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Following on from the compilation of Contact-U's foundational UK dance music, 'Dancing Inner Space, 1982-84', Freestyle return to the Challenge Records vaults to reissue another killer Rick de Jongh & Andy Sojka production in the form of Distance's Just One More Kiss.

"We usually recorded at Vineyard studio which was situated in a Victorian warehouse site behind Borough underground station (later owned by the Stock, Aitken Waterman production team)", recalls Rick de Jongh, "but for a reason I can't remember we recorded this record at Phil Fearon's home studio in Kensal Rise - he probably gave us a good deal!". Fearon had been a member of the band Kandidate and was at the time the lead singer and songwriter in Galaxy and would later go on to helm the legendary Production House label in the late 80s and into the early 90s. Rick recalls the studio, a converted back bedroom, being as well equipped as any pro studio though not without it's quirks - "the odd electrical glitch would occur, especially when somebody put the kettle on, which would play havoc with sync codes etc. and we would often have to start again!"

Most of the track had been laid down by Sojka & de Jongh before approaching vocalist Janey Hallett. "At the time Janey was a vocalist with Mari Wilson & The Wilsations, who had a big hit a year or so earlier with 'Just What I Always Wanted' and was introduced to us by our regular keyboard player Garry Hughes, who also brought along Julia Fordham - then a fellow singer in the Wilsations - who provided backing vocals on the track."

Challenge Records would again later utilize the backing vocals of both Janey and Julia on some of their forays into the world of Hi-NRG records. In places there is a certain Hi-NRG tinge to this track, and at times Janey's vocal (in combination with the stripped back and heavy electro backing track) bring to mind the US-based latin freestyle sound of the late 1980s. All in all, it is another piece of foundational & criminally undersung UK dance music, which surely has a place in a wide-range of DJ's record bags!

C75 Cassette Tape


‘Speaking Things’, the new album from Isabassi, is a collection of highly detailed industrial music examining her singular perspective on rhythm and texture. Through brittle percussion, supernatural atmospheres and astonishing bass power, the Brazilian composer and artist explores a conversational narrative on the first full length Super Hexagon release.

About Isabassi:

Isabassi is a Brazilian electronic music composer and DJ based in Berlin. Highly influenced by industrial and rough sounds from the surroundings of Sao Paulo and the German capital, her musicality translates this aggressive environment through harsh and erratic drummings and dark textures. Aiming a sort of ritualistic experience, she explores different rhythms patterns to move body and soul, letting visceral impulses come to the surface.

“Pour les gens supercool.” This slick tagline caused a commotion among Belgian electronic music fans in 1985 as a jingle in Liaisons Dangereuses, the infamous radio show on local station S.I.S. Antwerpen. Hosted by Paul Ward and DJ Sven Van Hees and playing an exhilarating mix of EBM, house, new beat, acid house, Detroit techno, synthpop and more, the transmit was without a doubt trendsetting, presenting music on the radio that before was only to be witnessed in dark clubs or underground record stores. Listeners needed to make an effort though, since the S.I.S. waves only reached about 10km out of the city center. But a network of copied tape recordings and a fast growing bunch of fans - some of which even driving their cars to parking lots inside the broadcast area to hear the show - created a buzz that would easily exceed the limits of the transmission signal.

In 1989 Ward and Van Hees formed their own band named after the radio show, but to avoid confusion with the eponymous German new wave band, they signed their records with Liaison D or Liaisons D. Assisted by Jan Van Den Bergh (Mappa Mundi, Kumulus, Buzz), Marcos Salon (Outlander), Frank De Wulf (B-Sides, World Party II) and J.P. Ruelle, Liaisons D released a solid string of EP’s and the album “Submerged In Sound” on USA Import Records between 1989 and 1992. We are extremely proud to present four tracks from the album here as a brand new EP, a must-have for fans of their unapologetically rough and ravy sound, testimony of a unique era in Belgium’s electronic music history.

Skins is a producer/DJ based in Leeds with an active history in dance music that goes back over 10 years. He cut his teeth DJing regularly at the legendary former Oxford nightclub The Cellar. He played here as part of the Subverse Radio collective as well as for other favourite local promoters, alongside a regular radio show on the aforementioned station which he co-founded. After moving to Leeds in 2016, Skins focused his attention on music production and self-released a string of white-label techno EPs which garnered support from artists such as Djrum, Jane Fitz and Mike Schommer of Deepchord.

More recently Skins has moved away from the dub techno sound with which he had become associated, with an EP from speed garage newcomers Spin City on heavy rotation with DJs including Evan Baggs, Andrew James Gustav and Sugar Free. His latest explorations have found him returning to the futuristic jungle stylings which originally drew him into the world of electronic music in his teens.

Whether it’s in the studio or behind the decks, Skins draws on a wide range of influences from hip hop, deep house and techno through dubstep and grime to jungle, with a preference for playing vinyl over three turntables. He has performed alongside the likes of Willow, Batu, Answer Code Request, Levon Vincent and Ben UFO.

Brazil’s Bruno Furlan returns to Hot Creations with his fresh two-track EP, ‘Bongoloco’.

A DJ and producer whose recent studio endeavours have seen him release material on Black Book Records, Fool’s Gold and Material, Bruno Furlan is an artist at the centre of Brazil’s recent explosion of names within the house and tech house landscape. Based in São Paulo, the bubbling talent has built on his early experiences within the Brazilian electronic music scene to make appearances at global events such as Dirtybird Campout and AMF Festival. Following
an impressive debut on the label with his two-track ‘The Speakers Pump Like This’, late January brings a return to Jamie Jones’ Hot Creations imprint as he serves up two fresh dancefloor-leaning cuts across his ‘Bongoloco’ EP.

Title track ‘Bongoloco’ takes cues from its name and showcases a skittering percussion-driven production built for peak-time hours as warped drum fills and vibrant vocal calls inject an abundance of energy. Keeping things moving, the rolling ‘Vai’ delivers a slick accompaniment to the package, serving up an anthem built for bustling terraces worldwide.

Ugly Mac Beer, a key figure in the French breakbeat scene, founder of Beatsqueeze Records and author of the critically acclaimed albums Modonut 1 & 2 alongside Mister Modo, is back with a new solo album “The Valley of the Kings”, between lofi hip-hop, abstract hip-hop or even broken beat, which will be released on January 27, 2023.

A digger/beatmaker effort par excellence, very inspired by the 90s productions of masters of the genre such as Madlib, DJ Shadow or RZA, the concept of this instrumental album with oriental sounds is based on the search for the sample of “THE” ultimate and perfectly heady loop, which can be listen to over and over again.

The eponymous title track which opens the album sets the tone with its powerful lofi hip-hop drum on a big cinematic and orchestral sound which evokes an Egyptian peplum of the 60s taking place in the heart of the mythical valley of the kings! Another highlight of the album, the track “Les chœurs perdus” resonates like a children’s tale, with its bewitching voices and magical songs set to a catchy beat that evokes the Egyptian goddesses and the mystery of the pyramids. To compose the powerful and rather dark beat of “The New Flame”, another essential piece of the album, the beatmaker drew his inspiration from New York hip-hop from the 90s but also from “crime film” soundtracks from the 70s. The sublime interludes “Fortune & Gloire”, “Years of Despare” and “Ambitious Dream” take us from one track to another, each one more powerful than the other.

In a very cinematographic mood, Ugly Mac Beer succeeds in developing its “old film about Egypt” album concept from start to finish and thus manages to tell a real story that takes us on a journey back in pyramids time.

Ugly Mac Beer, a key figure in the French breakbeat scene, founder of Beatsqueeze Records and author of the critically acclaimed albums Modonut 1 & 2 alongside Mister Modo, is back with a new solo album “The Valley of the Kings”, between lofi hip-hop, abstract hip-hop or even broken beat, which will be released on January 27, 2023.

A digger/beatmaker effort par excellence, very inspired by the 90s productions of masters of the genre such as Madlib, DJ Shadow or RZA, the concept of this instrumental album with oriental sounds is based on the search for the sample of “THE” ultimate and perfectly heady loop, which can be listen to over and over again.

The eponymous title track which opens the album sets the tone with its powerful lofi hip-hop drum on a big cinematic and orchestral sound which evokes an Egyptian peplum of the 60s taking place in the heart of the mythical valley of the kings! Another highlight of the album, the track “Les chœurs perdus” resonates like a children’s tale, with its bewitching voices and magical songs set to a catchy beat that evokes the Egyptian goddesses and the mystery of the pyramids. To compose the powerful and rather dark beat of “The New Flame”, another essential piece of the album, the beatmaker drew his inspiration from New York hip-hop from the 90s but also from “crime film” soundtracks from the 70s. The sublime interludes “Fortune & Gloire”, “Years of Despare” and “Ambitious Dream” take us from one track to another, each one more powerful than the other.

In a very cinematographic mood, Ugly Mac Beer succeeds in developing its “old film about Egypt” album concept from start to finish and thus manages to tell a real story that takes us on a journey back in pyramids time.

repressed !

Okain opens LOCUS’ 2022 schedule as he drops his latest EP, ‘Daddy’s Groove’.

A long-standing figure within Paris and Berlin’s nightlife scenes, Talman Records boss Okain continues to impress as a DJ, producer and label head at the heart of Europe’s house landscape. Whether releasing material via labels such as Infuse, Pleasure Zone, Eastenderz or Constant Sound, or on home turf alongside the likes of Silverlinings, DJOKO, Leo Pol and Per Hammar, the Frenchman’s blend of tough house merging old and new runs deep throughout his DJ sets and productions. Kicking off 2022 in style, mid-January welcomes a label debut on LOCUS as he drops four crisp efforts across his ‘Daddy’s Groove’ EP.

Opening cut ‘Mightnight Feed’ welcomes a slinking track guided by aquatic synths, sweeping electronics and bumping bass, while ‘Tavie One Tooth’ hones in on rich M1 stabs to showcase a bubbling and resonant house affair. On the B-side, ‘Brother Jack’ journeys down a lighter path, combining airy pads with jazzy interludes and subtle yet squelching low-ends, before rounding things out via the slick, classy tones of closing production ‘Green Mousse’.

Behold! Yes, Blue Butterfly, one of the absolute stunners on the revered Selected Sound, is finally available for all the beat-heads. Heavyweight library funk with a psychedelic touch, the super in-demand Blue Butterfly from *deep breath* Hardy's Jet Band, Orchestra Klaus Wuesthoff, Jan Troysen Band and Orchestra Gary Pacific - was originally released in 1971. Incredibly ahead of its time, it's been rare and sought-after for decades.

For many aficionados, this is the best Selected Sound release. Loaded with fuzzy wah-wah guitar, deep flute-lines atop soulful psych-rock breakbeats and huge organ action, its uncompromising funk will blow you away. Sampled for many hip hop beats and dropped by well known rare groove DJs around the world, one jewel in particular from this glorious German vault needs little introduction. The intro to Orchestra Gary Pacific's mesmeric "Soft Wind" rides the illest, crispest drum break you've perhaps never heard - like, the drum break to end them all - alongside a smooth, deep bass line from the heavens. It featured notoriously on the beloved Dusty Fingers comps of the 90s and was brilliantly sampled by Pacewon for his eternal "Sunroof Top". Just listen and be dazzled.

Beyond this mini-masterpiece, the other killer tracks offer brilliance in abundance. Hardy's Jet Band take control of the full A side, and it's full of dynamic psych-funk bombs. Hard, "big city" industrial groovers. In particular, the initial one-two of "Sorry, Doc!" and "Wind It Up" provide thrilling funky-blues rock instrumentals showcasing relentless guitars, flutes, sax and organ, the latter containing gorgeous, hypnotic breakdowns; these tracks just slay. The title track, "Blue Butterfly" is a real deep strut of a track with fantastic soloing from guitar and flute over crisp drums whilst the highway banger "What You Call To Be Free" certainly sounds a lot like unbridled, rhythmical liberty.

On the flip, the ghost-riding "Lady In Space" is a string-drenched acid-western foxtrot. Yep. “Pop Happening” by Jan Troysen Band is a heavy, druggy psych-fuzz organ groover whilst their slow beat-organ-flute gem "A Blue Message" is a gorgeous psych floater conjuring deeply strange frontier lands. Preceding their monster "Soft Wind", the soulful, uptempo groover “Ghetto Gap” by Orchestra Gary Pacific contains solo piano and flute whilst closing out the set is the free-and-easy samba beat of "So Far".

Founded in the late 60s by German composer and musician Klaus Netzle (who recorded under the alias Claude Larson for Sonoton) Selected Sound began as a production music company specialising in jazz, orchestral and electronic recordings. You can’t miss those early LPs in their iconic glossy metallic copper sleeves with minimal German typography. Serious, classy stuff.

The audio for Blue Butterfly has been remastered for vinyl by Be With regular Simon Francis whilst Richard Robinson has handled reproducing the glossy metallic (iconic) original Selected Sound sleeve. Essential.

Hailed by The Guardian as “the hopeful new voice of her super-sad generation” Arlo Parks released her second track in January 2019. At the time of release Arlo told Clash Magazine: "When I look at my generation I see a kaleidoscope of dejection, passion and anxiety – there’s this strange mix of sadness and intimacy that saturates Generation Z. 'Super Sad Generation' was inspired by the time my friends and I sat on the green at sunset, half wine drunk and ugly crying for no reason in particular."

Lifted from the Super Sad Generation EP ‘Paperbacks’ took its inspiration from Space Song by Beach House and Changeling by DJ Shadow.

"The British songwriter captures the specifics of being young and messed up like no-one else" - Noisey

Dropping in January 2023 is the reissue of DJ Shu�lemaster's album EXP, which Tresor Records first released in 2001. This expanded reissue comes as a 3xLP with new artwork by Japanese designer Sk8thing and combines the original CD release tracks with three tracks from the Angel Gate 12" from the same year, including a remix by Surgeon of Experience. Also present is a previously unreleased version of Innervisions, which replaces the assonant synths of the original with a looped vocal sample upfront. Climb and Guiding Light will feature as digital-only tracks.
Tatsuya Kanamori remains a critical component of the Tokyo techno underground scene, initially coming to the fore through the Subvoice label before releases with Tresor, Theory Recordings, and Japanese record labels such as Disq and Reel Musiq. At the moment of the original release, DJ Shu�lemaster considered the record to draw in disparate and latent ideas into a fully encompassing mesh - "I would like to show my thoughts and everything that I am through the album. If it doesn't reflect my ideas and the reasons that I live for, there is no meaning for me to create an album. Therefore, EXP doesn't contain just one theme or concept."
EXP represents an uncompromising and psychedelic slant on techno, with a purist's focus on the dancefloor. It bridges many avenues within the techno genre, from the minimalist, dubby terrains of tracks like P.F.L.P. and Opaqueness, to more fierce percussive works that share a kinship with the sonic movements in Berlin, Detroit and
the UK. Beyond the technical, pared-down techno found in tracks such as EXP and Onto The Body, the album leaps into unpredictable territories frequently. Angel Exit carries mystical UK steppers moods as if it were a long-lost dubplate of The Rootsman. Kanamori delves deep into looping digital grunge in Flowers of Cantarella and Dawn
Purple, these synthetic worlds enveloping and deforming at will. Bold and as fresh as ever, EXP is an unearthed jewel from Tresor's past for new ears.

Meg Baird’s songs are rarely made up of tidy stories. In fact, for Meg, mystery itself is often the
medium. With ‘Furling’, Meg’s fourth album under her own name, she explores the breadth of
her musical fascinations and the environments around them - the edges of memory,
daydreams spanning years, loose ends, loss, divergent paths, and secret conversations under
stars. ‘Furling’ moves through these varied spaces with the slippery, misty cohesiveness of a
dream - guided by an ageless, stirring voice that remains singular and unmistakable.
Since co-founding the beguiling and beautiful Espers in the mid-aughts amid Philadelphia’s
fertile underground music community, Meg’s solo recordings have constituted just a fraction of
her work.
Her first solo LP, the disarmingly out-of-time ‘Dear Companion’ (2007), saw her carve a quiet,
sunlit space away from the flickering swirl of Espers. Since her last solo releases, ‘Seasons on
Earth’ (2011) and ‘Don’t Weigh Down the Light’ (2015), Meg has lent thunderous drumming,
lead vocal, and poetry to Heron Oblivion (Sub Pop) on an album that garnered praise from the
New York Times and made Mojo’s Top Ten Albums Of 2016 list. She collaborated with harpist
Mary Lattimore on the mesmerizingly hazy ‘Ghost Forests’ (2018). She’s played drums with
Philadelphia scuzz-punks Watery Love (In The Red, Richie Records) and explored her deep
familial folk roots in the Baird Sisters (Grapefruit Records). She also contributed her vocal
arrangements to albums from Sharon Van Etten, Kurt Vile, Will Oldham and Steve Gunn, and
toured with Angel Olson, Dinosaur Jr., Bill Callahan, Thurston Moore and Bert Jansch, among
others.
Yet ‘Furling’ is the album that most irreverently explores the span of her work and musical
touchstones. It showcases her natural tether to 1960s English folk traditions. But it also reveals
her deep love for soul balladry, the solitary musings of Flying Saucer Attack and Neil Young
shackled to his piano deep in the foggy pre-dawn, dubby Bristol atmospherics, the melancholy
memory collage of DJ Shadow’s ‘Endtroducing’, and the delicious, Saturday night promise of
St. Etienne.
‘Furling’ was primarily recorded at Louder Studios by Tim Green (Bikini Kill, Nation of Ulysses,
Melvins, Wooden Shjips). Additional piano and vocal recording were captured at Panoramic
Studios in Stinson Beach, CA with Jason Quever (Papercuts). It was mastered in Brooklyn by
Heba Kadry, who mixed Bjork’s ‘Utopia’ and mastered albums for Slowdive, Cass McCombs
and Beach House.
For all its adornments, ‘Furling’ remains deeply intimate. The entire album was performed by
Meg and her long-time collaborator, partner, and Heron Oblivion bandmate Charlie Saufley.
While her prior solo work hinted at more expansive horizons, ‘Furling’ explores the idea of Meg
Baird as a band much more freely. Venturing beyond the musical confines of fingerstyle guitar,
she plays drums, mellotron, organs, synths, and vibraphone over her piano and guitar
foundations. Her distinctive, simultaneously elegiac and uplifting vocals, meanwhile, connect
surreal dream montages, graft sunshine sonics to swooning mediations on romantic solidarity
in trying times, and weave odes to the simple gestures of friendship - and the loss of family and
friends.
This rich sound world makes the songs a varied bunch: ‘Twelve Saints’ mates Pacific sunset
ambience and Pink Floyd pastoral to a meditation on mortality and escape. The infectious and
kinetic ‘Will You Follow Me Home’ contemplates hope and longing through the looking glass of
a Jimmy Miller-era-Stones strut. And in the closing piece, ‘Wreathing Days’, language
disintegrates over tone clusters that feel somewhere between falling and flying.
‘Wreathing Days’ also reveals much about Meg’s mastery of contrast - situating the dear and
delicate adjacent to chaos. And while it’s true that some songs on ‘Furling’ grapple with
humanity’s existential unknowns in stark terms, they primarily revel in the mysteries that hide in
nature and humanity at their most ordinary. ‘Furling’ lives in the notion that whole universes of
experience, enlightenment, elation and ecstasy can bloom in these corners.

Following the release of the limited edition gatefold edition last summer, Ferry Djimmy's obscure afro masterpiece 'Rhythm Revolution' sees its original-form reissue for the first time on 20 January. Number 2 among Rough Trade's 'Reissues of the Year' for 2022, this edition is pressed on red vinyl. The album was originally recorded in the mid-1970s in support of Benin's revolutionary leader Mathieu Kérékou. Rumour has it that less than two hundred copies survived a late-'70s fire. It is one of the toughest and deepest slices of African funk ever cut, combining raw African rhythms with distortion, energy and wit. In spite of obvious nods to James Brown, Fela Kuti, George Clinton and Jimi Hendrix, Ferry managed to create something very unique.

Australian 9-piece Spiritual Jazz group Menagerie announce their highly anticipated third album 'Many Worlds', released 15th January 2021 on esteemed U.K label Freestyle Records.

Menagerie is the Melbourne-based Jazz ensemble founded by producer, songwriter, guitarist, DJ and recording artist Lance Ferguson, also the driving force behind The Bamboos, Lanu, Rare Groove Spectrum and Machines Always Win.

Recorded at Union Street Studio by award-winning engineer John Castle, 'Many Worlds' features some of Australia's finest musicians, including pianist Mark Fitzgibbon (a regular performer at Gilles Peterson and Patrick Forge's original Dingwalls sessions), drummer Daniel Farrugia and renowned saxophonist Phil Noy (The Bamboos).

Inspired by both the post-Coltrane generation of the 70's, labels like Strata-East, Impulse! and Tribe, along with the current 'New Wave Of Jazz', Menagerie aligns with the world of Kamasi Washington, Shabaka Hutchings and Nubya Garcia, whilst also bringing their own unique twist.

Lead single 'Free Thing' leans heavily into the spiritual side of the band's sound. The hypnotic spoken word-poem is evocative of The Last Poets, an earthy yet futuristic meditation on the universal theme of freedom itself, set to a backdrop of insistent percussion, double bass and brooding piano voicings.

'Hope' carries forward the sound of spiritual jazz into the 21st century, with its epic vocal harmonies and melodic fanfare, it is an uplifting anthem for this period of global worldwide upheaval and uncertainty.

The title track 'Many Worlds' is a perfect example of how Menagerie incorporates their myriad influences, but manage to create a sound that feels uncannily fresh and contemporary. Book-ended by ambient, ethereal sections, the slow-burning groove builds over its 11-minute duration to create a standout crossover track.

Menagerie have received airplay and radio support from Gilles Peterson (BBC6/Worldwide FM), Don Letts (BBC6), Jamie Cullum (BBC Radio 2), Simon Harrison, Paul Miller and Ennio Styles (3RRR).

'Many Worlds' will be released on legendary U.K imprint Freestyle Records - home to jazz contemporaries Courtney Pine, Jessica Lauren, and keyboard legend Brian Auger.

Following the success of his 2022 mod-club, soul-jazz adventure with Mick Talbot, on 27 January Acid Jazz Records will release Chris Bangs' compendium of dance-floor fillers and Latin dynamite. Chris, who coined the term 'acid jazz', has created a new solo album of 10 tracks that takes his unique spin on jazz DJ-ing and turned it to producing an album that is totally reminiscent of the classic '80s era on the UK dance scene.

Recent single 'Firebird' (Jazz FM's Breakfast show 'track of the week') encompasses a lifetime of Chris's musical influences to present a jazz-tastic smorgasbord of bossa, fusion, bop jazz funk, salsa and a myriad selection of other jazz stylings all delivered with his trademark ear for the grooves and melodies to go with it. Paying tribute to his roots, 'East Coast' is the distinctive sound of jazz-funk fusion which spread through UK clubs in the early '80s, whereas 'Dinamita's heavy duty percussion-led Montuno Salsa groove tips its hat to the sound of '70s NYC via Puerto Rico.



Elsewhere the album features a tough Batucada rework of Dom Um Romao's 'Kitchen (Cosina)', the bossa of Cal Tjader's 'Samba Do Sueno', Brazilian disco funk-jazz 'Sambara' via the epic samba fusion 'Lifetimes'. Firebird features an array of in-demand and exceptional musicians, including jazz guitarist Nigel Price (Van Morrison, David Axelrod, JTQ), supreme jazz piano stylist Janette Mason (Seal, KD Lang, Robert Wyatt), trumpeter Dave Priseman (Jeff Beck, Imelda May), bassist Ernie Mckone (Boogie Back), saxophonist Simon Bates (Elvis Costello, Chaka Khan, Carleen Anderson), and fresh from his remix work with Paul Weller, vibesman Roger Beaujolais. This brilliant team of collaborators have helped a remarkable musical maverick create a truly unique and incredibly exciting album. Independently self-produced and composed, Firebird is a set of tunes better than any Chris Bangs had ever done.

On his debut 12" EP, Chicago producer and bike messenger DJ HANK captures the feeling of racing against traffic and, as he puts it, "trying to make it out alive with the chaos of the city going around you."

DJ Hank grew up in North Carolina, Eastern USA. As a teenager, he began making rap beats on pirated music software while also DJing and playing keyboards in experimental punk band Whatever Brains. In 2011, at age 18, Hank moved to Chicago to pursue a career as a bike messenger. In a city dominated by 21+ clubs and venues, Hank gravitated to the famous footwork hub Battlegroundz due to it's all-ages inclusivity and raw energy. DJ Rashad, DJ Spinn and other luminary figures of the footwork community spun weekly, while dancers spanning multiple generations and crews battled it out on the dance floor every Sunday.

Through the underground network of Chicago footwork events, Hank became a close and frequent collaborator with international footwork collective Teklife. He has released music on Teklife's record label but isn't a member of the group itself. In similar fashion, he's loosely affiliated with dance group Take Ova Gang (TOG) founded by DJ Manny. Hank maintains a fluid relationship with the footwork culture from which his sound draws. Beyond collaborating with his friends, Hank has collaborated with Chilean rapper Catana, Berlin-based DJ Paypal, and Floridian DJ Orange Julius.

On "Traffic Control," however, Hank explores a wide range of sounds, from melodic to experimental, influenced by everything from UK Garage and Grime to Ghetto House and Snap music (or Southern Hip hop production in general). Artists like Kode9, MachineDrum, and Sherelle have been supporters of Hank's music, playing his tracks throughout multiple recorded sets. In a live setting, Hank has shared the stage with such influential acts as Loefah, DJ Deeon, Sporting Life, DJ Spinn, Traxman, and pioneering footwork artist Jana Rush, who has been both a friend and mentor to Hank during his formative years in Chicago.

After Jose Manuel’s highly acclaimed album Janara on Optimo Music and the curation of the V.A. compilation Milagros Del Ritmo, he returns with his new EP Alchemy, the second vinyl release on Archaic Future Sounds.

It’s a queer psychedelic trip through electronic reinterpretations of tropical ritual chimes from South East and Southern Asia with a touch of Tribal and Acid House. Chugging beats seasoned with percussive flutes are enveloped by warm synthesizer sounds, heavy basslines and exotic melodies.

The antithesis is the trippy remix produced by Front De Cadeaux, who released on Antinote, a dub influenced future classic of deconstructed club music and as a wrong-speeder you can always choose your own tempo! Influenced by 90s Afro Cosmic Music, magic mushrooms and LSD it’s perfect for all passionate DJs, clubs and dancers!

After 9 full length studio albums and playing their asses off at over 800 shows, the Finnish disco metal machine Turmion Kätilöt is ready for the next level in their world dominance. Their 10th full length studio album “Omen X” will be released in 36 countries on 13th January 2023 via Nuclear Blast. The touring cycle starts in Finland immediately after the release of Omen X. Band will play its biggest show ever in Helsinki Ice hall on 14th January 2023. After couple of shows in the home country “Omen X” will be served all over Europe with 20 gigs inFebruary 2023 – see the full show schedule below.
”In the Omen X production, we encountered only positive problems. Due to the closures caused by Covid 19, there were so many songs available this time that it was even painful to choose only one album of songs from them. The amount of material and the difficulty of selection seemed to take up an unnecessary amount of valuable studio time at times. Otherwise, making the album went smoothly as always. From the artist's point of view, the album got a hell of a new sounds and atmosphere. A very cleansing experience. The tenth prophecy has been given. You're welcome!” - MC Raaka Pee
Turmion Kätilöt was formed in 2003 in Finland by MC Raaka Pee and Dj Vastapallo. Soon they were joined by the other members of what would become Turmion Kätilöt: Master Bates, Run-Q, DQ and Spellgoth as a second vocalist. With a couple of line-up changes as Dj Vastapallo left the band in 2009 replaced by Bobby Undertaker on guitars (ex-Deathchain) and Spellgoth leaving in 2017 replaced by Shag-U (Fear Of Domination) on vocals, Turmion Kätilöt has become the mean disco metal machine they are today.
From the very beginning Turmion Kätilöt has had a reputation of being a great live band. Disco beats from the 90’s, metal to the pedal, melodies, sing-a-longs, you name it – there are no rules. Yet still if you peek under the skin you can find the darkness pointing its finger to you. Their live shows have been praised to be the fiercest and craziest mayhem to be witnessed creating the twisted world of Turmion Kätilöt.

-Limited to just 500 copies worldwide, February is part two of a 12-part vinyl series celebrating Papoose’s decorated career as he stages his exit from the rap game.

Papoose first jumped on the scene in ’98 as a guest feature on “Home Sweet Home,” taken from the legendary Kool G Rap’s sophomore solo effort, Roots of Evil. But it was his work with DJ Kay Slay that made Pap a staple in the New York rap scene. Now after 20 plus years in the game, Papoose is calling it quits. But not before releasing his "one a month" album series.

Each album is aptly titled with the month of the year and features some of the most adept emcees and producers in the game. On the inaugural effort, January, we’re met with guest appearances by Wiz Khalifa, with production supplied by Brady, Statik Selektah, Cool & Dre and more.

PRODUCED BY GRAMMY® AWARD-WINNING ANDREW WATT

MUSICIANS ON EVERY LOSER: TAYLOR HAWKINS (FOO FIGHTERS), ANDREW WATT (GRAMMY® AWARD WINNING PRODUCER), DAVE NAVARRO (JANE’S ADDICTION), CHAD SMITH (RED HOT CHILI PEPPERS), TRAVIS BARKER (BLINK 182), STONE GOSSARD (PEARL JAM), JOSH KLINGHOFFER (RED HOT CHILI PEPPERS, PEARL JAM), CHRIS CHANEY (JANE’S ADDICTION), ERIC AVERY (JANE’S ADDICTION), DUFF MCKAGAN (GUNS N' ROSES)

ABOUT IGGY POP

Iggy Pop is a singer, songwriter, musician, author, record producer, DJ, and actor whose epic body of work has earned him both worldwide critical acclaim and fanatic cult success

Credited as “The Godfather of Punk”, spearheading the ‘70s punk and ‘90s grunge movements

PRODUCED BY GRAMMY® AWARD-WINNING ANDREW WATT

MUSICIANS ON EVERY LOSER: TAYLOR HAWKINS (FOO FIGHTERS), ANDREW WATT (GRAMMY® AWARD WINNING PRODUCER), DAVE NAVARRO (JANE’S ADDICTION), CHAD SMITH (RED HOT CHILI PEPPERS), TRAVIS BARKER (BLINK 182), STONE GOSSARD (PEARL JAM), JOSH KLINGHOFFER (RED HOT CHILI PEPPERS, PEARL JAM), CHRIS CHANEY (JANE’S ADDICTION), ERIC AVERY (JANE’S ADDICTION), DUFF MCKAGAN (GUNS N' ROSES)

ABOUT IGGY POP

Iggy Pop is a singer, songwriter, musician, author, record producer, DJ, and actor whose epic body of work has earned him both worldwide critical acclaim and fanatic cult success

Credited as “The Godfather of Punk”, spearheading the ‘70s punk and ‘90s grunge movements

Módulo 1000 were not messing around when they made 'Não Fale Com Paredes’. It holds its own, not just as a raw, heavy, experimental “Brazilian” psychedelic rock album, but as a raw, heavy, experimental psychedelic rock album, full-stop!

Formed in Rio de Janeiro in 1969, Módulo 1000 honed their craft as the house band in clubs and resorts in São Paulo where they predominantly covered American artists such as Jimmy Hendrix as well as British giants, Led Zeppelin. After acquiring a taste for fame following the performance of one of their tracks at the Rio International Song Festival, the band focussed their attention on composing original material. Their manager, Marinaldo Guimarães, encouraged the band to explore their experimental and creative sides. This, in parallel with the explosion of experimental music in Brazil, resulted in the band performing alongside heavyweights such as O Têrço; there was a happening in the air.

Módulo 1000 recorded just one album. Released on Top Tape records in 1972, it featured Eduardo Leal on bass, Candido Faria on drums, Daniel Cardone on guitar, violin and vocals, and Luiz Paulo Simas on organ, piano, and vocals. 'Não Fale Com Paredes' was produced by the popular DJ, Ademir Lemos, and came housed in a fold-out cover featuring tripped-out artwork and design by Wander Borges. However, due the uncompromising nature of its wild, heavy psychedelic rock sound, the album was destined not to be played on the radio in Brazil. Rumours suggest that the label didn't understand the album, and as a result, it wasn't promoted or marketed. Thus, like many other underground cult classics, it was lost in the ether, only later to be rediscovered by a new audience at a different time.

One thing is certain, you definitely know when you've heard Módulo 1000. The sound is raw, heavy and at points quite aggressive, more Black Sabbath than Os Mutantes. It floats between psychedelic rock, prog rock, early metal, and dare we say, displays elements of proto-math-rock.

The band’s discography includes a 7" single, as well as their music being featured on several compilations for Odeon Records, additionally they released a 7" single under their alias 'Love Machine' for Top Tape Records. These compositions are included as bonus tracks on the CD version of our reissue.

Ich hasse Musik
Im Dezember 2022 wird das 4. von 10 großartig aufgebrezelten Vinyls einer historisch wertvollen Schallplatte wiedergeboren.
Zur Vorgeschichte: Im März 1857 gelang es einem Franzosen ein Kinderlied mit Hilfe eines großen Trichters einzufangen und mit einer Membran, die die Schwingungen auf eine Schweineborste übertrug, auf eine rußgeschwärzte Walze zu kratzen. Im Januar 2003 gelang es Deutschlands meister Band der Welt Knorkator 12 Lieder in nur 76 Minuten unterzubringen und auf jenes Polyvinylchlorid zu bannen. Es sieht aus wie das beste Gut und es klingt wie ein Tabellenführer.

Jetzt auch als Deluxe 3LP im violetten Vinyl erhältlich, dieses Format wird die orange-farbene Deluxe 3LP Edition in der Zukunft ersetzen! Das Belfaster Duo Bicep veröffentlichten ihr zweites Werk 'Isles' bereits Ende Januar 2021 und das Album chartete auf Platz 8 in den deutschen Albumcharts!

Zwei Jahre in Arbeit, erweitert „Isles“ die kunstvolle Energie des 2017 erschienenen selbstbetitelten Debütalbums von BICEP und vertieft gleichzeitig die Klänge, Erfahrungen und Emotionen, die ihr Leben und ihre Arbeit beeinflusst haben. Sie beschreiben „Isles“ als „eine Momentaufnahme“ ihrer Arbeit in dieser Zeit, wobei die Stücke so konzipiert sind, dass sie sich in ihren verschiedenen Durchläufen von der Aufnahme bis zur Live-Show und darüber hinaus entwickeln. Der weltweit beliebte Sound von Bicep entstand, als ihr eigener rasanter Aufstieg im Musikbusiness begann. Nach dem Start ihres legendären FeelMyBicep-Blogs im Jahr 2008 entwickelte sich ihre simple Website, die stets neue Italo-, House- und Disco-Juwelen aus der Musikgeschichte präsentierte, zu einem durchschlagenden Erfolg, der regelmäßig über 100.000 Besucher pro Monat verzeichnete. Nachdem der Blog ein Plattenlabel und eine Clubnacht hervorgebracht hatte, wurde das Duo mit begehrten DJ-Sets, die die musikalische Vielfalt ihres Blogs widerspiegelten, auf die internationale Bühne gehoben. Nach den Erfolgen mit Produktionen für Throne of Blood und Aus Music wurden Bicep 2017 bei Ninja Tune unter Vertrag genommen, wo sie im darauffolgenden Jahr ihr umjubeltes, selbstbetiteltes Debütalbum veröffentlichten, das einen Top-20-Einstieg in die britischen Charts erreichte und in der Groove schaffte, was in der langen Geschichte des Magazins noch kein Release bewerkstelligen konnte: sowohl die Kategorie „Album des Jahres“ als auch mit „Glue“ die Kategorie „Track des Jahres“ zu gewinnen. Titel wie „Opal“ - und der bald folgende Four Tet-Remix - sowie die eben erwähnte Lead-Single "Glue" mit dem von Joe Wilson entwickelten Video wurden 2017 zu Meilensteinen der elektronischen Musik, wobei letzteres vom DJ Mag ebenfalls zum „Track of the Year“ gekürt wurde.

Formate:

- Purple Dreifachvinyl (140g) im hochwertigen Gatefold Sleeve inklusive Downloadcode inkl. 3 Bonustracks

TELE MUSIC is a label of Éditions Musicales Sforzando now owned by BMG Production Music. It is entirely devoted to the music library, that is to say, music for sound illustration used in audiovisual productions. Created in 1966 by Roger Tokarz,
just before advertising was allowed on French television, Editions Sforzando specialized from the outset in sound illustration for radio and television.
This collection, soberly entitled “Volume 2”, is the sequel to “Volume 1”, produced with equal care, passion and fervour by Lord Funk & DJ L.C. In the mid-90s, Tele Music vinyl was sold at ridiculously low prices. Often disparaged by collectors and record shops, considered by some as lift music or vulgarly called “music by the meter”, the music store was only of interest to fans of instrumental music! But in the 2000's, it had a second life and saw its prices soar on Discogs, thanks to sampling and digging in Hip-Hop mainly. This advent of the library is an era that Lord Funk, curator of this compilation, experienced when he brought several music library collections to New York City (NYC) to his A1 Records stronghold in 1997.
In this 2nd volume, Lord Funk & DJ L.C. have chosen a range of music from 1969 to 1983, from psychedelic jazz to electro funk via rnb, soul and jazz-funk. Most of the titles in this collection were recorded in the magic place that was the famous CBE recording studio set up by Georges Chatelain, Janine Bisson and Bernard Estardy. Bernard, nicknamed the giant, was a sound genius and a mixing perfectionist. Georges Chatelain was an electronic engineer. Together, they brought a sound,
a colour, a trademark. Bernard Estardy was also considered as one of the greatest French sound engineers and an energetic organist for Nino Ferrer or Nancy Holloway. We warmly thank Julie Estardy for her total and unreserved involvement in these reissue and compilation projects.
The combination of all these prodigies has given TELE MUSIC a phenomenal and unique sound colour in the service of a sound repertoire that is now part of the French heritage.

Fiocco and Scoop are both productions from DJ/producer Jan Vervloet. These 2 massive hits were originally released on A&S Productions and now available for the first time in their radio edits on black wax.

Zopelar arrives on Tartelet with Charme - an album of effervescent machine funk harking back to a golden era of Brazilian party music, releasing October 21st.

The era of interest for Sao Paulo’s Pedro Zopelar begins in the 1980s in Rio de Janeiro, when a particular phenomenon caught on at suburban parties which became known as Charme. “Charme was like a mix of slow boogie, RnB and new jack swing,” explains Zopelar. “DJ Corello started calling ‘charme’ the moment of the party when he played slow grooves and felt that the people started dancing differently, with sexier synchronized moves. Some years later, charme evolved from an awaited moment of a night to a whole movement of parties just playing that kind of music. On this record I tried to make something that brings this emotional feeling to my music in a modern way.”

Much like the original genre-not-genre he drew inspiration from, Zopelar’s approach across his latest LP spans different moods and tempos. There’s blissful, sultry mystery lingering around ‘Clara’ and ‘Do You Feel?’ while OSAGIE lends some chops to the exquisite, Rompler-powered synth funk of ‘Chain Net’. The lead singles ‘Shibuya’, ‘Charme’ and ‘Passado’ all tap into varying shades of deep house, from slinky City Pop-tinted loungers to peak-time dance pop and Larry Heard-influenced flavours, with the constant being Zopelar’s immaculate production and the unbridled warmth of his compositions.

Continuing the Latin-rooted theme of the album, the artworkconception of Charme was realized by multidisciplinary artist and curator Ode, showcasing a popular style of street paintings made by anonymous artists throughout Latin America. It’s not about graffiti-culture but a popular solution utilized by small restaurants, bars and other establishments to use their own walls for commercial purposes, hiring artists to paint food and drink menus or other information about their products.

With an emotional sincerity stemming from his move to reconnect with the Brazilian dimension of his creative background, Charme arrives as Zopelar’s heartfelt celebration of life and music, of sentimental moments shared and good times enjoyed.

"What you have here, pouring out of your listening devices, is Parisian Dreams. A genre-busting, generation-spanning, cross-pollination of 21st century beatmaking and 1970’s psychedelic composition. The styles are myriad. Running the gamut, between acoustic folky guitar riffs, through fuzzy movie-soundtrack textures, hitting grooves that land somewhere between dub and funky breakbeat jazz.
MPC producer Yeti recently found himself in a session with one of his musical heroes, Janko Nivolic. A veteran composer of psychedelic funk and jazz dating back to the late 1960’s. In his digging and sampling obsession Yeti had marvelled at the compositions of Mr Nivolic for years, collecting these rarities, mostly found on obscure Library records.
The title ‘Parisian Dreams’ is highly significant as is explained in this anecdote from Yeti. “At the session that I was involved in with Janko in Paris, he showed up with a score that he had conceived while dreaming the previous night. He awoke at 5 AM, scribbled it down immediately and brought it with him to the session. He didn’t need to take it over to the piano, to check if it made sense. He just knew it did. Blew my mind!” So, sit back and absorb these magical sounds from the sub-conscious of an 80 year-old musical legend, combined with punchy beats, from a revered MPC pad-tapper, specially designated, to give your woofers a workout. DJ Ollie Teeba". (Text by Soundsci/The Herbaliser)

Puckered with ruggedly pointillist swagger and evoking discrete worlds hidden in plain sight, »Traditional Music of South London« is a riveting masterwork by experimental music’s distinctive and cherished modernist, Dale Cornish. It is a concrète grimoire of recent and ancient folklore that binds Dale’s music, lyrics, and background into a strikingly personal synecdoche of South London.

Since emerging as part of London’s shouty electroclash movement in the mid ‘00s, and assuming the role of deconstructed rave pioneer and poet in 2011, Dale Cornish has been (lo)key to new movements in electronic music’s underbelly for the best part of this century. His 12th LP, proper, »Traditional Music of South London« is Dale’s definitive record; a confident testament to artistic maturity that comes with doing your thing against the grain over decades, and a potent expansion on ideas chiselled during his run of releases with the inspirational (now sadly defunct) label, Entr’acte, who helped foster Dale’s explorations of concrète rave and industrial pop tropes during the ‘10s.

On one level the album reads as a deep topography or psychosexual-geography of London’s lost gay club haunts, with the meat-motoring deep house of ‘Great Storm’ recalling DJ Sprinkles taking Loefah to the darkroom in its concrète carved and flesh trembling 8:08 perfection; or more literally in »Foxhole«, with Dale’s deliciously Croydon-toned accent describing urban gay mythologies with pungent lyrics about rotten fox cadavers synced to drily ricocheting hand claps, while the tight swinge of his “requiem for all the dead gay venues” in the gut-level bass of »Hoist Crash Fort«, and the playful evocation of “internecine conflict within the gays - live!” on »Palace Intrigue« just utterly slap like nothing else.

Yet it’s in the LP’s slower, bloozier and folky vocal bits that Dale’s dare- to-differ character comes into its own. The clandestine skulk of ‘My Geography’ portrays him like a modern Jandek traversing London’s brutalist- meets-semi rural meridian, and at its gooier core flashes of folk-classical brilliance such as the groggy ‘Norman Lewis’ give way to the writhing foley orgy of »Crowd Scene«, while the naked, one-take end of szn paean of »SCY BFR HNH« and slurred, Tricky-esque confessional »Shout Outs« consolidate and temper the conflicting aspects of his persona with a deep burning pathos in the LP’s fading phosphorescence.

In an era of overproduction and imitation-not-innovation, Dale’s strikingly original, sensually brutalist industro-folk-dance-pop critically cocks a snook at conventional, careerist music while embracing its heartical truths. An extremely personal record certain to resonate with those who believe art in music still matters.

CHIARA CIVELLO'S NEW SINGLE ADDS NEAPOLITAN VIBES TO BRAZILIAN FUNK TO CELEBRATE DIVERSITY AND INCLUSION

Four Flies is proud to present a new, exciting single by internationally acclaimed Italian singer, multi-instrumentalist and songwriter Chiara Civello. Co-produced with Neapolitan pianist, beatmaker and producer Dario Bassolino and with lyrics by Civello and Sicilian artist Kaballà, "Sono Come Sono" is the first Italian adaptation of the Brazilian song "Olhos Coloridos", a celebration of diversity, mixed roots and inclusion written by Macau and made famous by singer Sandra de Sa. To respect the spirit of the original and its soul-funk sound, Civello decided to produce the song in Naples, a city with many similarities to Rio de Janeiro, including its multicultural history. The result is an irresistible eighties-inspired boogie-funk track brimming with positivity and joy.

"Sono Come Sono" comes out on 21 October 2022 as a 12" VINYL MAXI SINGLE containing the song plus three fantastic remixes by eclectic Neapolitan DJ/producer Whodamanny that add groovy and tribal influences to the mix and further enhance its dancefloor potential.

Civello's adaptation has been praised by the writer and singer of the original, as well as by another great name in Brasilian popular music:

"Cada Qual com seu Cada Qual, e muito Respeito pra Liberar Geral…" Chiara has expressed this idea truthfully, beautifully and with dignity. I'm very excited, proud and happy! This is a fantastic version of "Olhos Coloridos". "Limitar…, é humilhar o Infinito…" Thank you, sister" – Sandra de Sá

"Chiara, I couldn't contain my emotion when I listened to your Italian version of "Olhos Coloridos". Beautiful vocals… a beautiful brass arrangement… pure black-Rio! You put colors into my eyes and light into my soul with your magical performance, I have no words. I must really thank you for the joy you gave me. "somos o que somos", Olhos Coloridos, Sarará Crioulo"" – Macau

"Another smooth and super groovy creation by Chiara Civello, this is a perfect Italian version of the classic Rio de Janeiro soul-funk song, "Olhos Coloridos", made famous by Sandra de Sá. It respects the spirit of Black pride contained in the original lyrics but adds to it new sounds and meanings. Well done, Chiara!" – Nelson Motta

Growing up in Chicago, later Detroit-based music producer, Theo Parrish is internationally well known for his own inimitable downtempo house music style. The approach Parrish took to compiling DJ-Kicks was very ambitious, inviting his Detroit peers to produce a collection of brand new material, and in turn creating the first ever all exclusive entry to the esteemed series.

"Detroit creates. But rarely imitates. Why? We hear and see many from other places do that with what we originate. No need to follow. Get it straight. In the Great Lakes there are always more under the surface than those that appear to penetrate the top layer of attention and recognition. What about them that defy tradition? Those that side step the inaccurate definitions often given from outside positions? This is that evidence. Enjoy."


First official compilation by Theo Parrish
All exclusive unreleased material
Includes new music from Theo Parrish
Triple LP sampler containing 15 full length tracks

This one is highly recommended for fans of Khruangbin, Lord Echo, Leon Bridges or Fat Freddy's Drop.

Open is the sixth studio album from acclaimed composer, producer, filmmaker and multi-instrumentalist, Kutiman. It is an addictive & irresistible twelve-track trip taking in elements of classic soul, Middle Eastern psychedelia, Afrobeat, Thai funk, jazz fusion, cosmic library soundscapes and more.

The uptempo “Vanishing Point” opens proceedings, recalling both Abstract Orchestra’s 2017 Dilla tribute and the lounge OST/library music flips of Tosca and DJ Vadim fame.

My Everything introduces prominent guest & frequent Kutiman collaborator, Dekel, whose soul-pop vocals coupled with jangly acoustic guitar riffs tip to contemporary indie artists such as Michael Kiwanuka and SAULT. “A Day Off passes through” Anatolian psych and Khruangbin-esque Thai funk whilst the afrobeat/jazz fusion “Confetti” pays tribute to Kutiman’s other namesake, Fela Kuti.

Dekel rejoins for the beatdown, lilting dub-soul “Believe In You” with hints of Lord Echo and the sun-inflected New Zealand dub-soul sound. The Tuareg-leaning guitar lines on “Canoe” travel across the Saharan desert easterly towards Sudan and Ethiopia by the end, whilst meditative and Coltrane-adjacent album closer “Ripples” provides a final moment of reflection from a truly global excursion of soundscapes.

While so many follow the status quo, Mat Zo has always danced to the beat of his own drum. From his days topping both the drum & bass and trance charts simultaneously (releasing on Hospital Records as MRSA), to his current status as a big room innovator, collaborating with Public Enemy's Chuck D and dropping genre-blurring 70-track contributions to BBC Radio 1's Essential Mix, the precocious talent is destined to play by his own rules.

Supported by DJs as diverse as Skrillex, Madeon, Pete Tong, Above & Beyond, Steve Aoki and A-Trak, the LA-living producer's much anticipated debut LP 'Damage Control' is a bold, brilliantly diverse statement of intent from one of the scene's most unique talents. In a world of EDM sound a likes, this is electronic dance music with integrity and ambition. The release of the album will coincide with an extensive upcoming world headline tour, which sees Zo playing renowned dance music hubs such as Ministry of Sound in London, Light in Las Vegas, Create/Avalon in Los Angeles, Miami's LIV nightclub, Toronto's Guvernment and New York City's famed Pacha. (See full list of dates below).

The product of nearly three years dedicated work, 'Damage Control' represents a star of the future coming of age. Including his Beatport No.1 smash 'Easy' (feat. Porter Robinson) and recent hook-up with hip-hop legend Chuck D (Public Enemy) on 'Pyramid Scheme', Zo's 14-track LP also features the sun-soaked melodies of his innovative future single 'Lucid Dreams' - another track that perfectly embodies his uniquely quirky take on big room sounds.

What really sets the album apart from the pack are its diversions away from the dancefloor. 'Damage Control' takes in everything from electro-charged French house ('Only For You' feat. Rachel K. Collier), classy trance vibes ('The Sky' feat. Linnea Schossow) and big room progressive, through to wonky, trap-styled beats ('Caller ID' and 'Little Damage'), UK garage updates ('EZ') and hip-hop ('Moderate Stimulation').

Retaining a cohesive thread throughout thanks to Zo's unmistakable sense of fun and infectious grasp of melody, 'Damage Control' is tipped as one of the most forward-thinking debut artist albums of 2013.

A decade is a long time in music, but it feels less epic when the music in question is timeless, picturesque, and immersive. Founded in London, run from Bali for a period, and now based in Ibiza, NuNorthern Soul has grown from humble roots to become one of the most popular outlets for Balearic music on the planet.

NuNorthern Soul started in the late 1990s, long before the label launched, NuNorthern Soul was a regular Sunday session in a bar in Chester, UK where label founder Phat Phil Cooper and school friend Jim Baron (Ron Basejam, Crazy P, JIM) sat behind the decks and played laidback, eclectic musical selections to wind down the weekend. The name was suggested by one of the event’s regular punters, who likened the community feel of the event to his experiences as a Northern Soul dancer.

Fast forward to 2011. Following a move to London, Cooper was introduced to Ben Smith, a singer-songwriter and producer whose music he’d long admired. After bonding over a few pints of Guinness, Smith offered to hand over a hard drive full of unreleased tracks; together, the pair put together what would become the NuNorthern Soul label’s first ever release: a fine album of beautiful, boundary-free music entitled The Movedrill Projects.

Another EP from Smith, Dedications to the Greats, followed in early 2013, with the sometime Fug and Akwaaba band-member recording emotive, life-affirming cover versions in his signature style. It was followed by an EP of opaque, sunset-ready songs from Ragz Nordset, and NuNorthern Soul was on its way. While the label has subtly moved around musically since, offering up EPs and albums that incorporate elements from a multitude of becalmed and blissful styles, the core ethos remains the same. Significantly, those early Ben Smith and Ragz Nordset releases still stand up to scrutiny all these years on.

Smith has remained a big part of the NuNorthern Soul family ever since, and it’s fitting that two of his tracks – the stunning, undulating downtempo epic ‘Over Land & Sea’, from improvised 2019 album From The Ash, and Jonny Nash’s glistening, shuffling 2015 rework of ‘Hold On To It’ – are featured on this 10th birthday celebration of the NuNorthern Soul story so far.

It’s right, too, that Jim Baron, whose stints behind the decks with Cooper in Chester began the NuNorthern Soul story, also makes two appearances. His chugging, jangling, wide-eyed 2014 Ron Basejam rework of Ragz Nordset’s ‘You Started It All’ – a track that has so far racked up over three million streams on Spotify – was an early label hit, while his fragile, softly spun masterpiece as JIM, ‘Whisper in the Wind’ (featuring none other than Ben Smith on guitar), features here via a deliciously stretched-out, sunrise-ready remix from James Holroyd under his Balearic-friendly BEGIN guise.

Sentimentality aside, the success of NuNorthern Soul is rooted in Cooper’s ability to pick music to release from a wide variety of artists that fits the label’s colourful, atmospheric, and tactile sonic vision. This lovingly curated box set is testament to that, with immersive, yearning efforts from veteran musicians such as Jon Tye (here appearing as Captain Sunshine, via the breath-taking ‘The Oceans Inside’) and the late, great Ryo Kawasaki (remixed by Mancunian, former Body & Soul NYC resident DJ Andi Hanley) being joined by wonderfully on-point productions from relatively recent signings such as Torn Sail (the Balearic folk swell of ‘Disconnected’), George Koultalieris, My Friend Dario and Tambores En Benirras.

10 Years, 5 EPs, 10 tracks, exclusives, previously unreleased and hard to find NuNorthern Soul treasures. Packaged in a full colour commemorative designed box with full colour inner sleeves. 1 track per side of vinyl for maximum audio pleasure. Comes with 4 page NuNorthern Soul insert. Limited edition.

The cosmic funk sounds of Crazy P are sure to endure through the ages but it's always good to hear classic tackle through a fresh lens. And so it is that Walk Don't Walk asks four crucial artists to add their own spin to some fine originals. DJ Nature brings his textbook rawness and heaviness to 'SOS' while Ilija Rudman's take on 'Night Rain' is lovely downtempo boogie funk. Running Back label head Gerd Janson is in dazzling disco mode on his take on 'We Will F**k You Up' and last of all is a super vibe and atmospheric house joint from Ron Basejam.

In the gutter lie sun dried leaves, scraps of paper, burnt matches and cigarette butts. It is early morning; the sun rises with warm grace. you've come to the right party... you see, the body of a young man sitting by a pool, nobody important, really. Just a movie writer with a couple of "b" pictures to his credit. He always wanted a pool. Well, in the end he got himself a pool, but let's go back some time and find the day when it all started in “Hollywood,” the place where they pay a thousand dollars for a kiss and fifty cents for your soul.

Three years after he celebrated “Sketch of Japan” EP, Superpitcher returns to Mule Musiq, bringing an epic super-pitched 40 minutes trip named “Hollywood”, that perfectly works as the score for the above remixed opening scene of a famous movie on the trances of Hollywood, the cage, that catch our dreams. It’s a slow grower, incorporating some of core elements of the city of celluloid dreams: action, drama, romance - all epic noir and yet so flooded by light. As ever the producer and DJ from Paris garnished his long building up and going down voyage with se-ducing melodies, glamorous pop, and psychic rhythms, creating the hippy dance ambiences he is famed for. Even though the twelve inch comes in accustomed a/b chapters, “Hollywood” should be perceived in one go to feel the depth of Superpitcher’s tropical leaning story arc, that stretches the idea of a track into a dream of satin teardrops on flickering velvet lights. It paints sonic celluloid pictures of ghostly creatures, while a female/male voice is the music’s constant melodic companion, injection Janus-faced longing dream pop spheres on the overall tripping house melancholy. A heroic electronic drama, elegant as Tamara de Lempicka painting. It asks for endless rides on the Hollywood freeways. in the back the sun – a big orange ball – sinking slowly below the horizon.

You've come to the right party... you see, the body of a young man sitting by a pool, in the back a long, graceful bar, bathed in soft light, filled with elegant customers. There's nothing else, just us and the music and those wonderful people out there in the dark, ready for a divine dance in closeup.

This explosive set of 22 floor filling synth-italo-tech-disco blasts from the past charts the rise and heyday of the synthesizer in Finnish pop music. Compiled by renowned Helsinki DJ and music historian Mikko Mattlar, these 22 choice cuts from 1978 to 1992 include many cult hits and impossibly rare tracks, such as the Fenno-Italo-disco cult classic Satan in Love by Emilia and the synthetic experiments of Argon and Syntax.