quête:dj blue

Hot on the heels of Luv (LuvLuv) comes a sublime new Drum Chums from midland's madlads Wrekin Havoc.
Over the years we've shared great tunes, fun times and A-grade dance floor debauchery with these permanent party people (our first encounter almost exactly like that Spiderman pointing meme) so it made more sense than we usually do to invite them aboard the V*nga bus for some Balearic-Disco edit excellence.

Things kick off with the sexy throb of 'Shine A Light', a stonewashed funk workout complete with Paisley guitars, Troutman bass grunts and some big time blue-eyed soul vocals. It's a bit like an extended and unheard collaboration between George Michael and Tears For Fears recorded immediately after a particularly heavy night at Future. Unsurprising perhaps that this one's been getting a whole lot of love from DJ Harvey.

'Mars Bar Party' grabs you by the hips from the first bar of its swaying Mediterranean house rhythm, then tugs at every single one of your heartstrings with melancholic pads and a silken vocal croon. Fuuuuuuckin' hell! Sorry, was totally bewitched by the primal power of piano house magic - it's like John Rocca was in the room for a second. Armed with an awesome arrangement and clocking in at ten massive minutes, this may be the ultimate Balearic house journey.

If all this wasn't enough to have you stocking up on 5-HTP and sinus rinse, those crafty cats close the set out with the shimmering disco euphoria of 'Leccy Meet Her'. The bottom end pulses endlessly, Cowley synths trill and a crystal clear Vox soar above, sending us far off into mirrorball orbit. If this isn't a hit at Horse Meat, we'll neck a bottle of poppers and never eat a tomato again.

Each and every track Wrekin Havoc touch is a pearler, but we're particularly chuffed with ourselves for snapping this top trio up.

100% Drum Fun Guaranteed. .

The BLUE HEARTS tribute album, "THE BLUE HEARTS TRIBUTE HIP HOP ALBUM Owaranai Uta," originally released on May 30, 2018, is now available in limited edition clear vinyl!

Popular hip hop artists, including PUNPEE, NORIKIYO, Yakenohara, and Tagaru, have sampled the original tracks and released them as new tracks filled with
passion and respect! The packaging is designed for DJs, evoking the image of American hip hop vinyl promo discs.

The follow up to his 2017 album, Produced With Love II is a collection of brand new songs from one of the UK's most longstanding, respected and fiercely independent artists. In a flash-in-the-pan industry like music, Dave Lee's career is notable for both its longevity and consistency. As a record producer and remixer, DJ and curator, he's now clocked up well over 30 years and, if such things existed, would be nailed on for a carriage clock for long service to add to the numerous hits and landmarks he's enjoyed over a storied career. His latest album, Produced With Love II, continues the work he started with 2017's superb collection. Incorporating aspects of house, soul and disco and crafted with the attention to detail you'd expect from someone of Lee's heritage and calibre, Produced With Love II comprises 12 brand new songs and will arrive in June 2022. The writing process has always remained the same and Dave has always preferred to work face-to-face with artists whenever possible - albeit with a few enforced remote sessions due to the pandemic.

"Mary Yuzovskaya's Monday Off rounds out 2025 with its eighth vinyl-only various artists compilation, arriving 12th December, featuring Feph, Rasser, Mathys Lenne, and Xhato.

Opening the record is Florida's Feph, co-operator of Alchemista Records and Zosimos, with 'A Realization', where wild electric currents crackle over a subtle, sharp beat as shocks and zaps scatter into the darkness. Spanish DJ and producer Rasser follows with 'Constant Pulse', a hulking techno chugger of warped rhythms and hammering metallic hits. On the flip, France-born Germany-based Mathys Lenne, known for outings on Mord, ORBE, and Blue Hour, offers 'A Gentle Singularity', its tumbling percussion and drone-like synth casting a hypnotic spell while sparkling high-end shimmers above. Previous Monday Off contributor Xhato then closes with 'Lemon Swirl', a mystical finisher where soft sequences snake through brooding ambience, providing a guiding light as the kick drum marches resolutely."

Transparent Purple vinyl. Sometime in 2005, a lone box of master tapes escaped an estate sale and made its way through a network of collectors, record dealers, and "junkers" into the hands of leading Ohio soul expert Dante Carfagna, who linked them to Columbus, Ohio's mysterious Prix label (See: Eccentric Soul: The Prix Label). A bit of research turned up Prix proprietor George Beter, who identified most of the unlabeled material. All it took was an endless series of phone calls and letters and two fields trips in Columbus. But one complete mystery wended its way onto our final Prix compilation. "You and Me," a simple but irrepressible demo credited only to Penny & the Quarters, was found tacked onto a mixed studio reel. Our survey of every willing lifer left on the Columbus soul scene, including retired DJs, producers, and important local artists, produced not so much as a glimmer of recognition at the name Penny & the Quarters. Though we loved the song from the first play, it may've ended up a bit buried on our original compilation, as #18 of 19 tracks.Four years later, Eccentric Soul: The Prix Label hadn't exactly become a huge seller, although listeners had repeatedly told us that the unfiltered studio demos that fill out the record's back half were true diamonds in the rough. But neither Penny nor her Quarters had appeared to claim credit for their efforts. Then, completely out of left field, we heard from respected screen actor and avowed Numero fan Ryan Gosling that Penny's piercing bit of stripped down doo-wop was being considered for inclusion in Derek Cianfrance's indie-weeper film Blue Valentine. What we didn't know was that "You and Me" had won a major role in what became an indie circuit hit, and that Penny & the Quarters would instantly assume the role of world's most famous unknown doo-wop group.Every week is a slow news week in Columbus, Ohio, and early January 2011 found the city recovering from the thrill of elevating Ted Williams_the formerly homeless guy with the awesome voice for radio_into a national news sensation. But both major daily newspapers in town, as well as the city's alternative weekly, also ran stories about how a lost and unknown Columbus soul group had become the musical centerpiece of a film already garnering Oscar buzz. That mainstream spotlight aimed at Blue Valentine and Penny & the Quarters did the trick: we finally made contact with the widow of Jay Robinson, lead Quarters' singer and songwriter. Robinson, it turned out, had also been the leader of Columbus doo-wop pioneers The Supremes (later known as "The Columbus Supremes," for reasons which should be obvious). Jay Robinson never did give up on the dream of writing a hit record; even so, the posthumous realization of his dream is cold comfort for his widow and daughter. With their blessings, we returned to those estate sale masters and pulled down another neglected track ("You Are Giving Me Some Other Love") from the still-unknown Penny and her now-partly-known Quarters. "You and Me" is a song that could not be suppressed: not when Prix failed to release it; not when Penny & the Quarters were forgotten; not when Numero stuck it at the bitter end of a much overlooked compilation. Its evolution from estate sale trash to silver-screen gold has finally returned it to big-hole 45, where it probably should have lived all along.

Wild by nature, the Does of the Florian Pellissier Quintet could never be contained in a creative pen that would have forced them never to cross potential geographical limits. Travelers, spending their energy without restraint to let the hard bop of their jazz wander and export itself wherever the groove guided them, they went as far as Africa or South America, from the Cape of Good Hope to Rio. Rio, precisely where, for their last appearance, exposure to a brief electric current had carried them into outer space. A revelation.


Furious strides, exhausting gambols, the Does had done so much that they could not escape the obvious call of calm and serenity. Freed from distances, and after a stop in Colombia to mingle with the crowd at the Barranquilla carnival, it was California and its Pacific coast they reached, to rest before the peaceful immensity of the ocean.


One hundred sixty-five million square kilometers, an infinite expanse to contemplate in order to fling wide open the gates to an even vaster space. A spiritual domain conducive to the search for new sounds. That of the open sea, where measuring miles is neither relevant nor meaningful, and where the only compass becomes the musical tracks the Does follow.


Beneath their coppery hooves, to the crystalline sound of the Fender Rhodes and the sweep of electric layers, the path to take revealed itself in this meditative and abstract realm they had never before explored. Invited to join the purely organic textures, the synthetic notes distilled a few aromas of sweetness into an album of ten tracks, where the FPQ abandoned written scores on some pieces in order to be guided only by the inspiration born of a newfound freedom.


Blue when they began their journey five albums ago, their coat has now taken on the colors that illuminate the Pacific coast. That moment when, as you gaze at the horizon swallowing the sun, only glowing shades filter through—reddish, orange, violet.


Departing without haste or frenzy from one of the shores bordering the ocean, the voices of Archie Shepp, Iggy Pop, and DjeuhDjoah still resonating in their antlers, the Does may now be on the opposite shore. Carried all the way to the Japanese coast by Hokusai’s wave…

Wild by nature, the Does of the Florian Pellissier Quintet could never be contained in a creative pen that would have forced them never to cross potential geographical limits. Travelers, spending their energy without restraint to let the hard bop of their jazz wander and export itself wherever the groove guided them, they went as far as Africa or South America, from the Cape of Good Hope to Rio. Rio, precisely where, for their last appearance, exposure to a brief electric current had carried them into outer space. A revelation.
Furious strides, exhausting gambols, the Does had done so much that they could not escape the obvious call of calm and serenity. Freed from distances, and after a stop in Colombia to mingle with the crowd at the Barranquilla carnival, it was California and its Pacific coast they reached, to rest before the peaceful immensity of the ocean.
One hundred sixty-five million square kilometers, an infinite expanse to contemplate in order to fling wide open the gates to an even vaster space. A spiritual domain conducive to the search for new sounds. That of the open sea, where measuring miles is neither relevant nor meaningful, and where the only compass becomes the musical tracks the Does follow.
Beneath their coppery hooves, to the crystalline sound of the Fender Rhodes and the sweep of electric layers, the path to take revealed itself in this meditative and abstract realm they had never before explored. Invited to join the purely organic textures, the synthetic notes distilled a few aromas of sweetness into an album of ten tracks, where the FPQ abandoned written scores on some pieces in order to be guided only by the inspiration born of a newfound freedom.
Blue when they began their journey five albums ago, their coat has now taken on the colors that illuminate the Pacific coast. That moment when, as you gaze at the horizon swallowing the sun, only glowing shades filter through—reddish, orange, violet.
Departing without haste or frenzy from one of the shores bordering the ocean, the voices of Archie Shepp, Iggy Pop, and DjeuhDjoah still resonating in their antlers, the Does may now be on the opposite shore. Carried all the way to the Japanese coast by Hokusai’s wave…

From 1968 through to the mid 1970’s the reggae beat began to slow down,some say due to the extreme heat hitting down onto Kingston Town and its surrounding enclaves. People needed something less strenuous to dance to. The Ska and Rocksteady Sounds (see 101 Orange Street KS007) that rocked Jamaica previously, had now found a slower tempo and become more ‘Dread’ lyrically to suit the times. Reggae music has always moved within the social climate it found itself in and this set here, as we ‘Return To Orange Street’ was ROOTS ROCK REGGAE TIME....

The Rastafarian message that runs through this collection of ‘Reality’, sometimes labelled ‘Sufferers’ music,is strong and works on many levels. It can come across on a heavy rhythm and vocal cut. Its example represented here by Prince Jazzbo’s ‘Dread in a Earth’ and ‘I Roy’s ‘Roots Man Time’, moving through to the popular new sounds of the DJ’s working over an old rhythm and alongside its existing vocal. As with Busty Brown working with Delroy Wilson's ‘Know Your Friend’ and Mr Jah Stitch working over Johnny Clarke’s ‘Roots Natty Roots’ to produce an even more dreader ‘True Born African’. The heartfelt lyric can also convey this message as we can see when Horace Andy laments ‘Where is the Love’ and Delroy Wilson again shows us on his ‘Who Cares’ cut. The great Twinkle Brothers also put the message across on their two cuts we have here, ’Too Late’ one of their lost classics if ever there was one and the thoughtful ‘It’s Not Who You Know’,being another prime example.

Orange Street itself is always at the heart of all reggae's musical changes and some singers also ride these waves as Mr Cornell Campbell shows us here with two cuts. The mournful ‘Too Be Loved’ and his uplifting ‘Girl of My Dreams’, which uses the same rhythm as our previously mentioned Prince Jazzbo’s 'Dread in a Earth’. Showing us that firstly you can’t keep a good rhythm down and secondly that two if not more great songs can work from the same source point. The light hearted ‘Vengeful’ lyric also worked in this period when artists spared off to each other on records to vent their frustrations. As we can hear here with Mr Lee Perry’s ‘You Funny Boy’. The song snipping back at a previous employer over what he felt were his misdoings to an under appreciated Mr Perry. We have culled these tracks together to show that the Dread Roots feel of the 1970’s came across in many guises and even in earlier songs these sentiments were also prevalent. As represented in Slim Smith’s almost bluesy feel in ‘Trying To Find a Home’, never a truer statement in Kingston's ghetto areas.

Well we hope you enjoy this musical journey and make a connection with messages portrayed here, as Mr Monty Morris points out on his contribution to this collection ‘Times Are Dread’.... Dread indeed.....

90s floor fillers featuring Robin S, Ultra Nate, Haddaway and Jennifer Paige.






[d] A4 Cunnie Williams Feat. Monie Love - Saturday [Mousse T.'S House Edit]
[e] A5 Eiffel 65 - Blue (Da Ba Dee) [DJ Ponte Ice Pop Radio Edit]

Honey Badger Records is pleased to announce the release of its 19th EP, NOLOVE EP, marking the label debut of Seoul-based producer and DJ, Nolove.

Recognised as an active presence within Seoul’s underground dance club community, Nolove has steadily built a reputation for her distinctive style and energy on the floor. On NOLOVE EP, she presents four original tracks shaped by the current momentum of the club scene—where minimal, crystalline synths and tightly woven percussion come together to form a sound that is unmistakably her own.

Tremor erscheint zu einem Zeitpunkt, an dem Averys Arbeitspensum für Außenstehende kolossal erscheint. Als Produzent, DJ, Musiker und Remixer, der ständig mit anderen zusammenarbeitet, hat er kürzlich DRONE:NODRONE von The Cure neu interpretiert, wofür er allgemeine Anerkennung erhielt. Seine Arbeit als eines von drei Mitgliedern von Demise of Love (eine Gruppe, die gemeinsam mit Ghost Culture und Working Men’s Club gegründet wurde) liefert derzeit den Soundtrack für die verschwommenen, undurchsichtigen Ränder der Tanzflächen auf der ganzen Welt. Das Album ist Averys erste Veröffentlichung bei Domino.

Die Platte ist voller unerwarteter Kollaborationen, darunter: Yeule, Art School Girlfriend, Ryan von bdrmm, Yune Pinku, Cécile Believe, Walter Schreifels von Rival Schools, Julie von New Dad und Alison Mosshart. „Tremor” wurde teilweise von David Wrench und teilweise vom legendären Alan Moulder gemischt. Es ist ein Breitwand-Album, auf dem sich Daniel mehr denn je auf Instrumentierung stützt und diese Klänge mit seiner charakteristischen, dunklen, techno-ähnlichen Produktion ergänzt. Es gibt wunderschöne melodische Parts, große elektronische Hits, härtere Grunge-Parts und wunderschöne Ambient-Momente, die einen wieder zur Ruhe kommen lassen.

Winter Sessions in Courchevel - compiled by DJ Ravin Bereit für den Winter? Mit Winter Sessions in Courchevel präsentiert der legendäre DJ Ravin eine exklusive Doppel-Compilation, die den Soundtrack für stilvolle Höhenflüge liefert - von glamourösen Nächten in den Alpen bis zu entspannten Après-Ski-Momenten. Die Auswahl vereint feinste World Lounge, Electro-Chill und festliche Deep Vibes - perfekt abgestimmt auf die Atmosphäre des Luxus-Skiorts Courchevel. Mit dabei sind renommierte Buddha-Bar-Künstler wie Majnoon, VS Prjct, DJ Phellix, Souhail Artwork, Omary, Carlos Campos und viele mehr. Ob auf exklusiven Partys oder in ruhigen Stunden am Kamin - diese Musik schafft Räume für Emotion, Eleganz und Eskapismus. Jeder Track ist ein Fenster in eine Welt zwischen Tradition und Moderne, zwischen globaler Klangästhetik und alpinem Chic.

Daniele Baldelli
Considered one of the first DJs in Italy, Daniele Baldelli began his career in 1969 mixing vinyl at the Tana Club in Cattolica (his hometown),
predating the birth of the modern DJ by several years. In the following years, he solidified his talent and technique at histor such as the Tabù Club, Baia degli Angeli, and Cosmic. From 1979 to 1984, Baldelli created his unique and eclectic style, blendi ic clubs ng seemingly distant sounds and musical styles, complementing them with tempo adjustments (bpm) and deliberately extreme equalization,
creating a truly distinctive sound, known as "Afro Disco." Soundscapes and tribal percussion blend with early electronic music experiments, and Baldelli's sets become truly mystical experiences, where, for the first time, the temples are replaced by the dance floor.
The documentary film "A Cosmic Life" has just been released, starring Daniele Baldelli alongside other illustrious guests from the nightclub scene, recounting the history and formation of this movement from the 1970s to the present.
Gaudi
A producer/musician among the most highly regarded on the international dub/electronic scene, over the past 30 years Gaudi, from his
London studio, has contributed significantly to expanding the boundaries of musical genres with high-profile releases and innovative
music production techniques. Recently nominated for a Grammy Award with 'Mass Manipulation', the album he produced for the reggae
band Steel Pulse, and also nominated for a World Music Award with his album 'Dub Qawwali' with Pakistani singer Nusrat Fateh Ali
Khan, Gaudi has collected a series of number 1s on the international charts: Billboard - with the album 'Heavy Rain' by Lee "Scratch"
Perry, 'Vessel of Love' by singer Hollie Cook and with 'Mass Manipulation' by Steel Pulse -, UK Chart n.1 with the album 'Prism' by the
band The Orb (with whom he has collaborated as a producer and keyboardist since 2008), with 'Blue Monday' - by Gaudi himself with
the band Dub Pistols -, UK Dance Chart n.1 with 'Jus Come rmx' produced with DJ Angelino for Cool Jack. He also reached no. 41 the UK charts with the album ‘Midnight Rocker’ by reggae singer Horace Andy (known to the general public for his hits with Massive in
Attack), no. 13 with the album ‘Dubwise 2’ by the band Dreadzone and no. 5 in the Italian charts with the song ‘Lasciala Andare’, written
by him for Irene Grandi. With 19 solo albums and 350 remixes and productions under his belt, Gaudi, with his artistic versatility, has
worked with Groove Armada, UB40, Simple Minds, Brian Ferry, Devo, Big Audio Dynamite, Damian Marley, Seun Kuti, Mad Professor,
Trentemøller, Grandmaster Flash ft KRS-One, Lamb, Don Letts, The Beat, Deep Forest, African Head Charge (in which Gaudi is a keyboardist and dubmaster), Elisa, Scientist, Dub FX, Roedelius, Caparezza, Caravan Palace, EMF, Sizzla, Jovanotti, Sly & Robbie, Piero Pelù, Youth of Killing Joke, and Maxi Priest, to name just a few. Capleton,
Daniele Baldelli & Gaudi
DJ Daniele Baldelli and producer Gaudi first met three years ago at the Jazz Cafe in London. Mutual respect and an innate need to
create new stylistic fusions were the catalysts for Baldelli and Gaudi, leading to a series of subsequent meetings that inevitably culminated in the need to create music together. The project began at Gaudi's Metatron Studio in London using analog equipment and later
moved to Baldelli's studio in Cattolica, where the two organically defined their sound, also inspired by Baldelli's precious record collection. The duo consolidated a powerful compositional symbiosis, and the project, born from a simple initial groove, later transformed
into an entire EP consisting of four original tracks and a highly innovative sound, featuring fusions of psychedelic-funk, tribal-dub,
electronic-disco, and, of course, "Afro-Cosmic"! Daniele Baldelli and Gaudi began their sonic collaboration without setting any stylistic
direction and with the intention of not creating pre-established goals to achieve; it is a project of pure artistic freedom guided by their
compositional instinct and their experience. Constantly active with their evenings and live concerts, Baldelli and Gaudi have performed
individually in many of the best international clubs and festivals.

The next instalment in the classic DJ-Kicks series is a selection of rapturous house, blissed-out breaks, and transcendent rave from the high priestess of the motherbeat herself, Chicago"s Eris Drew. DJ, producer, musician, long-time resident at Chicago"s Smartbar, and co-creator of the T4T LUV NRG party and label, Eris Drew has been DJing since the early 90s, and has since taken her ecstatic house and high-energy, uncompromising mixing style to clubs, raves, and festivals worldwide. Eris" DJ-Kicks mix is 79 minutes of, as she puts it "the funky, emotional, ecstatic house-and-breaks backbone that defines my sound", and includes tracks, remixes, and exclusives by Moby, Calisto, DJ Garth, Onionz, DJ Who, Kair, Hoof, and Toka Project, as well as from Eris herself and partner Octo Octa. The result of countless hours of digging, her selection delves into the rattling breaks, rave stabs, and haunting strings of classic and lost "90s hybrid house-and-breaks jams, and matches them with more recent digs, the mix moving back and forth between emotive, bittersweet, and evocative, to raw, tough, and twisted with consummate ease.

Phoenix-based DJ and producer, Paul West, steps out with his debut EP "Blue Sun", on Rocky Hill, serving up a first slice of grit on wax. Blue Sun opens on the A-side with three moody 808 workouts, tipping the hat to Motor City atmospheres while keeping things raw and warm. Flip it over and the energy shifts: a sun-kissed Adriatic voyage with the title track, and "Elon's Musk" -- a bass-driven groover destined to linger in your record bag.

he next instalment from Soulfuric Recordings is the first edition of “The Sound Of Soulfuric Volume 1” taken from the vaults are four unearthed gems spanning two classics, two exclusives, and long-awaited vinyl debuts from house music specialists such as Hardsoul feat Ron Carroll, Urban Blues Project, The Thompson Project & Crackazat and Art Of Tones.

Stepping up first is Hardsoul featuring the legendary Ron Carroll with “Back Together” (Main Classic Mix) a track that should be found in every soulful house DJ’s set, with Ron’s alluring vocals this one is definitely made to keep the dancers moving and in case of dancefloor emergencies reach for this record.

Up next is Urban Blues Project featuring Bobby Pruitt “We Are One” (Art of Tones Extended Remix) which is being brought out for the first time on vinyl, the original mix was first released in 2001 and the now the Art Of Tones Remix has breathed new life into it making it a must have for anyone who is a fan of the original.

Flipping over to the B side, Urban Blues Project return once again with Love Don’t Live (The U.B.P. Classic Club Mix) with Michael Procter. A Soulfuric classic that has been championed time and time again, first released in 1996 and now being revived almost 20 years later on fresh wax.

Rounding off Volume 1 The Thompson Project & Crackazat featuring Gary L with “Messin’ With My Mind” (Crackazat Extended Remix) this has also never been on vinyl before, released earlier this year this soulful house banger got the touch-up from Bristol’s finest Crackazat who adds his touch to the Florida duo’s offering.

House heads can come together once again and seize the opportunity to get their hands on this outstanding EP.

Manteca’s 2014 album, first time on vinyl. Manteca, the London Latin jazz/salsa funk combo, are back with a first-time vinyl release of their brilliant digital album “Oye” from 2014. “Oye” is a collection of heavy-duty Latin music that reaches well beyond the standard salsa or Cuban dance-band style, appealing to anyone and everyone, from mambo dancers to B-boys, jazz brothers to soul sisters! Led by Colombian singer Martha Acosta and bassist Javier Fioramonti, who have played with everyone from Roberto Pla and Candela, to Alex Wilson’s groups and Salsa Celtica, as well as backing Latin legends such as Joe Bataan, Jack Costanzo, Henry Fiol and Azuquita, this band really cooks! “Que Pasa” is smoking Latin funk, this will get your head nodding and foot tapping for sure.“Oye”, a lovely mid-tempo Afrobeat/Latin jazz fusion number with punching brass and super-funky kit playing. There are three cover versions on the album: Horace Silver’s “The Jody Grind”, a 1960s Blue Note Records soul jazz classic. Manteca does it justice, taking the original and turning it into a heavy Mongo Santamaria style funky Latin soul belter. Sergio Mendes’s “Groovy Samba” is also given the 1960s Mongo “Watermelon Man” style Latin soul jazz treatment. Very hip arrangement, and some fantastic brass soloing in there too. The last one is a brave choice. It’s the timeless bolero standard “Como Fue”, which the band plays beautifully. “Para Pello” (“For Pello”), a conga-style big percussive beat that evolved from Afro-Cuban street carnivals. Secondly, “Bomba Chevere”, a blend of Puerto Rican bomba and Colombian cumbia. The big Afro-Cuban track of the album is “Descarga China”, which has two different mixes. One is a descarga funk mix with some heavyweight kit playing and smoking trumpet soloing, while the other is a more straight-ahead Latin jam with Javier’s upright bass playing underpinning the whole number in a very Cachao way. Big shouts to the whole band, which features some of the best musicians from the London Latin music scene of the last three decades. These cats are as good as you’ll get in Latin music from anywhere across the world.This London Latin music gem has been crying out for a vinyl release for over a decade. At last, it's here. Slap it on the turntable, drop the needle on track one, turn the volume up, press play and be ready to dance. Standing still is NOT an option! DJ Lubi (One Jazz / Totally Wired Radio)

Tremor erscheint zu einem Zeitpunkt, an dem Averys Arbeitspensum für Außenstehende kolossal erscheint. Als Produzent, DJ, Musiker und Remixer, der ständig mit anderen zusammenarbeitet, hat er kürzlich DRONE:NODRONE von The Cure neu interpretiert, wofür er allgemeine Anerkennung erhielt. Seine Arbeit als eines von drei Mitgliedern von Demise of Love (eine Gruppe, die gemeinsam mit Ghost Culture und Working Men’s Club gegründet wurde) liefert derzeit den Soundtrack für die verschwommenen, undurchsichtigen Ränder der Tanzflächen auf der ganzen Welt. Das Album ist Averys erste Veröffentlichung bei Domino.

Die Platte ist voller unerwarteter Kollaborationen, darunter: Yeule, Art School Girlfriend, Ryan von bdrmm, Yune Pinku, Cécile Believe, Walter Schreifels von Rival Schools, Julie von New Dad und Alison Mosshart. „Tremor” wurde teilweise von David Wrench und teilweise vom legendären Alan Moulder gemischt. Es ist ein Breitwand-Album, auf dem sich Daniel mehr denn je auf Instrumentierung stützt und diese Klänge mit seiner charakteristischen, dunklen, techno-ähnlichen Produktion ergänzt. Es gibt wunderschöne melodische Parts, große elektronische Hits, härtere Grunge-Parts und wunderschöne Ambient-Momente, die einen wieder zur Ruhe kommen lassen.

Verve // Remixed Holiday returns this season with a fresh spin on timeless cheer. Inspired by the beloved 2008 release, this vibrant reimagining of classic holiday tracks from Verve Records’ legendary catalog features five brand new remixes from a cutting-edge lineup of DJs and producers: Ginton, Bolden., Tourist, Two Another, and DARGZ. Their genre-blurring interpretations bring new life to beloved recordings, fusing modern electronic textures and grooves with jazz, soul, and holiday nostalgia.

This release offers a renewed celebration of the season—where vintage vocals meet forward-thinking production. From cozy fireside vibes to festive dance-floor energy, Verve // Remixed Holiday bridges generations of sound and spirit.

Pressed on “Crystal Clear” vinyl, this is a must-have for collectors and a holiday essential you will putting on all year long.

Tensal is the solo project of Héctor Sandoval, also known as half of Exium and Komatssu. Since its creation in 2014,
Tensal has become the channel for his most personal vision of Techno, blending diverse rhythms and textures with a
powerful and distinctive identity. Alongside his own imprint Tensal Ltd, he has released on some of the scene’s most influential labels, including Mord, Modularz, Perc Trax, Blueprint, Arcing Seas, PoleGroup, Float, Kynant, KR3, A.R.T.S,
Warm Up and Soma, where he delivered his first LP in 2018.

He has remixed artists such as Slam, Electric Indigo, Anthony Linell, Mike Parker, Shed, Pangaea and Shifted, while his
tracks are championed by leading DJs like Jeff Mills, Richie Hawtin, Marcel Dettmann, Ben Klock, Ellen Allien, Laurent Garnier and DVS1. His DJ sets, built largely from his own productions, have taken him to more than 60 countries
worldwide, with performances at iconic clubs and festivals including Berghain, Tresor, Awakenings and Fabrik.

Beyond Tensal, Sandoval explores different frontiers of electronic music: with Juan Rico (Reeko) he formed Komando Terrorismo Sonico (K.T.S.), releasing the album Insurrección in 2021; in 2022 he launched Syndromania on Oaks
Records, a vinyl-only project fusing Techno with Trance, EBM, Electro and Acid. In 2023 he joined BPitch Control,
releasing several EPs and performing at the label’s We Are Not Alone events, while in late 2024 he debuted on Blueprint
Records with Highland Landscapes, a collaboration with Vince Watson (Amorphic), followed by a joint EP on Mord in
2025.