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Bart Skils returns to Drumcode with a trio of dancefloor weapons. The artist has been one of the most consistent label contributors over the last 18 months, with two Truesoul EPs, a cut on A-Sides Vol.10 and now ‘New Era’, his second Drumcode EP in a year.

‘All Over My Body’ features a collaboration with well-regarded US producer/DJ/vocalist Superchumbo and is a ready-made festival track, propelled by a memorable vox hook, driving groove and thrilling effects. ‘Golden Temple’ is trademark Skils and builds to a hypnotic laser-kissed climax. ‘Dub Killer’ is punchy techno at its finest, capped off by a woozy vocal drop.

An artist at the heart of Berlin’s rich scene, DJ and producer Sota looks set to continue his sharp upwards trajectory as a name to know. Welcoming four intelligent, expansive cuts combining slinking low-end grooves, sci-fi electronics, and sweeping interludes, the Dutchman’s ‘Pelican Club’ EP showcases his take on house music for the early morning hours as he touches down on Up The Stuss for the label’s sixth release.

30 years since their creation, the unreleased Frankie Knuckles remixes of Electribe 101’s deep cut ‘Heading for The Night’ are finally unvaulted, available on 12“ vinyl

UK based electronic group Electribe 101 and their one album, Electribal Memories hold a legendary place in the annals of house and dance music. The band met after vocalist and writer Billie Ray Martin had placed an ad in Melody Maker in 1988: “Soul rebel seeks musicians – genius only”. Billie headed to meet the four responding musicians (Brian Nordhoff, Joe Stevens, Les Fleming, and Roberto Cimarosti) at their studio in Birmingham.
“I took three songs with me, one of which was the lyrics and melodies to (Electribe 101’s first single) ‘Talking with Myself’, as well as a copy of Julian Jonah’s ‘Jealousy and Lies’,” says Billie. “I told the guys: “I’ve heard the future, and this is what I want to do.” I had heard Julian’s track at the WAG Club and I still remember the moment I stopped my shimmying and just stood there, staring, then turning on my heels and going straight to the DJ to ask what this record was. The guys had already experimented with some more dance orientated tracks and were instantly sold on the idea.”
Originally self-released on white label and championed by pirate radio, ‘Talking with Myself’ caught the imagination of the UK club scene and saw the band sign to Phonogram Records. With the re-issue and its follow up, ‘Tell Me When the Fever Ended’, becoming bona fide pop chart hits, with daytime radio play, Top Of The Pops appearances, and magazine covers from Melody Maker to MixMag, i-D, the label were keen to galvanise the band’s success and for them to deliver an album quickly.
“Because we weren’t yet used to writing together, we tried different approaches,” explains Billie.” I brought along a few songs I’d already written with others. Other songs we wrote from scratch. ‘Heading for The Night’ is one of those songs. The guys had developed the music and I wrote and sang the melody and lyrics straight onto the track, without making any arrangement changes.”
The band had also found ardent fans in the US, with chart-topping success on the US club charts and mixes from some of the most in-demand remixers of the day, including Chicago House doyennes Frankie Knuckles and Larry Heard.
“Frankie had already done such an incredible job with ‘Talking with Myself’ and he was smitten with ‘Heading for The Night’”, recals Billie. “He enjoyed mixing it so much that he did six mixes, each one brilliant and soulful in its own way. His effortless and perfect vocal production while creating a more danceable version makes this another Knuckles masterpiece.”

While 'Heading for The Night' had been considered for single release, these legendary remixes never saw the light of day. Finally, Frankie’s work on this song finds its rightful place in both his and Electribe 101’s legacy.
This EP of remixes precedes the release of Electribe 101’s fabled second, never before released album Electronic Soul, later this year.

Irish producer and DJ Mano Le Tough announces his new record, At The Moment, out August 20th on DJ Koze’s Pampa Records, and presents the first single, “No Road Without A Turn.” After more than a decade of releases and touring, Mano has spent the past year at home in Zurich, rearing his young family and focusing on the positives of 14 months without performing, amid the uncertainty of the pandemic. In the face of horror, Mano channelled inspiration. With At The Moment, the follow-up to 2015’s Trails, those struggles have produced a record which balances the ambivalence of the current moment, with wistful streaks of unguarded optimism.

At The Moment shows Mano’s modes of expression evolving too. The synths and rhythms common to earlier works are now complemented with less familiar sounds and influences. Jangling guitars and sun-bleached chords envelop his own tender, plaintive vocals in a dappled wash of summery pop. Another track grounds overlapping melodies and sci-fi soundtrack pads with hip hop beats, creating a hypnotic slice of slinky retro-futurism. Where there is reflection, there is also a sense of being unafraid.

“I’ve always liked that Mallarmé quote, ‘poetry is the language of crisis,’” says Mano. “It’s hard to make good music about everything being amazing. Everything is going great – who wants to listen to that? Anything I’ve done - anything which I thought had any kind of artistic merit, has been through struggles I’ve had in my life”.

“Dance dance otherwise we are lost” is a raw and insightful EP with 5 non-conformist tracks ranging from the hard hitting yet poetic peak time 141bpm Trans TanzTheater to Orbits of Happiness 135bpm an unstoppable rhythmic force carrying the weight of a thousand lives. Woven by an orchestra of synths and their unescapable gravitational force, pulling you in – ever developing, ever growing.

Next up is Incessant Maze 139bpm a projection of the mind itself. A mechanism of transcendence and transformation. A raw and ready psychedelic techno assault to shake your mind out of your body and back into again.

Following the three originals are two very special remixes from Filmmaker and Polanski that bend time and space: a blissfully dark slow tempo remix of “Orbits of Happiness” by London’s experimental techno Producer/DJ/Promoter all-in-all powerhouse Polanski. At 120bpm, the “Is this happiness?” remix has had its question answered already by the sensational feedback received so far: A sultry timeless cut. There’s no way to escape. Not that you would want to, anyway.

Finishing it off, undoubtedly one of the standout artists in 2019 rising star Colombian producer Faunes Efes’ Filmmaker project has released a slew of incredible albums and EP’s this year already. Here he delivers “The Quandary” a wild and psychedelic cut of Incessant Maze merging hypnotic vocals with an ever driving percussive power that is already getting some special support in Europe and South America 130bpm.

Kulør is proud to present My Space – Kasper Marott’s 2nd record for the label following 2019’s luscious, longform Forever Mix EP.

The EP represents the latest addition to a diverse but uniquely crafted discography for the Danish producer, DJ and label owner. After scoring something of a mega-hit in 2018 with ‘Keflavik,’ released on Modeselektor’s Seilscheibenpfeiler label and named by Resident Advisor as “one of the biggest club records of the year,” Marott would use that momentum to launch the community-focused label Axces alongside close friend Alfredo92 and release a string of records representing some of Denmark’s finest producers. At the beginning of 2021 Marott released his debut album Full Circle, allowing a more complete picture of his distinctively melodic sound, one described by Pitchfork as “stimulating the imagination as much as the limbs… This is music for dancing but also music for dreaming.”

The four pieces that make up the My Space EP seem to take that last quote as a jumping- off point, oscillating between the beatless serenity of ‘Mosens Tone’, the unashamed force of ‘NV Laser’ and the shades in between on the opening title track and closer ‘Microfest’. Marott’s influences snake over one another, folding crisp percussion underneath his signature glassy textures and intimate field recordings alongside supersaw riffs. This fluid shape-shifting results in an EP that hints at different genres while confining itself to none.

Debut release for The Fear Ratio's Mark Broom and James Ruskin under their 'Deadhand' alias, which proceeds on a strictly experimental hip-hop tip, accompanied as they are here by 4 x world scratch champion DJ Prime Cuts (of The Scratch Perverts) and illbient rap legend Sensational, who brings his characteristic broken charm to the EP's itchy, spartan production vibes: "Step into my office, now we sparkin' it... I spit the isms in yer ear... you better recognise it's raw shit from orbit."

This pairing with Sens makes total sense: Distinct from Mark and James' work as The Fear Ratio, their Deadhand project delivers something closer to 90s illbient in any case: extending the boom-bap era of hip-hop production with elements of hallucinogenic dystopianism, the energy of the EP nevertheless vibes playfully: Given the dispiriting global situation at present, the EP title 'Meanwhile' might simply refer to getting on with things in spite of all the cultural and political misendeavor the era will no doubt be long remembered for. Despite the global health pandemic and the looming spectre of wide-scale environmental collapse, little despair or surrender prevails here, but rather a hankering to attempt a few tripped-out experiments.

Three remixes bring further twists of the screw: A cosmic break flex from ETCH resituates Sensational amidst the magmic glow of Reaktor bass ensembles, while DJ Prime Cuts repurposes 7" soul gold by way of a more 'traditional' SP1200 approach. 90s trip-hop pioneer and graffiti legend REQ steps up with all the painterly flair he is rightly renowned for, obliterating the Monster Orchestra's classic 'I Can't Stop' stab towards a double dose of galactic melancholia.







g 07: Touch (ETCH's Pink Ladies in Space Remix) feat. Sensational
[h] 08: Meanwhile (DJ Prime Cuts Remix) [feat. Sensational]
[i] 09: Touch (REQ's Dub) [feat. Sensational]
[feat. DJ Prime Cuts]

First vinyl issue from this french label, artisan of the Eurotrance revival. Compilation of contemporary producers' works, deeply rooted in the 00's.

Played by Ellen Allien, Nina Kraviz, in among others.


Thanks to a perfect balance between a good dose of madness and genius, Union Trance Mission has become the playground of some of the rising talents of the european rave scene in a few years.

Launched in 2018 by DJ Reiz & Tonni 3000 with the desire to take the techno scene off-balance, UTM quickly laid the foundations of an hybrid style where oldschool vibes perfectly combine with contemporary sounds. A colorful and formidable cocktail of efficiency, where techno blithely rubs shoulders with nostalgic trance synthesizers.

After a couple of years of digital releases (singles, EP and compilations), UTM decides to take another step by releasing its first 2x12", gathering the residents DJ Reiz, Tonni 3000, Red Scan and Walfroy on one hand, and the guest artists Pawlowski, Jaëss, Tranceman2000 and Alpha Tracks on another hand, in a wish of being eclectic and exploring Trance music in all its forms.

Repress

The multi-faceted producer and DJ, and one of electronic music's most respected, Calibre releases his brand new record 'Planet Hearth' on November 29th. An album featuring exclusively new material, and dedicated to a very close friend who passed away last year, this is by far the most personal and poignant record he has ever made.

First coined in 2015, the album has taken four years to complete and in his own words 'part of a slow metamorphosis that I have wanted to do for a long time'. Escaping to Valentia on the West Coast of Ireland, he sought solace away from the grind of modern living to write music and draw inspiration from his surroundings. It was during this time that he experienced great personal loss, which can be felt throughout the record, forming an emotional narrative that will make even the hardest of hearts shed a tear upon listening.

The title track 'Planet Hearth' was made in Belfast a few weeks before losing his close friend, and in his own words: "I remember this one feeling very automatic and emotionally engaging, the timing for me has great meaning". Whilst the track 'Five Minute Flame' was written in five minutes one morning in Valentia with the sun streaming in and the coffee being made, showing just how he can draw inspirations at any moment of the day, "I love the immediacy of writing music very much" he states. Largely ambient, there is a nod to his drum and bass roots with 'Walking in Circles', a track that can, and has been played in one of his dnb set. Whilst the album has been playing throughout the year in different club settings, opening the night with the sound that he so loves, the record wasn't made for the club as such, 'originally the idea was to put music together that didn't need to be played in a club, that it could be whatever I wanted.'

This is an honest and pure record that steps away from Calibre's drum and bass persona that he's so synonymous with. A somewhat melancholic and atmospheric piece of work, it still has that signature Calibre sound, attesting to incredible diversity of the man. A true master of his craft, his ability to constantly create and consistently deliver with such honest expression is staggering. A chameleonic creator in the purest form - as a painter, fine artist, multi-instrumentalist, writer and producer - he has a career stretching over two decades with over fifteen albums of varying genres.

To coincide with the release of the album on November 29th, it's perhaps fitting that he makes his return to XOYO - the London venue he resided in for 10 weeks from July through to September - as he plays on the Dekmantel Soundsystem residency, who he passed the baton onto for the Autumn Winter season.

This is Calibre in his rawest, purest and exposed form, delivering a body of work that he cares about the most.

On his new album "Famous Last Songs Vol. 1" Westbam presents himself as a brilliant curator of his own music. With unerring instinct, the legendary techno DJ and producer succeeds together with guests such as Dieter Meier (Yello), Inga Humpe (2raumwohnnung) and Jon Marsh (The Beloved) in paying homage to the spirit of the Eighties and making the ultimate statement about the current time: music for the club in your head.

2024 Repress
Born in Egypt, bred in Dubai and now situated in the electronic music hub of Barcelona, RAXON makes his SPEICHER debut with this double header that falls into line just past his breakthrough 'Destiny EP' on DIYNAMIC.

THE ANCIENT could be taken as a twisted modern version of YAZOO's 'Superstition' - subtle and bold this track bridges on the sexier side of electro-strasse with a gleaming dagger of nu-wave sophistication. His roots as one of the Middle East's biggest DJs shines through the 'Dark Light'. Mysterious minimal rhythms propelled with a sinister synth hook drives this track to a nowhere that makes you feel that you are somewhere that is right.

Repress

Just a continuation of things that have been done before and that will be done in the future. The plan is that there is no plan and the story goes on! 18 tracks about distinct moods, patterns and the pure joy of creation itself.

Mastered by the Zenker Brothers & Klaus Arnold.
Artwork photos by Lara Köcke.

Crisp, freshly distorted & pulsating techno trips; Nous'klaer proudly presents Mary Lake's debut EP Askim. The rising dj/producer from Amsterdam steps up with three brilliant uptempo techno rollers and a blissful ambient excursion as epilogue. Four tracks that perfectly reflect her infectious enthusiasm and energy. On top of that, there is much more to come from Mary this year, both on Nous'klaer and elsewhere. Artwork courtesy of Sammie Straub.

Mr. K takes on two different disco moods in the latest in his long-running series of edits on 45.

Danny Krivit’s edit of Tony Orlando’s “Don’t Let Go” was released in Japan in 2012 and immediately became a sought-after, impossible to find rarity. Orlando’s version of “Don’t Let Go” was released at the height of the disco era, but the song itself was already a well-worn pop standard, having been covered by numerous artists before the pop singer tried his hand at it, switching things up with a percolating disco groove. “I never expected to rave about a Tony Orlando record,” wrote Vince Aletti in his Record World column in June of 1978, “but this one’s really terrific… My pick for a summer refresher.” The Jimmy Simpson mix on the original 12-inch follows the vocals with a long instrumental section that teases the various elements provided by the Muscle Shoals band (guitar, vibes, strings, and above all a sinuous synth) back in over the relentless bass and drums. Danny’s edit, which he’s trimmed down for its debut on 7-inch, works with this instrumental break and more than lives up to Aletti’s description as an addictive warm weather jam.

From the moody instrumental sound of “Don’t Let Go” we move to the bright uptempo vocal track "I Fall In Love Everyday." In spite of the relative obscurity of this fabulous but lesser-known cut, it comes with a sparkling pedigree. “I Fall In Love Everyday” was written by Jay Graydon (whose credits also include “Turn Your Love Around” for George Benson and “Breakin’ Away” for Al Jarreau), produced by Motown ace Mickey Stevenson (who wrote “Dancing In the Street”) and arranged by David Foster, who was just making the transition from session keyboardist to the superstar songwriter/arranger he’d become. The backing track was first used for singer/TV personality Jaye P. Morgan’s version of the song a year earlier, but you certainly can’t blame the team for reusing the music when the band included studio heavyweights like Harvey Mason, Lee Ritenour, Ray Parker Jr., and Kenny Loggins. Danny’s creative edit fashions a clean, DJ-friendly instrumental intro where none existed on the original, and gives new life to a track that’s sure to bring some sunshine to dancefloors.

As always, these unique selections from Mr. K’s personal stash are cut on a loud, club-ready 7-inch pressing.

Repress

Guy J returns home to Lost & Found with two absolute monster tracks! And for the first time in the labels history, these tracks will be available on vinyl as well digital download.

Let's get straight to business then and its Dizzy Moments kicking us off. A techno grooved workout with percussive layers meeting subtle yet ethereal pads, creating a warm atmospheric vibe. The track expands with the sounds growing as the elements ooze from within, creating an epic melodic masterpiece as delays interact creating a dreamy smile inducing gem of a track that we are positive will create a serious fuss and will send clubbers wild.

Diaspora grinds in to action from the off, with its slightly tribal tinged percussion, brooding bass stabs and cool fx setting the mood, swiftly followed by creeping pads that lighten the vibe while adding an air of mystery, dropping its fierceness, but only temporarily, before we pound back in to action. Gated chords meet cool keys as we meander around the ups and downs of this monster. Another serious slab of dance floor devastation from Guy.

Two outstanding tracks that will no doubt be flying straight in to many a DJ's playlist at rapid speed.

DC Salas’s second EP indeed is a tale of beautiful feelings: After his last year’s debut EP on Live At Robert Johnson called The Complicated Art of Dreaming, this fresh four tracker is a proof to his creative continuity.

A1 Did They Listen rhythmic structure banks on a pounding and effective combination of bassdrum, conga and cowbell, joined by a mildly distorted bass line figure, which embeds itself in a panoramic soundscape. A2 Beautiful Feelings introduces a remarkable striking sawtooth sequence, with repeated filtered and resonating variations, alternating throughout the track. On the flipside, B1 Within employs yet another bubbly bassline, keeping the soundscape wide-open to retain enough sonic space for that eerie, yet highly energetic Cosmic Disco touch. B2 Liquid Perception signature is a liquid acid bassline introduced in the second part of the track, perfectly befitting its track title. All tracks of this monolithic EP, thanks to its consistent approach to sound design, could easily be mixed subsequently with each others.

DC Salas is thirtysomething year old Diego Cortez Salas, a skilled talent with peruvian origins hailing from Brussels. A regular DJ at C12 and Kiosk Radio both in Brussels, Diego also co-runs Biologic Records with his mate Abstraxion since 2014.

We’re excited to be launching a new release series: “Melodies Record Club”, a string of DJ and artist curated mini compilations in loud 12” format.

The first instalment was put together by Four Tet, selecting two big peak-time Jazz tracks he used to spin regularly at Plastic People.

On one side, we’ve got all time jazz greats Jackie McLean and Michael Carvin’s De I Comahlee Ah, taken from their seminal album Antiquity recorded in Denmark back in 1975. A year and a half ago, we visited Steeplechase, the original label in the outskirts of Copenhagen. They informed us that at the time, the track was cut short as it didn’t fit on the full LP. They were kind enough to provide us with the tape of the full original recording, allowing us to release for the first time the full extended version capturing twelve and a half minutes of studio magic. Speaking with Michael back in November, he told us that every song on that album was recorded without any overdubs. They had taken their shoes off and organised the studio in such a way that they could move from instrument to instrument during the take (!!)

On the flip, we have Chris McGregor’s Brotherhood of Breath – MRA. Back in 70s London, the Brotherhood had brought together musicians who had sought refuge from South Africa’s apartheid regime and the best of a new generation of British jazz musicians. Music journalist Richard Williams, who had originally reviewed the band in the 1970s tell us: “They made music that appealed in equal measure to the head, the heart and the feet, taking the jazz legacy of Duke Ellington and Charles Mingus and adding to it the fantastic dance rhythms and gorgeous harmonies of the townships and untethered collective improvisations of the new free music”.

Four Tet’s instalment is out early May in 12” format and digitally (stream & download), first press comes with a folded A2 insert with words from and about the artists. Graphic design by Studio ChoqueLeGoff, illustration and animation by Nevil Bernard and for the audiophiles out there, remastered and cut at half speed by Matt Colton at Metropolis Studios!

The second instalment curated by Ben UFO is scheduled shortly, which will be followed over time by a string of releases including selections from Hunee, Mafalda, Floating Points, Anya & Julia from Javybz, Daphni, Josey Rebelle, Charlie Bones, Gilles Peterson… and more, stay tuned!

The beloved deep melodic house & techno collection by Parquet Recordings is going into the 18th round!
„Parquet Most Wanted EP Vol. 18“ is featuring four beautiful masterpieces by Solee, Microtrauma, Paradoks and Alexandros Djkevingr & Greg Ignatovich. All tracks are 100% dancefloor-proofed and already gained massive international DJ support by the likes of Tale of Us, Stephan Bodzin, Pig & Dan, Dosem, Ryan Davis, Undercatt, Bebetta, Markus Kavka, Eelke Kleijn, Chicola and many more.

‘80s funk at its best. Originally only ever available on the album ‘Just How Sweet Is Your Love’, New Jersey group Rhyze’s ‘Do Your Dance’ gets its first ever reissue as a single on 7 inch backed with the disco monster ‘Free’.

A staple of some of the biggest DJs and diggers out there, this is a must have record. Your first time to grab this on 7" Official SAM release with original labels and housed in a picture sleeve.