Pare,” is based on the producer’s 808-driven reinvention of the call-and-response hook from Proyecto Uno’s 1993 merengue-house smash “El Tiburón,” marking the first time the group has ever cleared a sample of this Nuyodominican classic. We predict that “No Pare” will be a Fall 2023 monster.

Guest vocal appearances by The Illustrious Blacks and Maluca, cornerstones of different dance-floor scenes in a city currently hitting peak-energy levels, show the breadth of Toribio’s regard for community: There is a lot of crossover to how the punky Dominicana MC from Washington Heights chooses to slang-tastically “Werk It Out,” and how the Neo-Afro-Futuristic-Psychedelic-Surrealistic-Hippys Monstah Black and Manchildblack infuse a dollop of booty into “Work Dat Shit.” And the two different metallic beats point at seemingly separate parts of Toribio’s musical heritage uniting. There’s no formula, but if there was, it would be: Make it sexy. Make it (consensually) grindy. Make it funny to the point of ridiculous but so funky that the laughter becomes more fuel to the joyous momentum propelling the movement. Then make it home — or try to.

Cesar Toribio’s home is, originally Tampa — and the DR, where he’d spend summers with family. He was a drum-corps prodigy who went to Berklee to become a jazz drummer and be like Gil Evans. He idolized Miles’ orchestral arranger’s work as much as Dilla’s beats, but then discovered house music, so it was a wrap. The 2021 band album Toribio made under the name Conclave — which included his sister Sharin and musicians from such great projects as Standing On the Corner, No Regular Play and Irreversible Entanglements — unearthed the work of a singer-songwriter-arranger-producer of immeasurably nuanced, soulful jazz-house music. But when Toribio started DJing more and more, he decided to listen to the devil on his shoulder who told him to Bring Dat Ass. As Cesar damn-well knows, it’s the devil who has the better jokes and holds the better parties, so his ears perked up. “Tongue in Cheeks” is the music Toribio says he made to play at these parties, because he can’t find it anywhere else. It’s hard to disagree.

Der OST von Howie Lee zum Kung-Fu-Brawler 'Sifu' (2022), mit 30 pulsierenden, speziell für Vinyl gemasterten Beat-Tracks. Als experimenteller Clubmusikproduzent und DJ lässt Lee traditionelle chinesische Instrumentalpaletten mit elektronischen Synths und Samples verschmelzen. Gongs, Gamelan, Bambusflöte und chinesische Percussionsets verflechten sich mit Klängen von Dub, Techno und Drum&Bass zu einem Soundtrack, der vor Spannung und Rache strotzt. Rotes und schwarzes 180g Doppelvinyl im Gatefold-Sleeve.

Bristol's soul jazz kings The Jazz Defenders release a new vinyl 45 single this autumn as a taster for their third album, which is destined for release in spring 2024. Once again, they are bringing together their love of 1960's soul jazz and golden era 90's hip-hop, just as they did on a couple of tracks on their last album "King Phoenix" (Haggis Records 2022). This new single sees them reunited with London MC/rapper Doc Brown, who guested on the track "Perfectly Imperfect", and his flow sits so naturally over the Jazz Defenders' music and beats, you'd think he's a permanent band member.

The A-side "Rolling On A High" is a real old school boom bap style party hip-hop jam. Big beats, rolling bassline (acoustic double bass), Ramsey Lewis soul jazz piano vamps, funky Hammond organ and some punchy horn section business, all topped off with Doc Brown bouncing bars back and forth with that laid back vibe he always brings to the mic. A guaranteed dance-floor bomb, whether you're a breaker, a jazz dancer or simply a Saturday night disco shuffler. The B-side "Looking Back" takes the tempo right down. An 'end of the night' number when the lights in the club are low, the last drinks are being drained and you're thinking and reminiscing about times gone by. The good times and bad, successes and mistakes. And made even more poignant and reflective halfway through when the mellow strings come into the song (once again excellently arranged by pianist/bandleader George Cooper). If "Rolling On A High" is the fire then "Looking Back" is definitely the ice. Proof that the Jazz Defenders can rock the party and grab the dancers but also dig deep with emotive tunes that draw in the discerning listener.

The Jazz Defenders, led by keyboard maestro George Cooper from The Haggis Horns, have been building a reputation as a great musical unit since their debut Blue Note/hard bop-inspired album "Scheming" appeared on Haggis Records back in 2019, which received a huge amount of praise from critics, and subsequently went on to spend 5 weeks in the top ten of the American jazz charts In 2021, their double A-side vinyl single "The Big Man/Love's Vestige" got them the breakthrough they deserved. It garnered heavy support on radio from top folks like Craig Charles (BBC6 Music), Helen Mayhew (Jazz FM), Jamie Cullum (BBC Radio 2), and Worldwide FM resident DJ's Ashley Beedle and Colin Curtis. They further enhanced their reputation as a rocking band with album number two "King Phoenix" and by electrifying audiences at sold out live shows across the UK, including the legendary Ronnie Scott's Jazz Club in London.

Album number three is well on its way but for now, check out this tasty limited edition 45 single on Haggis Records. The JDs and Doc Brown...the perfect combination, still keeping that sweet jazz/hip-hop love affair alive today.

In the late 1980s, Disco was taking a backseat to the burgeoning psychedelic scene in San Francisco, marking a pivotal shift in musical culture. A dynamic transformation was underway as the younger generation sought a fresh auditory adventure, all while the devastating AIDS epidemic cast a somber pall over the city's nightlife. Amidst this evolving backdrop, a subtle yet distinct sonic movement quietly emerged within the confines of San Francisco’s vibrant club scene, often referred to as "The Beat." Although Hip-Hop, New Wave, Gothic, Punk, and the burgeoning Modern Rock genre held considerable sway, the pre-RAVE clubs in SF witnessed the fusion of these genres into a unique amalgam of sound that insiders dubbed “The Beat.” This musical tapestry encompassed everything from Hip-Hop and Freestyle to Industrial, New Wave, Boogie, Miami Bass, and Techno – the unifying thread being the distinctive vibe that characterised this eclectic mix.

As House, Techno, and Raving gradually gained prominence along the West Coast, a distinctive interpretation of these evolving sounds took root. Drawing inspiration from influential hubs like New York, Chicago, Detroit, Europe, and notably the UK, which saw a wave of talented young DJs migrate to California, San Francisco became the backdrop for its own version of the second Summer of Love. While the exact chronology might spark debate – some recalling '92, while others leaning towards '93 – what remains indisputable is the era spanning from 1990 to 1994, an unparalleled epoch of exuberant dancefloor revelry on the western shores.

In the face of limited backing from major labels or established independent dance music entities of the time, a grassroots movement of labels and producers emerged organically, ardently championing this distinct sound and catapulting it onto the global stage. This sonic identity was deeply influenced by “the Beat,” acting as a creative wellspring that informed the musical landscape. While the tracks compiled in these volumes might not encompass the entirety of this transformative musical epoch, they offer a vivid snapshot of the melodious tapestry that coloured San Francisco and the broader West Coast during that era. Each track featured stands as a 100% Sure Shot that was played heavily by DJ Spun back in those very heady days.

The second installment of this remarkable journey into the underground scene maintains the same profound level of depth and significance as its precursor. Showcasing tracks from Electroliners, High Lonesome Soundsystem, Single Cell Orchestra, DJ Emma, and Spun's own Central Fire project, all harmoniously enclosed within the captivating and arresting artwork by Villain Standard, this release stands shoulder to shoulder with its forerunner. Beyond a mere compilation, it's an indispensable extension of the narrative that has indelibly shaped the culture of underground American dance music within the region, embodying the era and the individuals involved. This is the authentic underground sound that reverberated across San Francisco and its surrounding environs, a truly distinctive and exceptional moment in time and space.

Tibi Dabo unveils his long-awaited full-length ‘Vista’ on Crosstown Rebels this September, with the kaleidoscopic nine-track album showcasing his diverse and rich sound palette.

Born in Barcelona, DJ, producer, and musician Tibi Dabo has proven himself adept at mixing the classic and the cutting-edge. From his early days touring Europe and the US with a band in which he plays the drums, the foundation for his experimentation for his work within the electronic sphere, he has since grown to become an exciting and much-loved DJ and producer, adding to his growing reputation as a Crosstown Rebels favourite. Stepping things up once more, his spirited new album ‘Vista’ is a perfect fusion of futuristic synths and compelling house grooves, all of which are masterfully designed and full of character. Following three well-received singles across the summer, the full-length is a complete sonic statement that explores deep house, leftfield sonics and widescreen cosmic vistas.

Opener ‘Water Is’ layers up fresh sound sources and playful melodies on nimble basslines that soon make you move. ‘Somewhere Beach’ is then a silky groove layered up with diffuse pads and aching synths that convey real romance, while ‘Licht’ is another masterful display of original drum programming with bursts of cosmic synth and elastic bass. ‘Useless Ideas’ then gets deeper on more low-key drums and bass. Instead, the focus is on the deft percussion and well-treated vocals that swirl and smudge around the mix to a woozy late-night effect.

The elegant ‘Mundo’ channels the machine soul of early Detroit techno, before ‘Mangabeira Manifesto’ featuring Dudu Bongo layers up wonky drums and bass with curling, soft acid sounds and a playful vocal line. ‘Triple Frontier’ picks up the pace and heads out on a high-speed cosmic house journey, all before ‘Overture’, another far-sighted astral trip with starry melodies and rich, rubbery bass, closes the package in fine style.

An expressive and adventurous yet coherent long player with a range of moods, feelings and grooves taking you to all corners of the house world, ‘Vista’ showcases Dabo’s most in-depth project to date and an album which provides the perfect platform for him to display his rich sonic universe.

Debut album by Sunbörn (formerly The KutiMangoes!)

On their first album as Sunbörn, the Danish 6-piece digs into what connects us as human beings: we are all born under the same sun and are connected by the same forces of nature. Meeting the world and connecting through music has been a vital mission for our band from day one, and again and again on our travels we have experienced how music can cross borders, build bridges and connect us with people from different backgrounds and cultures in shared experiences. In times when the world is tearing itself apart it is clear that music has the power to reach across divides and remind us of our common humanity. Sunbörn's self-titled ablum features collaborations with artists from all over the world: Caio Marcio (BR), Ida Nielsen/Bassida (DK), BIGYUKI (JP/US), DJ Opolopo (S), Clap! Clap! (I) & Moderator (G).

Quality Gatefold-LP pressed on yellow vinyl!

It was almost inevitable that growing up with a love for trance would eventually result in Trance Wax releasing his own interpretations of the sound. Following on from the release of his eponymous album in 2020, Trance Wax now shifts into a fresh artistic chapter with his sophomore album, ‘Open Up The Night’.

A sixteen-track journey through nostalgia-infused modern trance, ‘Open Up The Night’ symbolizes Trance Wax’s evolution from his early days of adapting trance classics for the modern dance floor. Now homing in on his own interpretation of the genre with an increase in tempo, the Belfast-born DJ and producer created an expansive sonic palette through original productions (‘Adeya’, ‘Aslan’) as well as sample-powered productions (‘Open Up The Night’, ‘Rhythm Of The Night’) that show he means business in this increasingly popular genre.

“Listeners can expect a switch-up in BPM compared with the last album,” says Garry McCartney (Trance Wax). “It’s a reflection of what I love listening to, be it trance or other genres. There’s some drum and bass influences woven in as well as a bit of breakbeat, which adds a new dimension to the whole thing. It’s the product of a good few years of experimentation that resulted in something really fast and exciting.”

Zur Feier des 40-jährigen Jubiläums des belgischen Labels PIAS erscheint exklusive Auswahl an 12“-EPs mit Musik von einigen der wichtigsten und erfolgreichsten Wegbegleiter. Der kanadische Remixer und DJ Tiga ist seit über zwei Jahrzehnten ein fester Bestandteil der internationalen EDM-Szene. Angefangen hat er in seiner Heimatstadt Montreal, wo er neben zahlreichen Raves auch an der Gründung des SONA Clubs beteiligt war. Sein 2006er Album 'Sexor' mit dem Hit 'You Gonna Want Me' wurde schnell zu einem der einflussreichsten Alben der EDM-Szene.

Jessica Brankka makes her debut on Crosstown Rebels with new single ‘Musk’, joined by Audiojack and OMRI. on remix duties. Emerging from Brazil’s ever-evolving house music hotbed to make appearances at major venues across the globe, including Hï Ibiza this summer, DJ and producer Jessica Brankka is fast becoming an artist to keep an eye on. Debuting on Frau Blau alongside Floyd Lavine and racking up support from leading names in Solomun, Joris Voorn, Blond:ish and more, her outings via RADIANT. have only continued to help build and craft her growing sound. Stepping up for her most significant release to date, she joins the Crosstown Rebels family to open September with her new single ‘Musk’ - with remixes coming courtesy of Gruuv head honchos Audiojack and Tel Aviv’s OMRI.

Hooky, provocative vocals take hold from the off on ‘Musk’, with Brankka building via slick drum programming, vibrant stabs and sweeping melodies for an intensely catchy production shaped for all hours of the night. First up on remix duties are Crosstown regulars Audiojack, with their take introducing an abundance of additional energy via skippy percussion, zipping bassline grooves and swirling, off-kilter sonics, before launching into heady breakbeat territories. To close, returning Rebellion signee and OMRI. introduces his acid-tinged remix into proceedings, with wandering synth lines carrying the track towards more cosmic spheres.

Beyond Paradise returns with a sumptuous slice of tripped out business from the mind of Richard Hardcastle aka Solid State, complete with two stunning remixes from Richard Sen and The Veteran Delinquents.

Over 35 years in the game, as a club DJ, radio presenter and producer since the late ‘80s, Richard Hardcastle is a true veteran of the scene and certainly knows a thing or two about what works on the dancefloor. ‘Seven More Minutes Of Funk’ delves into the psychedelic side of his production with a club-ready cosmic stomper complete with twisted guitars, hypnotic synths and wall shaking bassline.

‘Rhodes To Nowhere’ is more beachside than basement, a funked up retro electro cut with dazzling keys, ‘80s snares and a serious shot of feel-good flare.

On the flip, the title track gets the remix treatment from Richard Sen and The Veteran Delinquents, the former warping the original into an EBM powerhouse whilst the later turns into an end of the night, electro-infused chugger.

Introducing Bavhu, a dynamic Kiwi duo who have delivered an absolute belter, 'Always Dancin' out on TMRW Music.

Sporting some knocking drums, heaving rhythms, funky bass, irresistibly hooky vocals and filthy disco percussion, 'Always Dancin' is a joyous disco-sampling house outing that’s already garnered heavyweight attention from the likes of Danny Howard, Pete Tong and Zane Lowe, who have already thrown their support behind the track.

DJ Support:

Plays on Radio 1 from Danny Howard, Pete Tong, Dance Anthems + on KISS from TCTS

Carbon Music continues its conquest in a special single summoning some of drum & bass' greatest minds, as Goldie & Lenzman make illustrious debuts alongside label pillars Jubei & Submotive.

Two years after their first collab 'Component' (CM002), Submotive & Jubei reforge the foundations upon which Carbon Music was built, in two tracks written with two powerhouses sharing the same ethos.

Goldie reinstills his prowess, linking to form a holy pantheon on 'Game Of The Gods'. 10 years since Jubei released his album on Metalheadz, they collaborate again with a mutual accomplice in Submotive. Reinforcing the core principles, its a celebration of vigour and mysticism; brute force balanced with celestial pads - bringing shared beliefs full circle towards a new golden era.

Lenzman makes his intro on the flip, with a touch of nonchalent class on the effortlessly rolling 'Members Only'. Having all released with The North Quarter and Metalheadz, the trio share a close bond, developed over years of performing and travelling together. Its an innate understanding; a brotherhood; three elements that progress, intensify and naturally form, in a way that no others can.

DJ Support:

Goldie
Skeptical
Lenzman
Jubei
Bryan Gee
Halogenix

When one of South Africa's most sought after trumpet players steps forward after a career alongside the very best in the International jazz scene, you know it's going to be a special record.

Dennis Mpale was one of South Africa's heavyweights. You'll find his name springing up on every important South African jazz record and billing since the 1960's. Chris McGregor's iconic Jazz/The African Sound LP, Abdullah Ibrahim's Dollar Brand, Barney Rachabane in the highly influential ensemble Roots, and early work in house bands appearing alongside Nick Moyake in The Soul jazz Men to name just a few. His trumpet playing had character, an extension of the body and amplifier of that great South African sound.

Leaving South Africa during Apartheid as a strong supporter and member of the ANC, Dennis made London his home, joining the newly established SA Jazz scene and standing in solidarity against the oppressions back in Africa.

Moving between London and South Africa during the 70's and 80's It wasn't till the early 1990's when Dennis finally settled again to make his biggest transition to solo artist, redefining his Jazz past and putting a heavy kwaito infused house slammer on the agenda. 1994s 'Paying My Bills' (a title maybe more appropriate now than it ever has been) is a mighty jazz kwaito house effort: From the heavy synth beat and gorgeous floating solo opener of 'Paying My Bills', to the highly infectious vocal phrasing on thumping house anthem 'Take My Time'. Paying My Bills takes the sensibilities of a jazz maestro and pairs it with one of South Africa's biggest producers Peter 'Hitman' Moticoe, creating the perfect recipe for a certified summer slammer.

Having previously only ever been released on CD, this is the first ever vinyl pressing of the album (hazy early test pressings lurk on a small number of lucky shelves). Vinyl mastering is handled by The Carvery's very own Frank Merritt here in London, with the resulting tracks generously split over 2 discs to fully appreciate the swampy heavy dub bass drolls for full dancefloor effect. It's loud and punchy and makes space for those glorious trumpet improvisations while keeping the synth refrains and heavy bass thumping.

Early plays include resident NTS DJ's and a feature on Palms Trax Radio 1 residency with surely more support to follow.

Dynamite cuts is proud to unlesihing a series of Dewolf library grooves. All firstime on 7" vinyl including the Original 70s sleeve design.

First up are two amazing grooves are taken from the original mega rare Formula album. We have Chosen "Long Weekend" which is a bass-driven, percussive, heavy groove, great drums - the perfect DJ tool. On the flip is, "Design" - uplifting, bright, funky guitars and bass, a right little mover; it just calls Dynamite Cut 7" and it was so right, the PERFECT track.

Barry Stoller is the award winning composer and original writer for Match of a Day, The Sweeney (1975), Dawn of The Dead and many more scores we may recognise

Longtime friend of the Sweet Sensi Crew, Rumbleton brings his distinct style of Amenism, dubwise, bass RUMBLE junglism. For side A we get the future classic Codex Indica; a deep meditation on dub and junglism. On the side B, Rumbleton meets DJ Clear for Sweet Sensi Records first foray into true Drum Funk. Here we have a taste of what it would be like if soundclash met drum funk junglism.

DJ Support
Mantra, DJ Trax, Double O, Coco Bryce
Yorobi, Ben LQ (Australia), Tim Reaper, Kid Lib +More

The latest project by "El Gusano", a moniker of the elusive Pablo Arrangoiz, aka Dj Fitness, Bauzer Vep, Señor Faxwater, Glue Boy, Goiz and too many more to list (seriously, check out his Bandcamp/discogs). Arrangoiz is a Mexican native based in Miami, known as much for his ever varying aliases as he is for his scrupulous production and sui generis live and DJ sets. Focused on incorporating Latin ritmos with contemporary elements of his other influences such as house, techno, free jazz, German new wave, electro, Miami bass, noise, and more, Arrangoiz’s production, much like the artist himself, is one of a kind.

Saka La Bolsita", the inaugural release on Impacto, the new label and love child of Miami powerhouse producers Nick León and Jonny From Space, is a sonic conglomeration of acid cumbia with slivering jazz chords, microtonal reggaetón constructed with a tuning system made by finding the overtones of air conditioners, demonic dembow with a dash of house, Autotune Festival sex music, and all out pure ratchet core with an El Chavó sample. Including collaborations with lifetime friend Matt Angel AKA "El Descarao".

The xx existieren in einem selbstkreierten Kosmos. Ihr Debütalbum "xx" bewegte sich mit wundersamer Vollkommenheit zwischen Vieldeutigkeit und Reduktion. Im Zeitalter der totalen digitalen Öffentlichkeit war "xx" Popmusik mit maximalen Privacy Settings und definierte einen neuen Stil. Nun sind Romy Madley Croft, Oliver Sim und Jamie Smith zurück mit einem neuen Album: "Coexist".Vieles ist zwischenzeitlich passiert, vor allem ist die Band erwachsen geworden. Nach der Veröffentlichung des Debüts im Sommer 2009 verbrachten die drei den größten Teil der folgenden eineinhalb Jahre weit weg von zuhause, um ihren Sound in Ohren und Herzen rund um den Globus zu tragen. Von Amerika über Australien und Japan wurde die Band von Publikum und Kritik gleichermaßen gefeiert, und der Erfolg zeichnete sich auch in steigenden Albumverkäufen und dem Gewinn von Awards wie dem renommierten Mercury Music Prize ab. Während der anschließenden Bandpause wurde dann der stillste der 3 Bandmitglieder, Jamie, zum Gesicht von The xx. Zwischen seinen vielen DJ-Gigs arbeitete er stetig an seinen Fertigkeiten als Produzent und entwickelte dabei einen ganz eigenen Stil. Remixe wie etwa für Adeles Über-Song "Rolling In The Deep" oder die Bearbeitung von Gil Scott-Herons letztem Album machten aus Jamie einen hoch angesehenen Produzenten auch jenseits des Band-Fames. Für Drake produzierte Jamie den Titeltrack seines Millionensellers "Take Care". Für das neue Album arbeiteten dann erstmals alle drei von Anfang an zusammen in ihrem eigenen Studio. Während weiterhin Spuren von R&B im Sound von The xx zu finden sind, ist ein vermehrter Einfluss von elektronischer Musik spürbar. In Romys Loop-artigem Gitarrenspiel und den entsprechenden Basslines spiegelt sich dieser Aspekt. Alles in allem ist "Coexist" ein selbstbewusstes, erwachsenes Album geworden, auf dem sich wenig und doch zugleich vieles geändert ändert. Älter und weiser klingt es, sicherer und immer noch von außerordentlicher, zarter Tiefe. Es ist das Album geworden, auf dem das Licht nach dem Leid zurückkehrt.

BOTANICA is the newly established Japanese label created by DJ/ Producer, Iori Wakasa. It was formed for him to utilize it as a foundation for the realization of his own unique, artistic expression.
And now, he has the pleasure to announce his label’s inaugural title with the release of his own BOTANICA EP.

Born in 1988 in a rural Japanese city surrounded by mountains and the sea with a mild climate, Iori grew up playing RPGs with a father who was a devoted game aficionado. And he was introduced to electronic music through game music from an early age and formed his musical sensibilities through playing the classical piano around the same time.

Influenced by the spirituality and idiosyncrasies of punk rock and ethnic and indigenous music in his youth, also gradually influenced by the Tokyo club scene and the music, it didn't take him long before
he made the choice to start DJing at the age of 17 and soon afterwards, started exploring the path of music production as a form of self-expression.

Iori set up Botanica to convey 2 main concepts of 'presenting music that provides each listener with their own viewpoint' and ‘to construct a fusion between 'nature' and 'man-made objects and human
activity’. Through the experience of traveling around Japan, Europe and Asia and connecting with people of different languages and cultures, he became to appreciate that music transcends all languages and grooves, and the framework in which he would like to shape his perspective and embody it as his way of life is what he envisions as the vital expression for BOTANICA, The two tracks and the artwork included in this first EP are the first steps towards hopefully chronicling the story of the vortex that he resides in now and the new forest that he plans to weave in the future with his label.

'The Pure Land' means in Japanese 'Gokuraku-Jodo (= a space where you can live in bliss)', but in English it is closer to 'utopia' or 'paradise'. However, 'The Pure Land' is a musical work that evokes a
hypnotic and pleasant euphoria through the gradual layering of multiple rhythms and soft particles of spatial sound design. It is also shaped with the aim of liberating the listener and guiding them towards their primal self.

In contrast, 'Lunar Down' expresses the changes that occur in the human state of mind during the extended period from moonrise to moonset especially when the moon sets from its zenith and is completed with a focus on maximum dance floor impact via an inner voice that resonates in the brain that echoes throughout a well-textured bass line and rhythm track.

The artwork for the front cover of this EP was created by SHINOZAKI HILOSHI, an illustrator who has been traveling and painting to express his true way of life that he learnt in the 10+ years of commuting between Tokyo (the end) and the Hawaii Islands (the beginning), and the graphic designer hiro, who stands by Iori`s side as his life partner and as the person who understands him the best. Iori`s first steps are complemented by the label design and art direction by graphic designer hiro, who stands by his side as his life partner and most understanding partner, and the proof is the physical cut, which is presented as the foundation for the future.

Fake Yourself is an act of revolt as much as it is a celebration of life and an expression of human alienation. As usual in most of his work, soFa here reflects contrasts and contradictions as our existence so often does. It’s about sadness and joy, ups and downs and the fine line which connects them to tell a story. Fake Yourself comes as a spontaneous output of an artist escaping a scene of which the constant superficiality is unavoidable. Mistakes and wrong production with a strong DIY flavor are a conscious choice to not lose the spontaneous feeling which defines these recordings. A pure and direct self, exploring a realm of sound with sharp curiosity, emotion and humour. Where simplicity and complexity marry. This album is a good example on how some of the most authentic musical explorations are the most personal ones. soFa leaves all boundaries behind and let many of his influences confluence. Unconsciously or not, traces of IDM, Disco, New Beat, Dub and mostly Krautrock cross heavenly paths, followed by ironic and confronted vocals and his hypnotic signature basslines. Everything seems to make sense, to fill the chapters of an adventurous short novel. What makes Fake Yourself remarkable is not the deep blend of genres, but the definition of one man shaping and finding his authentic sound. Killing boundaries to create this journey in his very own "style-no-style". All tunes were improvised, recorded and arranged within 10 days in a wooden cabin, isolated in the middle of the nature in Alentejo/Portugal in 2022. This album was not meant to happen and one can strongly feel its spontaneous soul. No overdubs.

The last time Canadian underground techno tastemaker Rennie Foster had a record on a French label it was the historic F-Communications. Back then Rennie’s penchant for bringing warehouse nostalgia together with hi-tech futurism was a consistent theme and in 2023 this fusion based musical concept is realized further toward the future through a new EP release, Cryptic Layers on Parisian imprint Skylax Records.


The record opens with Let It Go, a simple title for a complex and dreamy piece of lo-fi rave house featuring clattering breaks, ear worm vocals and a drastic bassline driving the whole custom vehicle. Then the similarly, simply titled Just Do It explodes into action with an inspired mix of Detroit inspired dub techno chords, fierce amen breaks and a hip-house energy akin to both current urban style and authentic musical roots. These tracks sound like they could have been released at any time during the past decades but still sound current, or even futuristic. Apparent is craft, design and an understanding of dance music from the perspective of obsession, experience and passion.



The remixes come from absolute legends in the world of techno, representing Rennie’s other home-base territories, the techno cities Detroit and Tokyo. Japanese electronic music icon Ken Ishii provides a storming acid remix of Just Do It with liquid 303 bass, anxious and trip vocal snips, and punchy drums that will sound absolutely ace in a club. Detroit third wave pioneer Sean Deason closes out the record with a crisp dose of hi-tech funk that is sure to be a DJ weapon with it’s hypnotic energy and timeless production style.



The digital only portion of Cryptic Layers begins with a second version from Ken Ishii, this time sans vocals leaving the acid stripped down and bare. Two more original tracks by Rennie Foster are also on offer. Sadlands is an organ laden deep house, synth-wave, contrasting piece of melancholic dream dance while I Say Peace signs off the project in a layered classic house style with early rave stabs and grooving after-hours appeal.

After 25 years of living his dream as one of hip hop’s most respected producers, Hi-Tek is digging back into his roots with a brand new trio of instrumental vinyl LPs in 2023. “Beatbox Studios (1995 MPC 60II)” is the first of the series, each featuring a selection of restored and remastered beats, carefully chosen from an archive of DAT tapes. These LPs manage to both provide a window into Tek’s development and to shine light on the work of an already enormously-talented musician whose beats would’ve sounded right at home on classic releases from the mid-1990s.

Having learned to make beats off of borrowed equipment as a teenager, the aspiring DJ/producer born as Tony Cottrell achieved a break of sorts when he was hired in 1995 to manage one of the rooms at Beatbox Studios, a sprawling complex in the Clifton neighborhood in Cincinnati. It became the go-to-spot in town for emerging talent, giving him a chance to learn about the intricacies of recording and to sharpen his communication skills with artists to maximize their performance The gig also gave Tek plenty of down time to practice on and to master the studio’s Akai MPC 60II while making his own music. It was around this time he began to collaborate with the top rap talent in Cincinnati, and he started regularly visiting New York City to plant seeds for new relationships in the industry.

Though his work eventually evolved far beyond the styles present on “Beatbox Studios,” here you’ll find many signature elements of that era’s contemporary New York sound: some snappy drums reminiscent of A Tribe Called Quest or Easy Mo Bee, plenty of horn stabs a la Pete Rock or Lord Finesse, and the kind of dark pianos and filtered bass lines that producers like the Beatminerz were steadily employing. These were his biggest influences at the time, and that was the sound of 1995. As it turns out, that classic sound remains in demand today, and while Hi-Tek was not a well-known name in hip hop circles at that time, the calibre of beats on “Beatbox Studios” prove that he was a talent to be reckoned with, even then.

A crackling fire is burning under the bridge. BANG! the brow hits against the steel drum, Hey! I only bowed down! BOING! The elbow jabs into the door of an abandoned ragtop, To lash the laces! CRACK! the knee strikes the rusty trash can, Of my brand new black sneakers! RASP! YAWP! SCREEECH! The gang rabbles on the dancefloor. Metallic sounds blaze out of the speakers. A rustle, a chatter, a rattle, a flapper. Cops troop in gazing in wonder while converting into liquid coppers. A warm kicking bass sets in. A voice from down below. Though, right next to your ear. The floor is demanding a sacrifice. Jog your head, swing your hip. Wave your hands, and shake a leg: Tighten up, and then let go, for this Dance aboulic! Producer and DJ Dave DK with his new »Chicama« EP on Pampa. Three kicking, bumping tracks for all day and all of the night. Euphoric percussive floorkillers with a hint towards an alluring gloominess.