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Jane Oak is a Paris-based DJ and techno producer. She grew up listening to Detroit pioneers; Jeff Mills, Robert Hood and Blake Baxter whom greatly influenced her work. In her first EP Low Pressure Zone with Caduceus records, she unveils a dark minimalistic universe, intensified by sharp beats and hypnotic melodies. An audacious EP for this young Belgian producer.

Joe Lewandowski is another treasure discovered by the rising label Deep & Roll. The A side reminds us some 90's house diamonds: 'Where is' contains mesmerizing gospel vocals calling for love. 'Powa' has a more groovy vibe with patterns that bring us back to Chicago.
The B side opens with 'I Need To', a track recorded with Jazz singer Lili B. It shows a more melancholic and deep side of the Parisian DJ. The last track 'Lourd' explores the other influences of Joe Lewandowski with an Italo-Disco and leftfield techno feeling.

'Intraverso is a journey in that momentary 'inbetween land' that many of us experience sometimes. It explores the turmoil of feelings of when one gets stuck in the middle, floating in between ambition and complete stillness'.

Fabrizio Lapiana is a well-known name on the contemporary Italian techno scene. He has been involved in music since the 90's when he started DJ'ing in his hometown Rome. To date he has over two handfuls of releases on labels such as Figure Jams, Arts and M_Rec Ltd - as well as his own imprint, the well renowned Attic Music, founded in 2008.
Intraverso is Fabrizio's debut album, set for release on his label. The record is a very personal journey, according to the artist himself. You here find him examining different territory than where he usually heads within his productions. The album, which consists of nine songs in total, was composed between April 2016 and February 2017 in his studio in Rome. Written in a state of 'introspect', we here see an artist in motion. Changing. Evolving. The perfect moment to explore something new and unveil a different side of yourself to the world.

The intro 'Early Morning Waves' opens the album with its own quiet dramatic tone, waves hitting the shore as we move into 'Bret'. A cloud-walking kind of melody welcomes you, accompanied by a curious beat driving the journey forward. A deep heavy bassline and almost ancient sounding melody rises in 'Onironauta' (reflecting 'Early Morning Waves' mystical mood) until more playful elements blends in. The contemplative bass elements continue in the title track of the album; 'Intraverso' is a track of mind traveling discovery, yet before drifting too far you are grabbed by a snare, a clap of white noise and a pulsating beat to keep you on track. Further on, 'Lost In Negative Thoughts (reshaped)' reveals itself with its heavy ominous drumbeats and a dark spun web of strings is joined by sounds of distant life and machinery. Then there is 'Distance' which is the album's first flirt with more dancefloor friendly territory. Still under a veil of ill-lit melodies, expertly programmed percussion and claps creates something for a more personal body move experience. Moving into 'Again' sees the expedition continuing journeying through the dancefloor, albeit in a deeper landscape where flickering extraterrestrial sounds watches you go along. In 'Backlit' you find the albums most organic moment, an ambient slow thoughtful walk through the consciousness of the producer - only to end up with the album's final moment; 'Freckles (beatless)'. Here we drift deeper off into slow ambient melodies with a comforting thoughtful bassline taking us to the end of our voyage.

Lapiana has composed an album where you get to travel with him on a sonic journey into the deepest corners of his mind, baring vulnerabilities as well as strengths. Intraverso carries a feeling of ancient atmosphere via its melodic language through its whole running time, perhaps since the foundation of the album is based on emotions and the mind. Thoughts, feelings and mental states that always have been with us, no matter the time and place. It is a mature debut album for an artist that proves he is willing to risk going into different areas than the tried and tested ground. One might say Intraverso is a record created for an introvert introspective dancer, willing to see what lies beyond that of which is visible at first glance.

The second release on Oktave Records is produced by Tokyo's Iori. The multi-talented Japanese producer and DJ has had his music released on some of the best labels in the business, including Prologue, Field Records, and Semantica. Iori's inimitable and distinctive sound has put his productions on turntables and headsets all over the world, while the man himself continues to extend his touring radius, hitting clubs and venues all over Europe and into the Americas. Oktave Records is proud to present his 'Circulate' EP.

The A side gives us 'Satellite,' a relentless floor-focused track, bursting with Iori's signature, looping sound he draws us into a hypnotic void and allows the listener to get completely lost in the polyrhythms so deftly layered on top of each other. 'Satellite' will mesmerize your dance floor.

The B side opens with 'Vortex,' which gives us more of that special Iori hypnosis, but this time we're carried along by a broken beat. Complex, understated and rhythmic, 'Vortex' is another stunner. The EP closes with 'Inversion,' an ambient track, which is an area of strength for Iori. He has long been producing compelling, cinematic soundscapes with his unique sound signature, and 'Inversion' continues in this tradition.

Iori has created a knock-out EP with 'Circulate,' and sets the bar quite high for the label.

Nach Releases auf Kompakt, Turbo, Rumors und Founders Of Filth und nach Kollaborationen mit Guy Gerber, Tiga, Felix Da Housecat und Jamie Principal, veröffentlicht der kanadische DJ/Produzent Clarian sein Debütalbum nun auf dem australischen Vorzeigelabel Balance. Die 10 Tracks auf "Television Days" weisen einen starken 1980er Synth-Pop-Einfluss auf, den Clarian zuvor schon als Mitglied des Duos Footprintz auf dem von Ewan Pearson co-produzierten Album "Escape Yourself" (Visionquest) vollends auslebte.

Three more diggers delights from Jake Holloway and the Moton.
DJ Support
DJ Spinna
Osunlade
Mark Grusane / Sounds Familiar
Alex Attias / Visions Recordings
Dom Servini / Wah Wah 45s
Volcov / Neroli / Sounds Familiar
Kiko Navarro
Marcel Vogel / Lumberjacks In Hell
John Gómez

Martha High (The Original James Brown Diva) is enjoying one of the most creative times in her career. After her work with Speedometer and Osaka Monaurail, she has prepared a new record with JB'S and does not stop touring the world. In addition, she has recorded one of her best tracks yet that Vinilos Enlace Funk had the pleasure to edit, "We Are One", produced by DJ Toner.

In this single diva Martha High teams up with legendary bass player Fred Thomas (member of James Brown's band and The Playback among many other 70's groups). There's no doubts that "We Are One" is a hit!

Durban's Rudeboyz (aka Masive Q and Andile T) return to Goon Club Allstars to follow up their self-titled 2015 debut EP with new record, 'Gqomwave'. Widely acknowledged as Gqom originators, alongside Goon Club label mate DJ Lag, Rudeboyz' raw, energetic compositions took the sounds of Durban's townships global back in 2015, opening doors for a whole new generation of South African artists in the pro-cess. They themselves hail from from Mount Moriah, just outside the KwaMashu township in North Durban. The duo's latest record, 'Gqomwave', is comprised of four tracks, each bursting with the intense, driving rhythms and boundless energy their productions have become renowned for. Gqom is again the core around which the whole EP functions, as blazing sirens and charging beats play out on opener 'Major Turn Up', but subtle, stylistic nuances point to a growing maturity in their work. The springy elasticity of 'Bounce Back' and the sharp, stripped back drums on relentless club burner 'No Mercy' each offer different, smouldering takes on the Gqom sound, while final track 'Asjableni' features the gritty, hypnotic vocals of long-time collaborator T_D Snaxx who tragically passed away earlier this year.

raw, soulful and agitating: glenn astro, the humble house sorcerer from berlin, produced four tunes and a sweet interlude for mule musiq that point out: house music is still heading for the future.
with countless eps, album's and collaborations for labels like ninja tune, tartlet or his own co-owned imprint money $ex records, the dj and producer already emphasized that he thinks house counter to the trend.
his new ep shows this anew with unpolished, speedy, even techno-like rhythms and deep gentle melodies. dance music for jagged movers that have enough of high gloss sounds.
if house music is a spiritual, a body, a soul thing, then glenn astro delivers some real fresh groov-ing prayers.

Hackney Vandal Patrol is a brand new project from long time friends and neighbours Scott Fraser & Richard Sen. Focusing on their joint love of that deep Miami/ New York house sound, Vol I is the first edition in a series of LTD 12s. Heading back to Richard's heritage of being a highly respected graffiti artist, each one is hand tagged by Richard in his own unique style and numbered with an insert by Scott. The first release, ""Bound By Faith"" is a straight up and direct for the dance floor Miami style deep house cut, complete with Reverend Jesse Jackson speech on the vocal version. For the DJ crews there is a deeper ""Redemption Dub"" stripped back ""Bass Hit"" with added percussion and a re-programmed instrumental of the original....The Hackney Vandal Patrol were once despatched to patrol the streets around the mighty London Borough of Hackney.
Each 12"" is individual and collectable... strictly limited!

The Tel Aviv based music label 'Raw Tapes Records' has been getting a lot of attention in the last few years, broasdcasted around the world (Gilles Peterson/BBC, The Gaslamp Killer, Toshio Matsuraa/Tokyo Moon FM, Dom Servini/Wah Wah 45 London, Peanut Butter Wolf/Stones Throw LA, Radio Nova/France, Wicked Jazz Sounds/Amsterdam, KCRW/LA, Andrew Jervis/Bandcamp).

With more than 70 albums released out of around 20 local artists within an 10-years work, this is no doubt the most productive independant music label in the history of Israel, and surely Tel Aviv's leading Beats/Hip Hop label and collective.

Puzzles vol.3 is the third volume in the Puzzles Compilations Series from Raw Tapes, featuring 13 of the current artists on the label, including Buttering Trio, Sol Monk & Nitai Hershkovits. The release features cooperations with MNDSGN, vocalist Jenny Penkin, Uzi Ramirez and more.

Curated by KerenDun, this album ranges from Beats & Hip Hop to Jazz and Electronics.

The album marks the 10-years-Anniversary for Raw Tapes.

Excise is thrilled to host San Francisco underground xture Max Gardner on the label's 3rd vinyl release. Max runs the legendary Californian party crew Direct to Earth and he's equally a hypnotic DJ selector and highly skilled synthesist. As you'll see on this release Max's tracks are not only excellent DJ tools but also deeply interesting for close-listening: truly unique electronic music dif culty to pigeonhole into a genre. 'Mona Loops' is an immersive experience on club speakers as an eerie high-pitched synth line twists in unexpected ways over powerful waves of bass.

Next Max remixes label co-owner Muon's track 'KMC' redefining its raw elements into a blitzing four and half minute romp held together by a jagged low-mid frequency lead line. 'Broken Pinkies' is hard to de ne. All we can say is it embodies the feeling of the San Francisco all night underground world more than any single song in recent memory. It begs for repeat listening. Yan Cook joins the Excise family for a banging remix of 'Broken Pinkies'almost shocking in its spin off the original. We're huge fans of Yan over here and this track embodies what we love most about his productions - groovy but with serious bite

Fausto Messina is a veteran dj and producer from Treviso, a small town on the plain between the Gulf of Venice and the Alps. Fausto has been releasing music for more than 10 years and 'Pica Pica' is his debut E.P. on Cadenza. In the track named 'Pica Pica' a recurrent evocative voluminous chord is convoyed by a classy powerful kick drum and an organic symphony of fluffy percussions and metallic bonks, with a triumphant layer of dense whistles and shimmering cymbals. The extremely intense vibrant rhythms of 'Idiophono' contrast with the gentle reverberating harmonies of an ensemble of struck idiophones, angelically flowing in the background of the track. The smooth magnetic flux of 'Planets Ballet' concludes the E.P. with high style. This jacky stride over a stack of steamy synthesisers and bubbly bleeps is a golden tune for a quivering late-night dance-floor.

The title track "Empty Dancefloor" combines a thumping kick drum, stuttering hats and mesmeric chords, a combination that prove to be the perfect backing track to a captivating synth solo. It's extremely difficult not to find yourself lost in this enchanting track. Fracture" is a track where Skygaze really showcases his ability to combine broken beat, complex drum patterns with bewitching chords, magical marimbas and a curious bassline.
It is a track that really keeps you guessing throughout and one that can really add variety to any DJ set.
First up on remix duties is Jonna, who has put his own stamp on "Empty Dancefloor".
jonna is a DJ, Producer & one of the Label owners of City Fly Records, his sets are prominently House but take in influences from Disco, Techno, Hip-Hop, Funk, Jazz... Basically any music with Soul.
His first artist EP dropped early 2016 on 'Shadeleaf Music' & featured the incredibly talented Erik Rico on vocals with remixes by Atlanta's Kai Alce. The EP achieved great success & Sold Out in the first Month & was supported by heavyweight's Recloose, Derrick Carter, Jimpster & Osunlade to name a few.
Collab Singles (with Samwell) 'Henry Western' Featuring Lady Blacktronika followed on City Fly which was supported heavily on BBC 6 Music, that followed by 'Alright' on 'Future Society', a compilation curated by Seven Davis Jr on R2 Records and more recently the Luke Soloman Edit of 'Through The Night' again on Shadeleaf Music.
He has been busy in the studio since with a release on Secret Crunch (Austria) & 2 EP's forthcoming on Marcel Vogel's excellent Intimate Friends (NL).
The remix of "Empty Dancefloor" is one that is done in the unmistakable Jonna style, it's got groove! By chopping and changing the chords from the original, Jonna has created an entirely new melody, which when combined with rolling bongos and punchy bassline, you can't help but tap your feet.
The all too familiar synth solo from the original resonates throughout and pulls the track together, creating a guaranteed hit on any dance floor. Last, but certainly not least is Chicago based, Garrett David. The Smart Bar Resident has taken time out from his A&R / House buying duties at the famous Gramaphone Records to conjure up a bumping, yet dreamy remix of "Fracture".
He has previous releases on labels including Distant Hawaii, Residual Recordings, Night Sea Journey as well as his own imprint Stripped & Chewed and has really brought some Chicago flavours to the table with this one.

TERRANOVA kicks off 2018 with a bang with 'Cosmo EP' (KOM378). 4 top-notch tracks showcasing the strongest outings yet in his impressive back catalogue.
Following an excellent entry in our SPEICHER series with 'Speicher 94' (KOMPAKT EXTRA 94 - co-helmed by Reinhard Voigt), the much- acclaimed full length 'Restless' (KOMPAKT 327 CD 123) hit turntables two years ago, TERRANOVA aka Fetisch, the creative mind & producer behind the project he likes to describe as 'the deep space electric ark' has been in orbit since the release of 'Terranova DJ Kicks' (!K7) in 1997.
TERRANOVA* now returns to the spotlight with COSMO EP, a jacking four-tracker inspired by raw Chicago House, early NYC Electro , old school computers /A.I. and some very special analog &digital machines featuring 2 excellent collaborations with Milan based artists.

Opening track COSMOCHORD features the Italian DJ legend Flashmob. The result is a peak time monochord banger that takes both producers' extensive expertise in propelling dance floor cuts to new heights.
COSMOCODE feat VOLTAGUE intense psychedelic Techno again with peak time quality. LANGSAM is an elegant, driving example of classic dance floor electronica. A skilled combination of an 808 with an obscure vintage beatbox of eastern origin, an Oberheim OB8 and a 1970 Kunstkopf Mic Instructions mixed on the original Deutsche Grammophon 1950 Valve mixer. PERFECT HAPPINESS wraps up this action-packed release with some a twisted afro stomper lead by a drunk sounding computer bouncing on the mic.
*Ad eundum quo nemo ante iit

The Single > Side A 'PHRAKHANONG DISORDER' is T.D.O.S. second single featuring Japanese turntablalist DJ TO-RU (Dujada-Goja) is a bass battle on a downtempo hard drum beat, hypnotic and chaotic like Bangkok's streets. Phra Khanong is a neighbourhood of this megapolis where hip hop culture meets local traditions. Side B is 'NAMBA VIBRATIONS' with DJ TO-RU fine cuts on a dirty digital mish-mash of bass and dub beats,. Just in tune to get lost in electric downtown Osaka before heading to the dance floor facing a massive sound system. The Artist > The Dude Of Stratosphear aka T.D.O.S. is Jerome Doudet (Swiss/French artist and bass player based in Bangkok). DJ, vinyl collector, musician, graphic designer and East Asian music connoisseur, The Dude of Stratosphear was groomed in the vibrant alternative scene of the very international city of Geneva Switzerland. Growing up in a musical household (His father was a disco DJ), Growing up in a musical household (His father was a disco DJ), Jerome was exposed to a wide range of music at very early age, and started playing the 4 strings at the age of 10. Bass player in the swiss math-core bands Knut for a decade, he toured intensely all around Europe's biggest venues and festivals. He also joined the very underground american band Half Japanese for a couple of european tour and recorded the album Bone Head in 1997. And on top of the list was opening for the mighty KISS with the canadian band Bionic (CA) at Molson center in Monteal. Also member of various bands such as Imericani (SP/IT/CH), Intercostal (CH), Troll Patrol (CH), Bliscappen Van Maria (CH-IT), Edison (CH), Polar (CH-FR), Prejudice (CH-FR), Buz (CH), Void (CH), Ultra DB (CH), to name a few.

The Single > Side A 'BAILAN BREAK' is T.D.O.S. third single featuring Japanese turntablalist DJ TO-RU (Dujada-Goja) is Side B is 'UCHU DAIKAIJU NO BALLAD' (The Ballad Of The Space Monster) featured samples of Gozilla dialogues with a scary soundtrack mood.on a progressive and experimental beat. The Artist > The Dude Of Stratosphear aka T.D.O.S. is Jerome Doudet (Swiss/French artist and bass player based in Bangkok). DJ, vinyl collector, musician, graphic designer and East Asian music connoisseur, The Dude of Stratosphear was groomed in the vibrant alternative scene of the very international city of Geneva Switzerland. Growing up in a musical household (His father was a disco DJ), Growing up in a musical household (His father was a disco DJ), Jerome was exposed to a wide range of music at very early age, and started playing the 4 strings at the age of 10. Bass player in the swiss math-core bands Knut for a decade, he toured intensely all around Europe's biggest venues and festivals. He also joined the very underground american band Half Japanese for a couple of european tour and recorded the album Bone Head in 1997. And on top of the list was opening for the mighty KISS with the canadian band Bionic (CA) at Molson center in Monteal. Also member of various bands such as Imericani (SP/IT/CH), Intercostal (CH), Troll Patrol (CH), Bliscappen Van Maria (CH-IT), Edison (CH), Polar (CH-FR), Prejudice (CH-FR), Buz (CH), Void (CH), Ultra DB (CH), to name a few. Aside from the rock scene, he was also part of the multimedia team Ultra Pepita , developer of the today's world famous VJ software Modul8.

The Single > Side A 'PARALLEL UNIVERSE' is T.D.O.S. debut single featuring Thai rapper MC Sinnamon (Dujada-Dubway), is an cosmic trip between the heat of Chennai's bazars and Bangkok chaotic streets. Based on a rare indian library sample, Side B is 'WAT THAT TONG' featured samples of Thailand molam queen Yenjit Porntavi with modern dub beat and indian percussions. The Artist > The Dude Of Stratosphear aka T.D.O.S. is Jerome Doudet (Swiss/French artist and bass player based in Bangkok). DJ, vinyl collector, musician, graphic designer and East Asian music connoisseur, The Dude of Stratosphear was groomed in the vibrant alternative scene of the very international city of Geneva Switzerland. Growing up in a musical household (His father was a disco DJ), Growing up in a musical household (His father was a disco DJ), Jerome was exposed to a wide range of music at very early age, and started playing the 4 strings at the age of 10. Bass player in the swiss math-core bands Knut for a decade, he toured intensely all around Europe's biggest venues and festivals. He also joined the very underground american band Half Japanese for a couple of european tour and recorded the album Bone Head in 1997. And on top of the list was opening for the mighty KISS with the canadian band Bionic (CA) at Molson center in Monteal. Also member of various bands such as Imericani (SP/IT/CH), Intercostal (CH), Troll Patrol (CH), Bliscappen Van Maria (CH-IT), Edison (CH), Polar (CH-FR), Prejudice (CH-FR), Buz (CH), Void (CH), Ultra DB (CH), to name a few. Aside from the rock scene, he was also part of the multimedia team Ultra Pepita , developer of the today's world famous VJ software Modul8.

The word 'Icosahedrite' refers to the geometric figure icosahedron, and arises from the idea that the EP is an amalgam of electronic music styles with many other aspects of traditional musical genres, like jazz or blues. Metaphorically, those genres act as the multiple sides of an imaginary icosahedron. Something complex yet solid that sits outside of the conventional emerges as the final result. A1 'Phason Jazz' - This is a track where conventional jazz structures converge with electronica, and the influences Eduardo gets from Miles Davis and John Coltrane shine themselves. Twisted keyboards patterns mixed with delays and deafening effects form a place to get lost, and eventually repetition becomes hypnotism and turns into an automatic trance. B1 ' Mr Dewey D' - Mr Dewey D is referring again to Miles, and his first and second surnames.This song is much more influenced by Dark Comedy (aka Kenny Larkin) and all the records that he throws out on the french label 'Poussez' titled 'FunkFaker: Music Saves My Soul' Blues breath tirelessly in this composition where there is not much time for an objective analysis and where everything finally leads to an insane ending. B2 'Rhythmic Soundscapes ' - This track is, I guess, the most conventional part of the EP, Nonetheless, it retains special qualities. Floating pianos with delays are combined with bass sounds that go back and forth, forming a musical piece with techno sensibilities that I hope will give opportunities to the most daring DJs.

Following the success of our recent reissues of classic tracks from the vaults team-Jalapeno decided to start 2018 strong with another 7" release of two certified bangers from our very own breaks legends Skeewiff.

Our dear label co-founders and creative minds whose four Skeewiff albums set the agenda for the Jalapeno funk machine that you know and love - Alex Rizzo and Elliot Ireland have never been found wanting. These guys are the godfathers of the lounge and breaks scenes, they put the fun into funk, and if rumours are to be believed they could mix before they could walk!

From the very first opening horns salvo on 'Mexican Flyer' you know this track means business. A driving bassline and in-your-face drums provide the backdrop for all sorts of sonic madness with DJ cuts, horn solos and breaks galore. It's a bona-fide fiesta that fits neatly in your 45's bag.

With this little number in the arsenal the only worry that the DJ's will have is the stampede to the dancefloor...

Over on the flipside 'Delta Dawn' sees the guys get a little help from a famously little lady with one of the most recognisable voices in country music. But make no mistake - this is no barn dance... Breaks, bass and a healthy dose of Hammond wizardry inject the funk into proceedings to complete this 7" club weapon of mass destruction.

It's a double act that's up there with the best of them and a must have for fans of Jalapeno and high quality party music.

The fourth release on Trevor Jacksons Pre- Label is by SKULL. A visceral journey into experimental noise and no wave avant grade beatscapes
The last SKULL release 'SNAPZ' appeared on Jacksons own Output Recordings label in 1999. A seminal collection of tracks that had previously featured on the first two legendary Mo wax 'Headz' compilations (also featuring Autechre, Beastie Boys, Air, and DJ Shadow) as well as tracks that had also appeared on Kevin 'The Bug' Martins notorious Macro Dub Infection albums during the mid 90's.
Reactionary sonic statements aimed at the coffee table world of Trip Hop, fuelled by his dissatisfaction and dissillustionment with Hip Hop of the time, Trevor pushed himself into uncomfortable and far more extreme areas than he had before, areas he felt unable to explore with his Underdog productions, which were mainly being utilised for major label remixes at the time.
Influenced as much by the industrial pioneers, post punk and new wave of the past as the burgeoning post rock scene in the mid 90's, This new set of previously unreleased recordings originally produced between 1996-2000 are equally as intense and visceral as the early releases. Dusty samples, raw beats, tape loops, and primitive effects combine to sound as relevant now as when they were initially created.

Record Kicks proudly presents "SuperStudio" the new single by legendary Italian cinematic funk combo Calibro 35 sampled by Dr.Dre and Jay-Z, taken from their forthcoming new studio album DECADE

"SuperStudio" - available on a super limited edition 45 vinyl and digital download together with bonus track "Gomma" - is Calibro 35's first single and anticipates their new album DECADE that hits the streets next 9 February. Quoting the band "SuperStudio is the main theme for a movie that doesn't exist, starring Clint Eastwood and Pam Grier saving earth from the invasion of deadly robots from another planet" and it's pure Dynamite. On the flip you'll find "Gomma", the bonus track out of the album which is an irresistible funk groovy shaker.

Recorded at the legendary Officine Meccaniche studios in Milan by CALIBRO's usual suspect and Grammy Award winner Tommaso Colliva, "DECADE" marks 10 years of Calibro 35's releases and it's the very first album recorded by Calibro with an orchestral-inspired enlarged line-up. Active since 2008 CALIBRO 35 enjoys a worldwide reputation as one of the coolest independent band around. During their ten years career, they have been sampled by Dr. Dre on his Compton album and Jay-Z, they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat, Headhunters and as unique musicians they've collaborated with, amongst others PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine's as "the most fascinating, retro-maniac and genuine thing, that happened to Italy in the last years", Calibro 35 now count on a number of aficionados worldwide which includes VIP's fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

Hidden Orchestra's 'Dawn Chorus Remixes' follows the illuminating 'Dawn Chorus' album, reworking producer and composer Joe Acheson's latest album of immersive field recordings and expansive soundscapes into an journey through electronica, deep house and ambient psychedelia. Fronted by Wingbeats (Max Cooper Remix)', 'Dawn Chorus Remixes' features reworkings from Max Cooper, Matthew Herbert, Throwing Snow, The Physics House Band, Nuage, Floex, Nostalgia 77, Wrongtom and Skalpel.

Built around a collection of birdsong and other field recordings captured over many years across diverse locations around the UK and abroad, the snapshots within 'Dawn Chorus' intertwine for a transporting listen. The 'Dawn Chorus Remixes' album revisits this vast source material, reinterpreting the structure of the tracks and uncovering new layers of hidden sounds and instruments for the listeners, sometimes unearthing entire musical progressions that bring the tracks into clearer focus.

Max Cooper provides his take on Wingbeats, focussing on the synchronised recordings of birds beating their wings, to reveal a beautiful chord structure hidden amongst the rhythms. Matthew Herbert applies intricate electronic components with a purist house beat on Stone' which follows into The Lizard', remixed by Polish duo Skalpel who were an early influence of Acheson's. Electronic producer Floex transforms 'Still' with layers of oscillating synths, while Wrongtom provides a dub remix and The Physics House Band deliver ambient and progressive sounds for their rework of Long Orchard'.

Key Marketing Points:
- Remixes from high profile acts such as Max Cooper, Matthew Herbert, Floex, Throwing Snow, The Physics House Band, Skalpel and more.
- Available on 2x LP, housed in reverse board sleeve with silver embossed foil title and printed inner-sleeves. Cover art comes from acclaimed artist and printmaker, Norman Ackroyd.
- European AV 'Dawn Chorus' Tour starts November 20th 2017.
- Radio support for 'Dawn Chorus' from Lauren Laverne (BBC 6Music), Nemone (6Music), Huey Morgan (BBC 6Music), Gideon Coe (BBC 6Music), Jamie Cullum (BBC R2) + more
- Previous press support from The Arts Desk, Clash, The Independent, The Guardian, Line Of Best Fit, Blues & Soul, Record Collector, DJ Mag

Praise for the original Dawn Chorus album
You could just listen to that forevermore, couldn't you' MARY ANNE HOBBS (BBC 6MUSIC)
Such a beautiful project' - LAUREN LAVERNE
Out of this world' - THE LINE OF BEST FIT
Gorgeous' - NEMONE (BBC 6MUSIC)

The Berlin-based Citylow label has been releasing quality house and techno for some time now. Born from a mix of musical influences from the metropolitan suburban life, the label is characterized by vintage, analogue sounds, modular systems and the many other influences of label manager Alfredo Trastulli aka F.T.G. The heart of the label is Citylow Humans Crew, a movement of underground artists around the world who day-after-day match their story with an underground music philosophy.

Staunchly dedicated to vinyl culture and with an ethos that tends to veer toward assured, confident sounding house and techno, theirs is a modus operandi that's served them very well indeed. For their latest, the attention switches to Fuckthegovernment.Ltd label boss F.T.G, who hooks up with regular collaborator Brando Torri aka Siyha Kuma for another release that speaks volumes of their talents. The A side features the remix, which comes at us from none other than the fucking parisienne talent Jef K, who in this instance has hooked up with Mikael Weill to supply a differing take on the original. Jef K of course, is a man who needs no introduction to house music fans. One of Paris' most acclaimed DJs and producers, he has a monthly gig at famed club Concrete, where he's renowned for sumptuous basslines and exquisite house music. Gritty and relentless, their remix is characterised by some steely bass hits and a stubborn refusal to compromise. A gnarly jam that soon comes to life courtesy of a quite brilliant bassline, this one is sure to make an impression wherever it's let out of the bag. Exceptional stuff we're sure you'll agree. Elsewhere, the B side features the original, which we soon realise is where the aforementioned remix earned its industrial stripes.

As music continuously evolves, times change and new ideas and movements come & go. All of this functions in tandem with scientific, technological, social and political advancements in our society. The biggest component to that evolution is the people. There are creators and consumers. One cannot exist without the other. Throughout art, the audience defines quality, but artist has the power to introduce change and shift perception. Execution is key. The masses are always hungry for something fresh. Sometimes we're at the forefront of new trends and sometimes we find comfort innovating the past. No matter what, musicians have a responsibility to bridge the gap. Raw Poetic and Damu the Fudgemunk meet all of the above. Produced entirely by the artists, the new album "The Reflecting Sea" revisits sonic textures of yesteryear and combined with their own distinct ears for music, have created something uniquely foreign for the music world in our time. Speaking of the times, Raw Poetic's lyrical subject matter is nothing short of relevancy. Speaking from an observatory perspective in addition to his own personal experiences, the album's content is infinitely relatable. Although known primarily as hip hop acts, both Damu and Raw P stretched out to expand what the genre is known for. The combination of elements from the mix of live instrumentation, improvisation and sampling to the range of styles including jazz, fusion, rock, electronic and soul make The Reflecting Sea unlike anything else. Captured and recorded in it's rawest form, the album is honest expression. Masterminding the festival sounds is Damu the Fudgemunk. His voice is absent from the recordings, but his presence is immediately noticed throughout the 40 minute exhibition. Packed with tons of beats, tons of scratching, original compositions, upbeat and signature atmosphere, there's no question who's behind the boards. With the average tempo of over 100bpm, this is one of the most energetic releases in Redefinition's catalog. Raw P and the Fudgemunk aim to revitalize listeners of all types with their original sound. They call it "The Reflecting Sea: Welcome to a New Philosophy." Raw Poetic (MC), hails from the DMV area by way of Philadelphia. In addition to several collaborations with Damu the Fudgemunk, he's recorded 6 albums as a member of Panacea, 1 album with K-def, 1 album with Kev Brown and recent features with Brous One in which all have been met with critical acclaim. Damu the Fudgemunk (producer/DJ) is a DC native who co-owns and operates Redefinition Records. With several successful releases as a solo artist, his music has garnered a reputation in the last decade for it's consistent quality and conceptual structure.

Our 7th production is about to come! (official release date on 12th of January) Once again in a different kind of music : this time Hip-Hop! Produced by Luke Vibert (Ninja Tune, Warp, Planet µ, Mo Wax, Rephlex...), with all rhymes by BluRum13 (One-Self, Bullfrog) and recorded by Kid Koala & DJ Grandtheft... in 2004! The album was at the time kept aside by Ninja Tune (only digital release) because of similarities with One-Self project (led by Dj Vadim).
13 years later, we are offering this UK Hip-Hop jewel secretly hidden on vinyl!
New tracklisting especially made for vinyl, which comes with exclusive track on bonus colored 7".
Some more good news : this reissue made the two friends work together again for a new collaboration coming out on 2018!

The group Knowledge and producer/DJ/Artist Tapper Zukie's stories are intertwined through their location in the Rema area of Kingston.
Tapper Zukie taking the band under his wing and getting this classic album 'Hail Dread' a worldwide release back in 1979 when it first hit the record shelves'
Knowledges line up included Anthony Doyley, Delroy Folding, Earl Macfarlane, Mike Smith, Michael Samuels and later Paul Freeman.
The groups debut release was 'Make Faith' featuring Tapper Zukie introducing the band as his proteges and began a winning formula.
The band released many of their early singles on Tapper's 'Stars' imprint and were produced by Tapper himself. This culminated in Tapper getting the band a deal with a major label A&M and the band were in fact the first Reggae to be signed to the label.
A&M were keen to work with Tapper as an artist and producer and at onetime motioned Tapper to be backed by one of their other signed bands The Police for a UK tour. Tapper thought that being backed by a band named after such an establishment would not be a wise idea and declined the offer.
But the connection did lead up to one of Jamaica's great vocal groups getting their debut album again produced by Tapper Zukie released on this major label.
Sadly the relationship was short lived and the album 'Hail Dread' would be their only release for the label.

'Hail Dread' we hope you agree is one of roots reggae's classic 70's releases and shows the group and their producer at the height of their powers and proof is in the listening....
We hope you enjoy the set.....

Art pop meets Mongolian throat singing, Blade Runner meets Walter Carlos (Clockwork Orange), Tom Dissevelt and Kid Baltan (Bowie's favourite band) meet Tame Impala.

The fifth album from Marsmobil has been hailed by many as their best yet. With closer ties to Minx' (2006) than the last two albums, Fairytales Of The Supersurvivor' returns to Marsmobil's signature strength of wondrously brilliant songs ( And The Fishes In The Ocean', Shadows Of The Inner Light') that blend off-the-wall cinemascope sounds with dazzling beats and punchy, powerful hooks to create uniquely distinctive art pop anthems.
As always with Marsmobil, Roberto Di Gioia writes, plays, sings and programs everything himself. Here, as on Minx', he's brought in support from a fabulous singer - the very wonderful Amber Lin, who contributes vocals on four songs. All the cover illustrations are also by Di Gioia.

Multi-instrumentalist Roberto Di Gioia needs little introduction. The curious can explore his biography, discography and extensive lists of projects and collaborations as musician and songwriter (see below) for an impression of the hugely diverse achievements of this multi-talent and brilliant musician.
As a topical heads-up, Roberto Di Gioia is also the founder of the German jazz supergroup Web Web and released the album Oracle' in September 2017. The second Web Web album will follow in early 2018, hard on the heels of the fifth Marsmobil release. Di Gioia also wrote and produced Teufelswerk' for DJ Hell and contributed virtually all the songs on Hell's latest album, Zukunftsmusik'.

*The No Man Is An Island EP is a single cut from the debut album of the same name by Aalko, a new project by Kebko Music founder Akiko Kiyama. Renowned for her minimal techno track featured in Richie Hawtin's seminal DE9 Transitions album, the Japanese producer reveals her another side under this new alias. The project has already created a stir as Aalko has garnered support from Gilles Peterson on his BBC 6 Music radio show and premiered a live performance at MUTEK's Tokyo launch, where she drew the audience into an inspiring frenzy.

Aalko is a culmination of Kiyama's recent practices in a wider musical spectrum that go beyond the confines of her minimalistic techno characteristics. It conjures her distinctive soundscape where a variety of styles coexists: she demonstrates her knack for breaks, ambient and irregular time signatures, her acute ears for unadulterated tone and texture of sounds standing out in sharp relief.

Taking a floor-oriented side out of the No Man Is An Island cassette album, this single cut features three tracks that work wonders in a DJ context. "Body & Soul" is an erratic rhythm experiment jumping between several beat styles. "Mixture" offers Kiyama's unique interpretation on syncopated dynamics of breaks. Wrapping up the EP is 'B.I.C', a long-awaited exclusive track that ranked among Gilles Peterson's top 20 tracks of 2017. Its dubby functionality makes it a powerful tool that can work at various stages of the night.

These tracks give the nod to Kiyama's peculiar self full of sonic idiosyncrasies, showing no fear of breaking accepted conventions.

Version Galore is a newly found label, deeply rooted in the music culture. We bring you the selected reworks / versions from the top producers in the game, showing lots of respect and care for the original, but elevating it's spirit and taking it somewhere else. It's all about the dialogue of cultures and the idealistic desire to pass the music legacy on! No half-measures, played-out tunes, lazy cuts, or boring "808-kick boosting" biz!

K2 is an alias of someone who you should be very familiar with by now, especially if interested in quality house music. No clues He the music legend from Baltimore, one of the most versatile and technically-gifted DJs on the scene, a master of CDJs, who singlehandedly restored public's interest in gospel music with his ultimate dance bomb "Work It Out". Still Hesitant Ok we'll help you - it's the one and only Karizma!

A-side is a pure fire-starter! One of those tunes that works perfectly in any surrounding, location, context, club. Here Karizma flips a version of a certain African-American work song, which catchy refrain just seem to resonate with anyone, while the rough dirty beats with the cheeky start/pause technique destroy the dance floor! Essential party tool!

On B-Side the maestro travels in time to grace us with a retro-futuristic workout on the edge of jazz-fusion / prog-rock & Italo-disco. "In Spite Of" is a peculiar, yet beautiful combination of hypnotic chord progressions, step-sequenced synthetic bass-lines, the virtuoso dialogue of electric guitar and electric violin (yes), spiced up with African percussion and forceful beats, all working together in harmony in accordance with the intricate time signature of the song! That's Karizma at his most Balearic!

IMA (Intense Molecular Activity) is the duo of Don Hunerberg (synthesizers) and Andy Blinx (drums and percussion). Based in New York City and active between 1979 and 1982. Don, a studio Sound / music engineer and musician, Andy an electronic clothing designer, drummer and sound reinforcement engineer at downtown clubs like Max's Kansas City, Mudd Club and CBGB. In between doing sessions at Radio City Music Hall Studios for groups such as Ramones, Richard Hell, Sonic Youth, Liquid Liquid, John Zorn, Glenn Branca and many others, IMA took advantage of off hours to create their own music. As far as influences go, Don's background was in electronic music and Andy's in prog rock. To produce the songs, Don used his own method of creating patterns from 2-track tape loops and then edited them together on to a 24-track recorder adding more tracks of overdubs, In a very similar way that sequencers are used today. By 1980 the duo honed their own unique sound and version of Post Punk and No-Wave with the tools of the trade of the early 80s. Situated above the proscenium of the Radio City Music Hall stage, the studio was outfitted with a variety of orchestral instruments (timpani, bells, xylophone, etc). They self-released a 4-song EP titled 'IMA' on an 8' flexi-disc which was distributed by Ed Bahlman of 99 Records. The music bridges the wild psychedelic-rock of the 60s, the synth-punk of the late-70s and the elaborate constructions of progressive-rock. There are nods to the freak-outs of Chrome and the super neurosis of Suicide, but IMA takes a more clinical approach which also takes notice of Hawkwind and Pink Floyd's interstellar overdrive. We've added 4 bonus tracks recorded during the same studio sessions and included them here for the first time on vinyl. DJ Hell lifted elements of IMA's song "Blurb" virtually intact and uncredited for his electroclash club hit "Keep On Waiting" 20 years later. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring a spray painted IMA tag a top a red dashed 'Do Not Enter' sign. Each copy includes a double-sided postcard with notes. This Album Is dedicated to the memory of Andy (Blinx) George.

There were several groups within the Detroit music scene that shared the name of 'The Holidays'. From the 1950's through to the late 1960's our version of The Holidays who took their name from a group members car, a 1954 Oldsmobile 'Holiday', would record for the Star-x, Markie, Master and Holiday record Labels. Founding member James Holiday would also briefly pursue a solo career with releases on the Markie, Syco and Blue Rock labels respectively.
In 1969 James joined by his brother Jack, a baritone saxophonist and the former leader of the band within influential Detroit DJ 'Frantic' Ernie Durham's legendary Gold Room at the 20 Grand Theatre. The brothers together, with Maurice White and former Contours member Joe Billingslea formed 'The New Holidays' who recorded the 'Popcorn' Wylie produced song Maybe So, Maybe No' (Soul Hawk 1008). This current in demand 45 featured If I Only Knew' on the flipside, an excellent cover version of a previous Jimmy (Soul) Clark recording If I Only Knew Then (What I Know Now)' This was recorded at a later session to Maybe So, Maybe No' and featured a slightly different line up with Joe Billingslea making way for a youthful Elliot Smith.
By 1972 The Holidays found themselves without a label, so they formed their own, Marathon Records. Their initial release was the excellent double sider I'm So Glad (That I Met You)/Too Many Times' (Marathon 257). Both songs were written by James Holland and Sylvester Potts another former member of the Motown group 'The Contours' and were recorded under the artist name of 'The Fabulous Holidays.
Into 1973 and their next release was the soulful ballad Getting Kind Of Serious' (Marathon 18475) a Fritz Hale and Fredrick Charles Hawkins composition backed with an instrumental version. Followed by Ego Tripping' (Marathon 18475) an upbeat funky little mover backed with the ballad Lazy Day' written by James Holland, Anthony Hawkins and Fritz Hale.'
During 1975 The Holidays resumed their acquaintance with former record store owner Ronald Holmes a collaboration which led to the release of another excellent double sider This Is Love b/w The Love We Share' on the Rob-Ron (RR-75) label. The Love We Share' was recorded twice. Firstly as the issued 45 version under the shortened title of The Love We Share' and as an unissued longer version under the title of (Been Together Too Long) The Love We Share' with slightly different lyrics. During 1976 a further Holland/Holmes collaboration saw the release of the message song Procrastinate (Why Do We)' (Ron-Hol 76). After this release Ronald Holmes and the Holidays parted company.
During late 1976 into 1977 the Holland brothers wrote and produced two further songs which they recorded with Charles Hawkins (a founding member of the Psychedelic Rock and Funk Band, 'Black Merda') The up tempo dance track You Make Me Weak' and the less frenetic Lost Love' although never issued at the time both songs can be found on the recently released Soul Junction cd album Getting Kind Of Soulful' (SJCD5012). A later discovery of a alternative take of You Make Me Weak' (Take 2) is now available on vinyl for the first time backed with their uptempo dancer I'm So Glad (That I Met You)' The Motorcity continues to yield its long lost legacy.

This special collector's edition electronically reproduced stereo 7' single (only 200 copies), comes in two fantastic coloured vinyl options (100 x red vinyl and 100 x purple vinyl). A refreshingly new take on mono to stereo conversion. Elvis fans growing up in the 1960's and 1970's unwittingly listened to his 1950's catalogue in electronically reprocessed stereo, love it or loathe, it was pretty much all there was back then unless you could afford to track down expensive mono copies. To better understand where the electronically reprocessed stereo versions originate from, we need to go back to 1961, at which point RCA had begun the process of taking Elvis' 1950's mono masters and converting them into a stereo sounding effect. By 1960 when Elvis returned from the army, he was recording in true stereo and as far as RCA were concerned, mono was a thing of the past. You just need to listen to the sound quality of the 1960 'Living Stereo' version of the 'Elvis Is Back' album, to appreciate just how much the recording industry had moved on in just two years. Such was the demand for stereo records in the early 1960's most major labels had created their own process for converting mono into stereo or 'fake' stereo as it became known, with some labels producing better results than others. Opinions on Elvis' 1960's electronically reprocessed stereo versions are mixed, with some recordings making the transition from mono to stereo effect better than others. Some DJ's actually preferred playing the electronically reprocessed stereo versions, believing they gave a wider fuller sound on the dancefloor. By late 1970's, RCA had once again begun to re-issue original mono masters, giving many fans their first opportunity to hear how these tracks were originally issued. By the time compact discs had arrived on the scene in the 1980's, electronically reprocessed stereo was well and truly dead and buried. Very few electronically reprocessed stereo recordings ever made it onto a digital format and the few that did are now highly collectible. Recorded at RCA Studio 1, New York on the 30th of January 1956, My Baby Left Me is a driving powerhouse rockabilly masterpiece with a real Sun Records vibe to it (produced by Steve Scholes with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar, Bill Black on bass and D.J. Fontana on drums). Our flip side Blue Moon Of Kentucky is another rockabilly classic which first appeared as the opposite side to That's All Right (Sun 209) in 1955 (Elvis' first single). Blue Moon Of Kentucky was recorded on the 7th of July 1954 at Sun Records (produced by Sam Phillips with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar and Bill Black on bass). Both tracks have been painstakingly re-engineered to create a stereo effect sound. The result is a bigger, sharper sound that jumps straight outta the grooves at ya! One reviewer described the process as - it's as if a veil has been lifted off the tracks'. Both tracks are taken from the forthcoming album titled 'Elvis Presley - The 50's In Stereo' (mono to stereo re-visited). For best results play this killer double-sider very loud!!!

This special collector's edition electronically reproduced stereo 7' single (only 200 copies), comes in two fantastic coloured vinyl options (100 x red vinyl and 100 x purple vinyl). A refreshingly new take on mono to stereo conversion. Elvis fans growing up in the 1960's and 1970's unwittingly listened to his 1950's catalogue in electronically reprocessed stereo, love it or loathe, it was pretty much all there was back then unless you could afford to track down expensive mono copies. To better understand where the electronically reprocessed stereo versions originate from, we need to go back to 1961, at which point RCA had begun the process of taking Elvis' 1950's mono masters and converting them into a stereo sounding effect. By 1960 when Elvis returned from the army, he was recording in true stereo and as far as RCA were concerned, mono was a thing of the past. You just need to listen to the sound quality of the 1960 'Living Stereo' version of the 'Elvis Is Back' album, to appreciate just how much the recording industry had moved on in just two years. Such was the demand for stereo records in the early 1960's most major labels had created their own process for converting mono into stereo or 'fake' stereo as it became known, with some labels producing better results than others. Opinions on Elvis' 1960's electronically reprocessed stereo versions are mixed, with some recordings making the transition from mono to stereo effect better than others. Some DJ's actually preferred playing the electronically reprocessed stereo versions, believing they gave a wider fuller sound on the dancefloor. By late 1970's, RCA had once again begun to re-issue original mono masters, giving many fans their first opportunity to hear how these tracks were originally issued. By the time compact discs had arrived on the scene in the 1980's, electronically reprocessed stereo was well and truly dead and buried. Very few electronically reprocessed stereo recordings ever made it onto a digital format and the few that did are now highly collectible. Recorded at RCA Studio 1, New York on the 30th of January 1956, My Baby Left Me is a driving powerhouse rockabilly masterpiece with a real Sun Records vibe to it (produced by Steve Scholes with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar, Bill Black on bass and D.J. Fontana on drums). Our flip side Blue Moon Of Kentucky is another rockabilly classic which first appeared as the opposite side to That's All Right (Sun 209) in 1955 (Elvis' first single). Blue Moon Of Kentucky was recorded on the 7th of July 1954 at Sun Records (produced by Sam Phillips with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar and Bill Black on bass). Both tracks have been painstakingly re-engineered to create a stereo effect sound. The result is a bigger, sharper sound that jumps straight outta the grooves at ya! One reviewer described the process as - it's as if a veil has been lifted off the tracks'. Both tracks are taken from the forthcoming album titled 'Elvis Presley - The 50's In Stereo' (mono to stereo re-visited). For best results play this killer double-sider very loud!!!

Nested Structure is the first Great Circles release from artists outside of Philadelphia. THRIVE are Tetsuya Yoshida and Hitoshi Kojima. They both grew up in the North Kanto area of Japan. They first met at the club run by Tetsuya Yoshida called SOUND A BASE NEST, which is known as having the best sound system in the North Kanto area. In 2007, the duo started their DJ / Producing unit THRIVE. Previous releases have included a split 12' with Keia Yano for Japanese label Struct, and recent solo releases by Hitoshi for Always Human Tapes and for his own label Ambivalent Deviation. This record almost didn't happen! --- Tetsuya and Hitoshi were picking up Great Circles records in Japan and, having periodically communicated with each other about music, they sent us the Struct 12' to check out. While
cleaning out the back of the car a few months later, the presumably empty record mailer was about to land in
the recycle bin when we fortunately discovered a demo CD of unreleased THRIVE material inside. We drove
around listening to it and week later we agreed to release a 12'. The music on the Nested Structure 12' is dark, foreboding, even outwardly threatening. It's hypnotic, textural and rhythmically complex.

For house heads of a certain persuasion, DJ Duke is a name that resonates for all the right reasons. The U.S. veteran has been responsible for some of the 90's most seminal moments, chiefly through tracks such as '12 Minutes to Do It' (under his Pleasure Dome alias), 'Party Time' and the Prosumer-endorsed deep house classic, 'Heard'. He returns here courtesy of emerging imprint Solo Werks, who host his latest EP, 'Green Pastures'. A momentous house-led workout, it compounds Duke's reputation as a producer of considerable panache while also acting as an auspicious start to life for the Dublin based label.

The title track is a grainy, old-school cut that bears all the hallmarks of a dusty analogue-jam and harks back to the days of vintage Chicago with the sort of zest you'd expect from a man of Duke's credentials. The other original, 'Skyscapes', is packed to the brim with industrial motifs and is characterised by the sort of effortlessly catchy baseline with which Duke has made his name. Mysterious and ethereal, it takes the listener on an uncompromising and throughly captivating house journey from the off.

On the flip side, we have two stunning remixes, the first of which arrives from New Jersey don, Ruben Candelario AKA Nicuri. A long-time favourite of NYC-based producers a la Joey Anderson, Nicuri turns 'Green Pastures' into a dreamy, acid-led space, adding layers of suspense and a glittering vocal intto the mix as he goes. Last but not least are Dublin-based producers Slowburn, who serve up a stunning version of "Skyscapes". A carefully construed voyage into the deep, it caps off a fine EP with some aplomb.

"I'm going to try not to gush too much about the fact that 'Me Me Me' has Raj Pannu's first ever record, but you have to understand that he's DJ royalty to someone from where I come from.
From his residencies in Newcastle in the Early 90s, touring all over Europe, playing with the likes of Gilles Peterson, Jazzanova and James Lavelle to his move into turntablism in the late 90s playing one on one with DJ Craze, A-Trak and Q-Bert.
All the way up to the last decade and his time spent touring the world for 5 years as part of Coldcut, working with institutions like the BBC and Ninja Tune, and just generally being an absolutely mind bending DJ playing with people from all over the spectrum, such as Richie Hawtin, DJ Kentaro, Jamie Lidell, Kode9 and more....
and now he's decided to release his first record... With Us!
As you can imagine for someone with such a varied musical background, FSOP is hard to pin down. I played it to a friend and they said it sounded like Photek covering Pink Floyd, which is the closest approximation I've heard of it, I guess.
It's techno, but steppy, and super musical, and dark, but uplifting. Above all, it's just really special.I couldn't not give the record a full side to itself, and for the remix we've found the perfect pairing with an interpretation from Cosmin TRG (who I met at a festival, and who I instantly hit it off with after finding our shared love of Guiness and Sarcasm).
Cosmin chokes out all of the light with a cut of raw, skittering Paranoid Techno. Providing the ideal balance for both sides of the record.
Raj has also provided us with a Dub Mix which we're releasing as a digital exclusive.
The dub narrows the dancefloor focus, without losing the drama of the OG.
Reading this, you can probably tell how excited I am about this record."

At a point in time when Johnny Winter had only recently recovered from past addictions and blues giant Muddy Waters had faced a decline in his career with illness and the collapse of Chess records in 1975, it was Steve Paul of Blue Sky records who would appear as saviour to both musicians. The results of his investment soon paid off and Winter's childhood dream to play alongside his hero Muddy waters was soon realised. Waters' comeback album was a return to his original Chicago sound. Its raw, expressive feel harked back to his Chess Records days, and the outstanding musicianship and intimate exuberance exceeded all expectations, earning Waters a Grammy in the process.
The Hard Again tour combined the respected powerhouse of Waters, Winter and Cotton with musicians from the Hard Again sessions. Hard Again cast a further four albums with Blue Sky before Waters would leave in 1983. Although this particular collaboration was short-lived, it has provided blues fans a rare opportunity to indulge in the work of two hugely important musical figures whose respect for each other is evidently unflinching.

We are very excited to present the new collabo release between Cosmic Compostions and Jitwam's selftitled album " ".

Born in Assam, Gauhati, in Northeast India, but currently based in New York's storied borough of Brooklyn, Jitwam spent his formative years in New Zealand and Australia, before living in monasteries in Thailand, orphanages in South Africa, and washed out apartments in London. Of everywhere and nowhere, his music draws influence from a litany of iconoclasts including, but not limited to RD Burman, Moondog, The Velvet Underground, Yayoi Kusama, Jay Electronica, Jay Dilla, Moodymann, Leon Thomas, Madlib and Asha Bhosle.

Across " (selftitled)", he utilizes knowledge acquired through years spent digging through dusty crates, and talents honed as a multi-instrumentalist, producer, and vocalist. A series of stumbling, jazz/soul-rooted beat sculptures, each buried beneath a haze of fuzzy psychedelia, broken microphone blues, and articulated through a freestyled process he describes as "first thought, best thought", " (selftitled)" solidifies Jitwam's spot as a major emerging talent.

Recalling the fourth world dreamscapes explored by oddball songwriters like Connan Mockasin, Clarence Clarity, Jai Paul, Silicon, and Unknown Mortal Orchestra, it represents a time of transition and remembrance for Jitwam, while still fulfilling the core qualities he looks for in song. In his words, "Music is a refuge. A shelter from the storm. A place you can go to close your eyes."

Since he first shared his music with IZWID Records boss Kutmah at a Brainfeeder afterparty in London, Jitwam has released through Leaving Records, Cosmic Compositions, and The Jazz Diaries (the label he co-runs with Casey Van Reyk and Nigel Mphisa). He's also written with Inkswel (BBE) and Paul White (R&S), featured on Moodymann's K7! "DJ-Kicks" compilation and been championed by Gilles Peterson, Alexander Nut, Andrew Jervis (Bandcamp), and Funkineven. Mainly mixed and mastered by Matthewdavid at Stones Throw studios in Los Angeles, " (selftitled)" will be available on vinyl and digital formats.

Absolutely stellar proto-disco jam from 1975 on the minute Shield label, Nassau County's Hokis Pokis may not be the most well known of funk / soul outfits but that doesn't mean they groove any less than any of the big guns!

'Nowhere' is a true underground classic, one for the real disco aficionados. One of those grooves that straddles the thin lines between rock, soul and funk. This is a proper club record and in the right hands will keep a dancefloor locked in and moving.
Speaking of 'right hands' this special 12" reissue sees NYC DJ and edit royalty Danny Krivit tastefully extend the original 3.32 7" A-side version into an extended club jam. Never one to utilise tired filters, loops, sweeps and so called laptop 'production methods' Danny turns in a fine extension that is subtle, effective and most of all - funky. A truly glorious slice of uplifting dance music 'Nowhere' is an essential purchase for those of you who dig the real deep stuff.
This reissue is a legit, licensed and proper release. Made by Above Board distribution in conjunction with Henry Stone music and the skills of the legendary Danny Krivit. 2018.